Exercise: genre

The first part of the BoW course has focussed on the idea of genre and explored work within various genres of photography. In this post, I reflect on the significance of genre in the creation and consumption of photography. In addition to my course work to date, I also referred to David Bate’s introduction to Photography: the key concepts .

Before considering genres in depth, I saw them simply as a method of labelling – not too dissimilar to signs in supermarkets above the aisle; Fruit & Veg (so I can find carrots), Bakery (so I can find wraps). Which, to a certain extent they are; allowing us to place a photography within a category so that we can conceive where it belongs and what we might find with it. Yet, I’ve always been surprised when one of the first questions people ask is, ‘what sort of photos do you take?’. Perhaps because I’ve been experimenting with different genres in my studies to now, it has not seemed important or relevant. However, replying ‘all sorts’ to the question seems to receive a disappointed reaction. It could be like someone asking ‘where do I find the bread?’ and being answered, ‘somewhere in the shop’.

A photograph is more complex than a supermarket commodity as it is a cultural text that requires reading. A genre as a guide to what we might expect and how we might approach that reading is important. As Bate succinctly puts it, ‘ … the theoretical importance of genres is that they enable photographers, spectators, and institutions to share expectations and meanings’ .

The importance of describing my own work in the context of genre is now clear to me. I need to work on articulation of this, but broadly I would situate it at a cross-roads between psychogeography and portraiture (a mix of contemporary and traditional genre nomenclature). Psychogeography, is a genre I intent to (re)visit in my research as I attempt to describe my own work.

In the course material, the advice is not to feel restricted to ‘one genre or style’. Sound advice, but what do we mean when we say ‘style’ in photography? The origin of the word relates to the way in which a mark is made (from stylus as a writing instrument). When our marks are made with the help of a machine and post-production offers a wide range of possibilities to the look of an image, there is perhaps a risk that many photographs become so similar that they are styleless. This is a matter I’ve previously considered in the context of film versus digital, with the former to a certain extent baking in a look based on the type of film used and the later being almost infinitely flexible with digital processing of RAW files. It’s time for me to pin this down as well as genre.

References

Bate, D. (2016) Photography: the key concepts. (Second edition) London New York: Bloomsbury Academic, an imprint of Bloomsbury Publishing Plc.