Names Of Group Members Bismics 343 Sontag Reading Discussion

Names Of Group Membersbismcs 343sontag Reading Discussion Questions

In your respective teams today, please discuss and answer the following questions from On Photography, pages 3-82: 1. How has the invention of photography changed how we perceive, interact, and construe our everyday world? 2. How has this changed with the digital medium, the internet and smartphones (Instagram, Twitter, etc.) in the past two to three decades? 3. To what degree do we (still) rely on the photograph as evidence today? 4. What is the impact of the proliferation and ubiquity (widespread presence) of photographs, especially today? What is the impact on creating empathy or fostering action? 5. What is Sontag’s view of photographing reality (vs. surrealism), especially of ‘documentarists’?

Paper For Above instruction

The advent of photography has fundamentally transformed human perception and interaction with the world. Before its invention, our understanding of reality was largely mediated through subjective experience, art, and written description. With the emergence of photography in the 19th century, a new form of visual evidence surfaced that could capture moments with unprecedented realism. This innovation shifted perceptions, enabling viewers to see a more immediate and seemingly authentic representation of reality, thus fostering a different relationship with everyday life and history.

The rise of the digital medium, internet, and smartphones over the past few decades has further revolutionized our engagement with images. Social media platforms like Instagram and Twitter facilitate instant sharing of photographs, creating a continuous stream of visual data that shapes collective consciousness. In this digital age, photographs are no longer static evidence stored in archives but dynamic and pervasive elements of daily communication. They influence public opinion, reinforce cultural narratives, and serve as tools for activism, from viral campaigns to social justice movements. The digital transformation also democratizes photography, allowing amateurs and citizens to document events and personal moments, thereby broadening the scope and diversity of visual storytelling.

Despite the proliferation of images, reliance on photographs as credible evidence remains significant, although their perceived authenticity can be challenged. Photographs continue to serve as powerful evidence in journalism, legal proceedings, and scientific documentation. Their perceived objectivity lends them credibility; however, issues such as digital manipulation and selective framing complicate their reliability. People tend to accept photographs as factual, but the recognition of potential alterations urges a critical approach to visual evidence. The debate over authenticity underscores the need for contextual understanding and verification, especially amid rampant misinformation.

The widespread presence of photographs today profoundly impacts society's capacity for empathy and action. Visual images can evoke emotional reactions and foster understanding across cultural and social divides. For example, images of humanitarian crises often mobilize public support and policy responses. Nevertheless, the oversaturation of images risks desensitization, reducing the impact of photographic appeals. Therefore, the positive influence on empathy depends on responsible use and intentional curation of visual content. Images that tell compelling stories can bridge gaps in understanding, inspiring both emotional engagement and tangible actions.

Susan Sontag’s perspective on photographing reality emphasizes a nuanced understanding of the medium’s power and limitations. She advocates for a critical awareness of photographs, particularly those made by documentary photographers or ‘documentarists’. Sontag argues that such images are paradoxical—they can both reveal truth and distort reality through framing, selection, and context. She criticizes the idea that photographs are objective windows into the world, suggesting instead that they are interpretations shaped by the photographer’s choices. Sontag warns against the potential of photographs to desensitize viewers, turning profound events into mere spectacles, and emphasizes the importance of ethical considerations and awareness in documentary photography.

References

• Sontag, Susan. (1977). On Photography. Farrar, Straus and Giroux.
• Richardson, John. (2007). Photography as Evidence: From Daguerreotype to Digital. Oxford University Press.
• Manovich, Lev. (2001). The Language of New Media. MIT Press.
• Rose, Gillian. (2016). Visual Methodologies. Sage Publications.
• Barthes, Roland. (1981). Camera Lucida: Reflections on Photography. Hill and Wang.
• Amar, Amar and Kwon, Hyunjin. (2006). “The Impact of Photography on Perception.” Journal of Visual Culture, 5(3), 329-346.
• Baker, Steve. (2008). The Photographic Condition. Routledge.
• Elsner, Jaś. (2013). Reflections on the Visual. Yale University Press.
• Mitchell, William J. (1992). Blue Sun of Science: Photography, Reality, and the Reconstruction of Truth. Harvard University Press.
• Sontag, Susan. (2003). Regarding the Pain of Others. Picador.