Theology of Dignity in Documentation
It is clear that when combined, words and images have the power to shift reality. If there is a tool capable of such a thing, utilizing it for the sake of Christ and His gospel truth is a consideration that the saints can not ignore. Photojournalism is a combination of words and photographs that aid one another to better communicate a message holistically, and has increasingly played a role in Christian ministry. It has the power to bridge gaps with understanding, stir compassion, provoke movement, and transcend many barriers of presupposition or ignorance all for the advancement of the Gospel. Though photojournalism is effective in being informative, it is not often ethically or biblically operated in. Documenting reality is very obviously noted as valuable in the eyes of The Lord, because He chose to give mankind a detailed written documentation of His interaction with His people throughout history to tell the world of His love, and that is what we know to be the Bible. It’s essential for the Christian photojournalist to use this bible to build a framework that directly informs the practicalities of their work. If this understanding is not prioritized, it’s possible that photojournalists will not only continue on dishonoring God as they dishonor his people, which is seen to be the primary offense, but additionally wound individuals and potentially their perception of Christ. The common conversation of ethics over this medium is that of post-processing alterations, but the in action act of documenting deserves all the more attention as it is directly ministerial.
A properly developed theology of dignifying in documentation is a necessary foundation for any user of the camera in ministry. Dignity as defined by Merriam Webster is “the quality or state of being worthy, honored, or esteemed”, and it is important to consider how the study of God and His word informs what it means to dignify the individual in the field of photojournalism. Aspects of this claim that are necessary to consider include how the Imago Dei informs the foundations of this standard, biblical accounts that demonstrate documentation that dignifies, as well as the practicalities that form out of these theories. This discussion can not be an additive to the work already being done in the field, but must be the absolute foundation.
The Imago Dei Demands Honor
The base of this claim is a derivative of the Imago Dei, because that truth is what gives man dignity and demands he be treated as such. Biblical perspectives would define dignity as a state of being worthy of honor or respect due to their inseparable likeness of God in nature. Our basis of this understanding comes from Genesis 1:27 that shows us this connection in stating “So God created mankind in his own image, in the image of God he created them; male and female he created them”. The God who is to be upheld with the most reverence and honor created mankind in his very likeness, and orders that man should also be honored. God values them so much that he placed his very likeness in their form, so they should therefore be dignified.
Man again is reminded of the principle in Romans 12:10 that explicitly commands humanity to honor one another by stating “Be devoted to one another in love. Honor one another above yourselves.”It is even a biblical mandate that man honor those next to him, and the love that can be shown through this honoring is evidence of Christ.
Innate Dignifying Capability
Though this framework is specified to the Christian, all humanity has an innate nature and desire to dignify and be dignified. Man that does not commune with God is capable of this because he was designed after a God whose character embodies that trait. One does not need to know Christ to have a sense of what it means to dignify the individual. Mankind’s ability to recognize truth and live into it to a certain degree is the direct effect of their being made in the image of God, a likeness in function, that defines dignity and honor. There is an inescapable reflection of the creator in man that was designed to both be dignified, and dignify, so all potential subjects have a sense of the sort of treatment they are designed for.
Danger of Selective Portrayal
Photojournalism is designed to be relational, and an interaction that demands the community being documented is perceived as a people over a content. The lense should never be a tool of divisiveness between the subject and the photographer, but rather a means of bridging gaps by sharing understanding. There are certain principles that must be held to maintain this disposition, and all come back to the idea that what the photojournalist selects to portray about a person matters deeply.
Circumstance
It is a standard that photojournalists communicate the essence of the subject’s holistic personhood through what they create. Though it is certain that only selective information will be shared about an individual, what is selected to document must inform the viewer of the subjects full personhood. Photographers have the power to project a perceived identity onto their subject, and this is determined by what they choose to highlight in the image they create of their subject. The danger in this is that a subject can be portrayed to be something that is very selective and unrepresentative of their holistic personhood or circumstances. The imagery should document from the angle that suggests they are an individual experiencing their circumstances, but not identify them with that circumstance. An unfortunately popular example of this misuse in documentation is how the poor or vulnerable are visually represented. For example, an image of a man experiencing poverty should be just that. The image should primarily highlight that he is a human, and secondarily, if at all, depict something he is experiencing. Their photographs can be taken in such a way that portray them to be nothing more than their poverty, and take into account no additional details apart from their unlikely circumstances. It does not suggest they are an individual experiencing poverty or homelessness, but says that they themselves are identified as poor or homeless. The typical image brings attention to details such as uncleanliness, isolation, or desperation and seems to communicate that there is nothing more to know about them. If is is a justifiable documentation, the imagery should highlight their holistic personhood over their conditions as that is not what defines them. There are times when the circumstances are rightly recognized for pure motive, but never elevated above the humanity of the subject. Many might believe they are doing a service to portray the reality of the suffering, but it is critical to consider whether the reality is even something to be documented.
