Women and Gender in Photography

WOMEN AND GENDER

IN PHOTOGRAPHY

By Chelsea Jones, F/PPOC, MPA

GENDER AND SEX ARE CHARACTERISTICS THAT ART HAS TRADITIONALLY OPPRESSED THROUGH IMPOSING NARRATIVES; PHOTOGRAPHY IS NO EXCEPTION TO THIS. THE MASCULINE, CISGENDER EXPERIENCE HAS CONSISTENTLY DOMINATED HOW SOCIETY SEES THE WORLD FROM LITERATURE THROUGH TO PAINTING, PHOTOGRAPHY AND VARIOUS OTHER VISUAL MEDIA. (SKELTON, 2020). IN 2012, ONLY 4% OF ARTISTS IN THE METROPOLITAN MUSEUM OF ARTS’ MODERN ART WING WERE WOMEN. WOMEN WERE NOT COMPLETELY ABSENT FROM THE COLLECTION HOWEVER; 76% OF THE NUDES WERE STILL WOMEN (SKELTON, 2020). APPROXIMATELY 85% OF WORKING PHOTOJOURNALISTS IN THE UNITED STATES ARE CISGENDER MEN. PROBLEMATICALLY, A DISPROPORTIONATE AMOUNT OF THE NEWS IMAGERY WE CONSUME IS FRAMED AND FILTERED THROUGH THE MALE AND CISGENDER EXPERIENCE (ZALCMAN, 2018). PHOTOGRAPHS TELL A STORY, AS WELL AS WHAT TO SEE, AND WHAT TO LOOK FOR IN THE FUTURE; A DISTINCT LACK OF DIVERSITY IN WHAT IS CAPTURED ON FILM AND VIEWED MEANS GENERATIONS OF RACISM, MISOGYNY AND SEXISM HAVE BEEN EMBEDDED IN OUR COLLECTIVE WORLDVIEWS (ZALCMAN, 2018). DIVERSE GENDER PERSPECTIVES ARE NEEDED BECAUSE ANY HUMAN STORY AFFECTS WOMEN AND THOSE OF OTHER GENDER IDENTITIES. IT IS CRITICAL THAT CISGENDER PEOPLE USE THEIR POSITION IN SOCIETY TO CONSIDER MASCULINITY AND THE ROLE CISGENDER MEN PLAY IN OUR LIVES (ZALCMAN, 2018).

Photography involves a power dynamic with the photographer holding the ability to capture someone’s likeness and subjectively mould it into the narrative of their choosing. Women and other marginalized gender individuals with increased intersectional factors are provided less control over how they are represented in photographs and in the photography industry as a whole. When they are represented, it is often through documentary style photography that evoke strong emotion from the viewer of the image. Whether willingly on the part of the photographer or not, capturing a story and displaying a narrative that is not congruent with the wishes of the subject is exhibiting a state of control of their narrative. Minoritized groups are often shown as being oppressed, and the populations most often photographed are frequently coping with that intersectional oppression on several fronts; they are not cisgender, minors, dealing with addiction, experiencing poverty, being abused,

Photo: Becky Fleury

in mourning, etc. These stories are important; however, they should be told with consideration and involvement of the participants and minoritized and/or marginalized communities. Many professional photographers still have to manage the expectation that photographers were traditionally white cisgender males. Women and other marginalized genders entering into professional photography may have to fight to be taken seriously by an industry that has been dominated by cisgender men since the invention of the camera. These photographers may be entering dangerous and unpredictable situations when tackling stereotypes about where women should go and the topics they should cover (Strochlic, 2019). It is not unheard of for women to report being expected to be an assistant rather than the lead photographer at jobs simply because of their gender presentation. As well, photographers that are not cisgender men still report experiencing sexual harassment while working as a hired professional. These professional photographers generally make less than their cisgender male counterparts which may be assumed to be due to a complicated intertwinement of long-standing gender roles affecting, not only care-giving and household responsibilities, but also self-efficacy, access to education, and privilege - or lack thereof. Socioeconomic factors generally become more apparent with increased intersectionality of the individual. Additionally, professional photographers who are women or of other marginalized gender identities are easily pigeonholed into photographing “feminine issues” such as women’s health, parenting, sexuality and gender, trauma, or communities who might otherwise be less accessible to cisgender male photographers. That act of women and other marginalized genders building rapport and being able to tell the stories of those who wish them to be told is vital and, at times, an asset but it should not mark the boundaries of their work (Zalcman, 2018). Within the PPOC, approximately 50% of the membership identify as women, and there are many women in Regional and National positions providing their perspective and input into the PPOC. This is somewhat atypical when comparing to gender data from other Western and European countries and should be acknowledged. Looking back through the history of the PPOC, less than 12% of past PPOC presidents have been women, with three of them being in the last 10 years signifying potential improvement in cisgender diversity (PPOC, 2021). Another metric that may provide some information on the participation of women in the PPOC is the awards and designations. Currently, approximately 71% of those who hold the designation of Craftsman of Photographic Arts (CPA) are women (PPOC, 2021). For the Master of Photographic Arts (MPA), approximately 41% of recipients are women and other marginalized genders; however, the more MPA bars the person has, the less likely they are to identify as a woman (PPOC, 2021). Less than 13% of all Yousuf Karsh Lifetime Achievement Recipients have been a woman or marginalized gender, and only one Fellow of the PPOC is a woman (PPOC, 2021). The notable lack of women and marginalized gender members participating in attainment of the PPOC’s highest awards is likely complex and a reflection of societal pressures, privilege, and intersectional factors,

