On The Subjectivity And Objectivity Of Documentary Photography

"Record" is by some means to keep down what one sees and hears, but there areall kinds of different ways about it, from the development of human origin to theprogress of the times today,"record" means is also in progress.Today, in order toretain a moment of himself, more of people prefer the ways of photography to themeans of painting.With the technology itself development of photography technology,and the invention of photography, photography is not simply a kind of record means,but as a means of art into people’s life. Based on the modernized tool foundation, richimage recordings has occupied people’s field of vision and the spirit, a virtual imageworld.But the birth and interpret of the documentary photogrghy world is decided bywith both photographers and receivers the theme value concept and socialenvironment factors, it was born in the real world, but not equal to the real world.Photography is not simply a record of a picture, it is more often a kind of emotionalexpression in a photographer to snap a picture, it is a record of a moment’s emotionand at the same time it is expressed in emotion, in other words, the documentaryphotogrghy is same certain prifounnd philosophy which a photographer intends tosatate it through a picture by the photographer.This paper is divided into five parts:The introduction part mainly introduces the research background thephotography research significane ideas,methods and research ststus about the topic ofrelationship between subjectivity and objectivity of documentary photography,it isbriefly illustrate overall train of thought and content of the paper.The first chapter mainly introduce the analysis of the ontology of documentaryphotography, documentary photography.It is redefined the definition of analysis ofdocumentary photography in general attribute and the category attribute ofdocumentary to investigate photography content, it analyse the similarities anddifferences of documentary photography and photojournalism photography; meanwhile it classifies dicamentary photography with the development both in China andthe world.The second chapter analyzes the Barzun’s "ontology" and Bresson’s "decisivemoment" theoretical questions to discusses the possibility and the paradox whether itrecord the truth of documentary photography.The third chapter, through the interpretation of "private photography" and "new documentary photography", it analyzes the possibility of another kind of subjectiveperformance of Yu Jishi photography style; and through the documentary photography"subjective" technical analysis, it expounds the use value of technical elements indocumentary photography.The fourth chapter through the analysis of the contemporary Chinesedocumentary photography case, as well as the readers in the dissemination ofphotography of the objectivity of participation and expounds the dialecticalrelationship between objectivity and subjectivity of documentary photography.In this paper, in hopes of the line of documentary photography, it provides sometheoretical value and practical significance for documentary ohotography researchfrom a new angle.