Photography and Surveillance- Bookstock

Sur-veil-lance

Noun

1.      
         1) watch kept over a person. Group, etc., especially over a suspect, prisoner, or the like:The suspects were under surveillance.

2.       
         2)  Supervision or superintendence

The concept to watch someone unaware, or directly, in the present day there being  street cameras on most streets, pocket cameras, phones etc. it is hard to get away for the concept of surveillance or being under surveillance without knowing; it has become an everyday means of normality. One camera for every 14 people comes with a partner statistic: that there are 4.2 million security cameras in the UK alone. Surveillance is a controversial subject, many people for and against depending on the situation… however the nowadays concept of surveillance has wandered into literature, art, photography and many other forms of expressionism, a subject used to express a number of ideas and concepts… Personally I feel that some genres of photography do have tendencies towards the theme of surveillance some photographers unaware, some manipulate the boundaries of being able to photograph people without them realising the cameras even there due to the general acceptance of the subject.

Photography and surveillance…

I feel that forms of street photography are a type of surveillance some photographers do ask/get permission and consent, however street photography is more in the present, at that moment- the decisive moment. So consent can’t always be obtained as photographic opportunities come and go in a flash at times. Therefore street photography in some instances is the photographing of unaware and oblivious subjects (people) documented through the lens of a camera, as it is when taken by CCTV cameras. Similarities appear between the two forms of capturing a street for instance even if the photographers intention is not to use a surveillance style method, most street photographers will visit the same place and photograph it a number of times to obtain the shot their looking for, going through a process of surveillance to get there.

Like in these images from Street Photography Now…

Trent Parke- Sydney 1998

Jeff Mermelstein- Run #6, New York City

In this image the photographer has waited for that moment to capture these moments, possibly they could be staged but they still have this feel of surveillance, the Trent Parke image the shot over the shoulder capturing what the subject is doing, plus the movement of others. Jeff Mermelsteins image from a series of capturing people in a rush to work surveying their movements. Photographers using surveillance for an artistic approach…

However some photographers use the notion of surveillance to capture a deeper meaning to an image to ask questions to the viewer, such as..

Images taken from the book- Jeff Wall

                                                              Jeff Wall- Passer by 1996

The subject in the image looking at another passer by unaware of the camera, the notion of the subject feeling like they are being watched by the passer-by the image has the unknown  feel to it, who is he looking at? Why? Why does he seem to have the posture of someone wanting to move away quickly with the outstretched leg?  The fact Jeff wall has chosen to hide the other subject partly to provoke this question asking image in theory. With the either set up style of surveillance or decisive moment feel to the image, there is a sense of surveillance from the photographer but also from the subject.

                                                                 Jeff Wall- Mimic 1982

Also in this image by Jeff Wall this piece of street photography, taking a more deeper and serious feel to it, surveying two races walking down the street, capturing a macho mentality to mimic the other dominant male with the trading of an angry look. Possibly could have a racial dislike/hate feel to the image provoking this discussion of body language between the two, with the white male slyly sticking his middle subject as the Asian male plus giving the dirty look out of sight of the woman on his arm.

This style of surveillance of people brings out images like this; surveillance isn’t always the known concept of CCTV cameras watching you. It is apparent in the form of photography to capture interesting and thought provoking images without engaging the subject to get a true recollection of the situation. When a subject is engaged, in the know about the image being taken, this can change a subject’s reaction plus actions in the photographed situation- the classic cheesy grin to the camera. These images shot with a standoff approach, not engaging the subject too much that it alters their behaviour works with this style of surveillance, however any closer it could be seen as aggressive, a breach on personal space etc..

 The work of BruceGilden I feel exactly does this…

Images from Facing New York (N.D) – Bruce Gilden

Gilden's photography I feel is very aggressive as he waits around corners and jumps out on unsuspecting subjects to capture their reaction, armed with a Leica and flash gun to hand he waits for his subject, surveying them before for the decisive moment and jumps out to capture them in an aggressive in your face way. His style being very controversial throughout the photographic community, however his style and use of surveillance to capture people in this way does ask the question of does it go too far? Surveying people then jumping out to startle them for artistic and finacial gain. His work capturing yakuza members and scary characters does  add a concept of danger to his images as they look startled yet angry by this method…

Bruce Gilden 1998- Japan, Asakusa. 1998. Two members of the Yakuza, Japan's mafia. The Yakuza's 23 gangs are Japan's top corporate earners. They model themselves on American gangster fashion from the 1950s.

 Bruce Gilden 2001- London, gangster fashion 'the frim'  London's toughest gang. Lorenzo (left) and Dave Legeno (right), members of The Firm.

Researching the concept of photography and surveillance has brought up plus and minus points for it as an actual means of working practise. I feel that it can be used to a point so that it does not impede or anger an individual or go against their rights. When used correctly can create very interesting and beautiful in the moment images, but there comes a line when surveillance is not appropriate, however surveillance being very common these days that is an everyday factor and isn't thought of as harm as much as it once was. So photography and surveillance will continue to have a relationship between the two for a very long time I feel.