PhotoVoice is a charity with the following mission statement:
“PhotoVoice’s vision is for a world in which everybody has the opportunity to represent themselves and tell their own story.
Our mission is promote the ethical use of photography for positive social change, through delivering innovative participatory photography projects. By working in partnership with organisations, communities, and individuals worldwide, we will build the skills and capacity of underrepresented or at risk communities, creating new tools of self-advocacy and communication.” (Photovoice 2017)
In practical terms: it gives cameras, training and mentoring to specific communities for them to document their own circumstances.
The site itself is surprisingly (suspiciously?) short on actual photography; each project has a few example shots and lots of explanatory text. Each project has specific objectives, some internal to the project participants (developing self-confidence / self-advocacy, creative and communication skills etc) and some externally-focused (raising awareness etc). The balance is what I found interesting – some of the projects came across as much more about helping the individuals (in a traditional ‘charity’ sense) with the resultant images as by-products.
The course notes ask us to look at “the documentary value and visual qualities” of the images.
In terms of documentary value, the key aspect of PhotoVoice projects is the adherence to the insider viewpoint – there’s an inherent layer of authenticity. The flip side, as discussed in Solomon-Goudeau’s essay Inside/Out (2005) is that the insider can be too close to be objective, and miss observations that an outsider would pick up on.
In terms of visual qualities (to the extent that this can be ascertained from the limited examples on the site) there is perhaps inevitably an emphasis on ‘straight’, no-frills documentary photography as these photographers were very much amateurs given some guidance by mentors, rather than experienced or gifted photographers.
Multiple photographers leads to a lack of a distinctive visual style, which from a viewing perspective makes a lot of these projects of limited visual interest, if not already engaged in the subject matter. However, as touched upon earlier, the aim of these projects is not simply to produce documentary photography but more significantly to provide skills, support and agency to the individuals involved. So perhaps they don’t need to be visually distinctive to be ‘successful’ in this context.
To return to one of my pet obsessions: authorship… these are unusual projects in as much as they have multiple, untrained practitioners producing the work. The key ‘author’ in this circumstance is really the editor(s) – selecting images that meet the communication objective, constructing a narrative out of the multiple viewpoints and moments captured. It wasn’t clear to me whether the participants were themselves involved in the editing process or whether PhotoVoice had the final say on image selection (or indeed whether this varies per project). The extent to which any editorial authorship is intentional or reflexive is, of course, a perennial question for any and all documentary photography.
PhotoVoice https://photovoice.org (accessed 23/06/2017)
Solomon-Godeau, A. “Inside/Out” in La Grange, A. (2005) Basic Critical Theory for Photographers. Burlington, MA: Focal Press