RP Newsletter #8 - Death to Salon Photography
In which reflect (or rant) about contemporary Filipino salon photography.
Like I’ve said, rant ahead so here’s an unrelated photo of an adorable Dog to soothe you.
I never liked salon photography. The only time I appreciate these organizations is when they attract retailers into giving discounts. It was only when I read Zhuang Wubin's book, Photography In South East Asia, that I realized that salon is essential in understanding the history of photography in the region.
Sure. I've had my fair share of experiences in being with one. They were uneventful save for the occasional bokeh of the 1.4 of lens X is better than lens Y. Also, a lot of bickering. Yet, It was a reminder that photography is a democratic medium, a document, a platform for everyone, and all that jazzy stuff but at what cost? Maybe I'm not looking into PH photography history even further but contemporary salon... doesn't hold interest.
It has always been a place to gather those who have shown great interest in photography. Salon groups give you access to various cameras, techniques, styles, and processes. Yet, the internet exacerbated (or revealed) the dark side of the salon: Photography made through Misogyny, Ego stroking, and dashes of neoliberalism.
The metaphorical terms photography uses to appeal to the male ego. To capture, shoot, headshot, and equating it with other firearms-related term has an appeal. Not to mention that it makes Countless thirsty men ogling at promo girls. Cringe comments. The immediacy of human decency over the capturing of the decisive moment. The internet made it possible for like-minded individuals to cement their beliefs instead of challenging them.
For Salon photography to gain value outside competition spaces, they either have to be recontextualized by a curator or age well that the insight is separated from the images of their time. Since the ideals are neoliberal, there is no care for the message or intent. It is about the name associated with notoriety and equated value. Fan Ho comes to mind to the point that people forget he was a Salon Photography king with his staged "Approaching Shadow" photograph.
Speaking of street photography, the worst offender of all: Street Photography salon groups. They are more concerned about definitions rather than actually taking pictures. Gatekeeping the genre rather than being open to how it can be interpreted and evolved. Yet, their biggest offense is propping themselves on a bigger stage because "They seek to passionately capture the human condition". To question the decisive moment is akin to blasphemy.
One can make the argument that the boudoir salon type is the worst. Most of its practitioners say they appreciate the female form when they use it as an excuse to exert a masculine gaze. The tradition of boudoir is always about exerting power. Is it empowering from a female perspective? If it is, I have not seen a boudoir example that feels uplifting. I think boudoir would work if there is a collaboration to be subversive of the genre or embrace the kitsch.
I have a few theories about why this came about. In the case here in the Philippines, Photography was a tool used to colonize. Dean Worcester used it to exert power in the inferiority of the indigenous population. Even if the Spanish occupation brought photography to Philippine shores, it was the lasting use of Americans and photography that stuck with us. Bringing with them the same problems of colonialism only applied to photography. The feeling of supremacy, suppression, and dishonesty applied to image-making. (For those that know me, they'll find fault that I am once again blaming our colonial experience for this fault.) The conflict has always been in the western photographic experience (ex. F64 vs. Pictorialism). How I wish the Philippine experience is the same as its neighbors in Japan and Indonesia.
Here's the thing that makes photography a beautiful medium: even if a work is problematic, it can still find its way. Recontextualization and realizations from the practitioners of how a work came about. A problematic work can be used for teaching. We can look at the historical value of the work and allow ourselves to grow with understanding the work. There is nothing wrong with changing our perspective especially if it is a new perspective gained.
For Salon and your neighborhood Facebook photo club to improve, individuals must be cognizant of their ego. Why is there a need for rankings? Why is there a need for “prestigious” competitions? Isn’t the work prestigious enough? Why is no one calling out misogynistic comments? Why is no one making it a safe and better environment for women? The salon is not far from irrelevance but as we know it today, it should change.
This change should start at the top. How I wish the ultimate photo club, Magnum, release their code of ethics and let it passed around discussed by the public. Let them be an example of an organization that fixed itself from within to trickle down to your local photography club. How I wish photography companies and retailers get involved. Remove the use of models in little to no clothing and instead hire actual models. Involve or consult with academia in running your business campaigns. This one is long but reward good photography made with ethical practices rather than chasing the follower counts. Enable a healthy industry rather than reinforce an unethical one.
As always, no one has the right to stop people from trying to photograph. If Salon is the first access to understanding the fundamentals of photography, so be it. If you are part of one, make sure your photo club knows what it needs to change. Embrace the democratic nature of the medium. Understand the role that good ethical practices yield good pictures. Do away with competitions and pursue depth and narratives. It will be a tough ask but I assume that it would be easier to do those as generations change. At the very least, I hope that you can change and spot what needs to change.
Next newsletter:
I’ll try to be optimistic. Reflecting as to how works come about. Part of my photographic narratives workbook which I should give an update.
Hope to see you on the next!