There is a danger added to the matter when profit is invited in. Imagery motivated by money is a very sensitive matter, and can morph the documenting into an exploitative act. It is possible for the subject to no longer be viewed as a human being, but a money maker. The documenter is seeking to gain from portraying what another lacks. Sharing the story of someone who has little can not be told for the sake of it, and can never be motivated by marketing strategies to provoke empathy that provide proceeds. An article covers the unethical use of excellent design in this context, and speaks of the damage it entails.
It’s important to consider how the extreme alternative of portraying the wealthy to be nothing more than their wealth is neither an honorable act. To emphasize their luxury or designer possessions above their thoughts, feelings, or accounts of experience is a disservice. This side is often glorified, rather than pitied, and that sends a message about societal values in itself. Within the boundaries to what is honorable to document, there are a variety of ways one can highlight a personhood over a circumstance.
Holistic Personhood
It is necessary to recognize someone in their full personhood, and this can be done through taking into account their experiences, thoughts, and emotions through additives such as quotes, close proximity, or a focus on the subject’s face over what surrounds them. In addition to the use of these methods, it is critical that photojournalist’s interpret all people as a neighbor to consider, not an ‘other’ to passively observe. Quotes invite a reader into a personal experience and eliminate some danger in misrepresentation, because the subject has the liberty to choose how they represent themselves. This also allows readers to gain a greater understanding of them through the perspective of the one experiencing what is being documented. Close proximity with the camera can also play a role in making distinct the subject’s common humanity, and work against the potential of being portrayed as a specimen to be observed. A far shot can give a sense of separation that leads to the subject being perceived as other, and the perceived distance can work as a barrier. If it is difficult to highlight the person over their context, close frame shots are more intimate and tend to speak loudly about personhood. Also, a focus on the subject’s face in portraiture invites the viewer to level with them in their shared humanity, and again, distances them from the notion of ‘other’.
Examples of these concepts put to work can be seen on The City’s Gospel website. This is a ministry with a team of photojournalists that are committed to inviting the people of Chicago to feel known, loved, and heard by initiating conversation about their perspective of a God through the means of photojournalism. In interview style, they seek to simply understand their community and bridge gaps with understanding. It gives people a space to think about the matter if they have yet, and also a safe environment to dialogue about it. The documentation process dignifies them in several ways. Though this person is always a stranger to the interviewer, there is a significant amount of dialogue and preliminary understanding of the project prior to any photographs or quote transcriptions. The conversation is less about a contribution to this project, rather the project is a means to the conversation.
Here is an example of an interview with a man named Ted who spoke of what came to mind after hearing the word ‘God’:
"I believe God is the source of all things. Life, love, all people, and all lands. He goes by many names, God, Allah, etc. Catholic religious tradition is the root of many of my ideas, but just this internal sense through prayer says there's something more to all of this than can be explained."
Sexuality
An element falsely glorified in most mainstream imagery is the oversexualization of a human. To elevate an individual’s sexuality in any sort of photography suggests that their sexuality is what is primarily worth being highlighted in them, which certainly does not honor, rather it degrades. This is a norm of culture today that can not be passively adopted in the field.
It is very exploitative to expose the sexuality of anyone, but certainly unacceptable for a child. If they are naked in their circumstances, that is not a license to document it.
Truthful Documentation
It is critical that the imagery is an honest depiction of reality. The exaggeration or altering of reality for a greater effect is a great threat to sound theology, and neither should it be adopted from mainstream content creators. There must be no alteration of reality, and the photojournalist must portray what is true and in front of them. Though reality may be an interpretive concept, there is still a degree to which one can commit themselves to honesty in this sort of work. They must operate in an honesty that at times does not conceal what is shameful, but neither use such information to make value judgements in a gossip nature. The Bible is the greatest example of what it means to document in a manner that is in accordance with scripture, and readers see that it does not withhold from documenting what is ugly. How these happenings in scripture are accounted for sets guidelines for how a photojournalist is to use their tools.
Thomas
An example of this concept in scripture is Thomas’s disbelief in Jesus’ reappearance. It is not only valuable to consider what is documented in this story, but equally as much as how. Thomas is told by the remaining disciples that Jesus has returned in John 20:24-29, and scripture records his blatant disbelief. When he sees Jesus face to face, he acknowledges the truth in reverence. Scripture could have withheld from showcasing such a shameful act from Thomas and carried on to the time where He believed, but there can be much value in documenting portions of stories that maybe the subject would not advertise about themselves. It is critical to consider how scripture covers these shameful happenings in a manner that greatly maintains the subject’s dignity.