Photo: Heather Fryer Photo: Linda Ryma

but does warrant investigation and discussion amongst the PPOC. It is likely the issue lies in factors that dissuade or prevent women, and other marginalized genders, from applying for these designations. The reduced presence of women or other marginalized genders with these designations is clearly not due to a lack of ability or talent; this is clear when you see that 3 of the 4 Photographer of Year awards for 2021 were Danielle Barabé-Bussières, France Bouchard, and Victoria West. As well, Jacquie Matechuk, Ammara Sadiq, Stephanie Lachance, Katherine Calnan, Victoria West, and Krista Crellin were some of the members of Team Canada at the 2021 World Photographic Cup, contributing to an overall bronze medal finish. As well, the images of women by women in this article and throughout this publication showcase the immense talent the women of PPOC have to offer. Although it is important to note that these images are not representative of all women, they showcase some of the diverse issues, emotions, experiences, and complexity that may affect women through beauty, power, advocacy, pride, confidence, love, loss, resilience, and rising to the challenges facing the world. The then, now, and future of diverse genders in photography is hopeful; with open-minds, empathy, education, and attention to issues of diversity, inclusion, privilege, and intersectionality, we can and will improve ourselves, our art, and the photography industry as a collective society. Photography is, in essence, storytelling that can be utilized to share narratives, communicate, advocate, and express. Through documenting ourselves and others, many women and non-cisgender photographers are working collaboratively with the people whose stories they are trying to tell in a way that brings gender, diversity and inclusion to the forefront of society. There are a number of photographers challenging narratives and representing those in images on their terms. Haley Morris-Cafiero with Wait Watchers, Yumma Al-Arashi with Northern Yemen, Nadya Kwandibens of Red Works, Cristina de Middel with Gentleman’s Club, and Charlotte Schmitz with La Puenta are just a few international examples of this. Within the PPOC, Marlene Palamarek, Victoria West, Susie O’Connor and others have multiple National Salon images of women that demonstrate massive

Photo: Ammara Sadiq Photo: Crystal Mercredi Photo: Susie O’Connor

diversity of emotions, roles, and storytelling throughout their repertoire demonstrating creative range and technical proficiency. These examples, and others, demonstrate how photography can strive to be better at taking care around diversity and inclusion, representation, and other social issues. Including diverse perspectives of photographers, which include women and other genders, can assist with changing the perspective of society and opening our minds to collective issues. Through changing attitudes, photographers can be at the helm of advocating for others, yet on their terms and with consent. Diverse photographers can be at the forefront of changing the societal climate in a positive direction, not just within the PPOC or photography industry, but in society as a whole.

References

Professional Photographers of Canada. (2021). https://www.ppoc.ca/ Skelton, S (2020, January 16). Female in Focus: championing a gender-equal photography industry. Strochlic, N. (2019, March 8). How women photographers access worlds hidden from men. National Geographic. Zalcman, D. (2018, November 26). Voices of Change. Huck, (67).

Photo: Marlene Palamareck

Chelsea Jones, F/PPOC, MPA

Chelsea Jones is a Master Photographer (MPA) and Fellow with the PPOC. She is also an occupational therapist and researcher in Edmonton, Alberta. Chelsea enjoys photographing a number of genres and is passionate about giving back to the PPOC and creating positive change within the photography industry.