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Language is powerful as it informs the way we think and the decisions we make. As societies and cultures evolve, language evolves to reflect our values and attitudes. That process of evolution can be messy and at times contradictory.
For example, in the wake of Black Lives Matter protests in 2020, news organizations were once again prompted to interrogate their language practices. The Associated Press changed their style guide to capitalize “Black,” but not white, to recognize discrimination toward Black people. Shortly thereafter, the Washington Post decided to also capitalize “White” in recognition of “the collective group that has had its own cultural and historical impact on the nation.” Whether we arrive at the same conclusions or not, we often revisit this thoughtful process of questioning whether the language we use is still serving us or if it’s time for it to change.
Photographic vernacular is filled with extractive language (taking pictures), violent language (describing photographers as shooters), and colonial language (my subject). Even the language of success and celebration (nailing or killing an assignment) can undermine the spirit of collaboration, care, and consideration.
When we use words like “subject” to refer to the people we are documenting, are we subconsciously thinking of them as simply objects in a frame as opposed to people who can be greatly impacted by our actions as storytellers? Avoiding words like “subjects” might facilitate our moving away from the kind of thinking that casts people we photograph as lesser than us or as “subject” to us. Colonialism and the colonialist mentality we refer to within the photo industry places the needs of the photographer above all else. Understanding this history, the harm it has caused, and how we use language to uphold harmful practices is an imperative. As Teju Cole writes in The New York Times Magazine, “When we speak of ‘shooting’ with a camera, we are acknowledging the kinship of photography and violence.”
Our understanding of people, place, and events is tied to the words we use. In that way, language structures our reality so changing the words we use can help us change the way we think and the way we understand or relate to the communities we photograph. For years, photographers have complained about being described as “my photographer” by reporters on assignments — depriving them of identity and asserting possession of the photographer by the reporter - rather than using the term “colleague” which conveys more professional respect. We ask that photographers consider the impact of their own choice of words towards the people they photograph.
When writing the Photo Bill of Rights, we recognized that some of the intentional language used might be unfamiliar for some readers. Sharing a common understanding of the terms we use is critical to productive dialogue because a single word can have many different meanings. Thus, the PBoR glossary is not only a resource for reading the Bill but also for thinking critically about the language we use in our lives.
PROMPTS FOR INDIVIDUAL PRACTICES:
What are some common terms I use to describe my work, my way of working, or the people I photograph? What is the origin or subtext of those terms?
Am I inadvertently using violent, gendered, colonial, or extractive language? What are some alternatives that I can use in my everyday practice?
How do I respond when I hear colleagues using violent, gendered, colonial, or extractive language in professional settings? Can I use those as teachable moments to share alternative terms and to discuss the importance of intentional language?
RESOURCES:
Diversify Photo’s Guide to Nonviolent Language for Lens Based Work
“Reporting and Indigenous Terminology Guide” by Native American Journalists Association
“Disability Language Style Guide” by National Center on Disability and Journalism
Teju Cole on photography: “When the Camera Was a Weapon of Imperialism. (And When It Still Is.)”
“Decolonization is Not a Metaphor” by Eve Tuck & K. Wayne Yang
We hope our industry colleagues feel inspired to engage in thoughtful dialogue around these issues as well as establish ever-evolving practices of personal and institutional accountability.
“Beyond the Bill of Rights” is intended to be a supplement to the Photo Bill of Rights. We encourage you to also explore:
The toolkits, which offer email templates, guiding questions and considerations for workers and hiring parties, as well as detailed suggestions for action items. These toolkits are living documents that will change and expand over time.
The glossary, which expands on terms used throughout the Bill of Rights, to build a better understanding of the importance of everyday language and how using language thoughtfully encourages critical, reflective thinking.
The list of resources, which offers additional references and literature that will help provide context for the issues that led to the creation of the Photo Bill of Rights and all additional documentation.