David
An additional example to consider in scripture is the story of David and Bathsheba in 2 Samuel 11, a deeply unlawful act taking place. The king essentially kidnaps a woman he can see atop his home, demands sexual relations with her, and murders her husband. This is of the more detrimentally shameful decisions in scripture, but never does it’s account attempt to strip dignity from David. There are no value judgements, gossip undertones, or slander against him. The wretchedness of the story is acknowledged in verse 27, and gives the understanding that it is not condoned. 2 Samuel 11: 27 writes “But the thing that David had done displeased the LORD”.
This shows readers that to dignify a subject being documented doesn’t mean to cover exclusively what they are proud of, but to withhold from any slanderous, dishonest, or exaggerated tones in the account of even what was destructive.
Posture
What to document is equally as valuable as the posture that the photojournalist documents out of. One must examine the posture out of which they are documenting.
Bias Removal
It should be noted that most all of the highly regarded photojournalist organizations in the world are based out of western society. For example, stories from the New York Times or Time Magazine are some of the most widely viewed content in the world, and it is possible that the most popular images of the world are perceived through western civilization. In light of this, it is critical that they find a way to counteract documenting all people out of that pervasive western bias.
A photojournalist must step out of their own context and into the subject’s to be able to rightly love them. An acknowledgement and respect of the idea that there are other ways of living and thinking about reality is vital. Something the photographer from western civilization must implement to counteract this issue is first a recognition of the ‘others’ perception of reality as distinctive from their own, and additionally an effort to adopt that understanding of reality while subsiding the idea that their own may be superior. This can be done through humble observation and intentional asking.
Through her missions, a famous photojournalist with New York Times, Linsey Addario, demonstrates the importance of knowing and being trusted by a people, because that is what allows an honest and honoring depiction of their nation. It’s quite impossible to tell of a group truthfully without even attempting to understand their context or sit with them in it. It is a dangerous move to manipulate the stories you tell into a mold that has been formed by a bias, especially if that bias is governed by national policies. Linsey writes “Afghanistan was much more than a terrorist state governed by unruly women hating Taliban, as much of the media portrayed it.”(55). It took an intentional sitting within that context to view it as otherwise. It is critical to humanize these people, and build the bridge that allows others to understand the depths of pain people similar to them call their reality.
Photojournalists must additionally consider how the primary user of the camera being based out of western civilization affects the bias that most eastern cultures have towards the use of that tool. It is possible that in a photojournalist’s interactions, the association with the tool of the camera being used is, for them, tied to divisiveness, misrepresentation, and dishonor. This is something to be mindful of, and could even differ some of the work intended to be done. It’s important that the documentor invites this sort of instance to be an opportunity for healing, or will respectfully withdraw as a response.
The greatest way to grasp another community or culture’s perception of reality is to spend time living alongside them within it. Asking the people in that space what they value most and why aids your capability to highlight what is truly meaningful to them. Simply watch how they interact and dignify each other. Is it primarily through service? Honor? This deep understanding can never be some sort of mere cognitive transfer, an exchanging of information, but must be lived into in a sharing of intimate space. This can also work as a preventative time that protects the photojournalist from severely dishonoring a community without realizing or intending. The time a photojournalist spends alongside can highlight the things that are sacred or private, and prevent any misunderstandings that can morph into hurting a community. For example, there is a community in Chamula, Mexico who believes that their soul is robbed if a photograph is taken of them. Without context, a messenger of the gospel could be deeply rejected and pained by their ignorance to what is sacred to those people.
Listening
A humble posture of listening is critical in this time. The documenter is a learner, and is seeking to grasp anything they can about the community's ways of life. This concept might first bring to mind an international context, but one must not forget how many varying sub-culture nuances are that are present to be learned just in the States. For instance, in some cultures sharing is a sign of honor, and if you trust them to know of you, your vulnerability honors theirs. When done humbly, this posture of listening in living alongside one another can produce a mutual trust between the documenter and the documented. It enables a community to believe the documenter has a proper understanding of them, a desire to respect them, an interest in their personhood over their providing of content, and hasn’t only come to take, but to understand and give. An example of this is a project called Neighbor's of Chicago that sought to collectively give a full picture of Chicago and it's beliefs. Much listening is required in documenting something like this.
Though, it is not always possible to preface the documenting of a foreign people with an extensive period of living alongside. If the case requires a very back to back entrance and exit, discernment is key in the decision making process. In this instance it is important to consider if the community has a pre-established trust with whom has sent the photojournalist or any of those they’re working with. Additionally consider if anyone sending the photojournalist is familiar with the community in which they are going, so they may prepare and train that person prior to departure. If there are no pre-established connections or understandings, the photojournalist should spend a designated amount of time seeking to know and love the people before the camera is ever introduced to the setting.
For example, I received an opportunity to visually tell the story of a Christian family on the North Side who had experienced much joy and pain from one of their twin boys, Luke, being severely autistic. A story was written by Ally Domercant for a creation called Project Surplus that showcased the families faithfulness amidst both the pain and joy of their child’s state.
I was assigned the task of delivering an honest portrayal of this hopeful tension, and did so with the previously stated standards grounding me. I arrived at their home with a preliminary understanding of their situation through their friend Ally, who had written the story. Prior to introducing my camera to the scene, I additionally spent time getting to know Luke and his family who loves him. I observed ways their home functioned, and asked questions about what they loved. I was also able to establish some trust with Luke, and make it known that I cared for him and his family apart from being able to get anything from them. When it came to documenting, I asked we stay in the home to showcase a very realistic normal, as well as venture to any common spaces they might enjoy throughout the week. I asked them to dress as they would, because the heart of this story was showing the beauty amidst the pain in their mundane. Luke’s father read him a book, and several times throughout the story reading, Luke became uncontrollably violent that manifested in repeated blows to his father’s head. His father, very familiar, but still saddened by this reality, gently tried to calm him and continued the reading. There was no emotional response of falsely placed reprimanding, but a tender love. This love still had pain within it, and this image depicts that moment.
We then ventured to a park where they often play together, and I was also able to document sweet moments with his parents that were just as true.
Reconsider
All aspects considered, it is absolutely essential that any photojournalist in ministry documents out of a biblical framework that develops a theology of dignifying in documentation.
The Imago Dei is the foundation of this work as it suggests man is dignified, and innately demands he be treated as such. Man’s dignity can not be taken, but he may be portrayed in such a way through documentation that is not reflective of the truth of him being worthy of such. There are unfortunately ways that this dignity can be dishonored through methods of documentation, including selective portrayal in circumstances or personhood. The basis is that the humanity of a subject in any sort of documentation should be greatly elevated above their experience, sexuality, context, etc. It is important to combat these undignifying means of documentation by representing reality truthfully out of a posture of humble listening and unbiased efforts. This tool has the power to bring unity with compassion and understanding that sparks movement, or become a means of divisiveness in misrepresentation in postures of consumeristic superiority.
This standard of ethics can never be a fear based method driven by self protection, but an honest effort to honor the individual that flows from the love of Christ. It should be understood that not all stories are meant to be told, but immense intentionality should guide those that are. The basis of this information can be systematized, but all that gives life to this framework is deeply contextual. This is simply an ethical foundation for documentative happenings to be filtered through, and built off of. It is strictly unacceptable for any photojournalist to go into the field without a concrete understanding of the threats introduced from a passive participation in this kind of work.
There is an urgency for the Christian to saturate this craft in scripture, as it is likely the very text that inspired the photojournalist to begin. Love is the crux of this work, and that can only be maintained by a consistent connection to He who is love himself. For the seeker to even feel invited into a sharing of their story, the mark of Christ’s love must be evident in the photojournalists posture of asking. Through the use of photojournalism, Christians are able to bridge gaps between unfamiliar groups with understanding, stirred compassion, and provoked movement all for the glory of Christ Jesus and the advancing of His gospel truth. A powerful force to turn people to the face of Christ has been globally popularized, and believers must respond by stewarding that potential.
Works Cited
Addario, Lynsey. It's What I Do: A Photographer's Life of Love and War. Penguin Books, 2016.
Barilan, Yechiel Michael. Human Dignity, Human Rights, and Responsibility: the New Language of Global Bioethics and Biolaw. Mit Press, 2014.
Castillo, Ali. “Stories with a Purpose.” The City's Gospel, 2018, www.thecitysgospel.com/.
Coleman, Kevin. “The Right Not to Be Looked At.” University of Toledo, vol. 26, no. 2, 1 July 2015, pp. 43–63.
Kilner, John F. Dignity and Destiny Humanity in the Image of God. Eerdmans Pub. Company, 2015.
Langmann, Sten, and David Pick. “Dignity and Ethics in Research Photography.” International Journal of Social Research Methodology, vol. 17, no. 6, 2013, pp. 709–721., doi:10.1080/13645579.2013.825473.
Lowe, Paul. “Traces of Traces: Time, Space, Objects, and the Forensic Turn in Photography.”
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Polat, Anil. “The World's Most Interesting Church Is In Mexico But You Can Only See It In Person.” FoXnoMad, 6 May 2015, foxnomad.com/2015/05/07/the-worlds-most-interesting-church-is-in-mexico-but-you-can-only-see-it-in-person/.
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