On Photography

Issue 175 – Susan Sontag’s critique of photography continues to challenge and inspire.

Quick Note

I have a lot of new free keyboard shortcut PDFs on my website.

Click the button to check them out:

---

Susan Sontag’s 1977 book On Photography is one of the most influential and polarizing works ever written about the medium. Its publication marked a turning point in how photography was critically examined, providing a philosophical lens that delved into its aesthetic, cultural, and ethical dimensions. My newsletter, Anthony Morganti on Photography, was named as an homage to Sontag’s seminal book. While I deeply admire her contributions to the discourse on photography, I don’t agree with everything she posits in her essays. Nevertheless, her work has sparked discussions that continue to shape the field of photography today.

Lynn Gilbert, CC BY-SA 4.0, via Wikimedia Commons

Why On Photography is Notable

Sontag’s book is a collection of six interlinked essays that dissect the nature of photography and its impact on society. It explores how photographs function as objects of memory, tools of power, and agents of commodification. The essays are thought-provoking and beautifully written, blending philosophy, sociology, and art criticism to create a rich, multi-dimensional perspective on the medium.

One of Sontag’s most significant contributions is her discussion of photography as an act of consumption. She describes how images can desensitize us to suffering by turning atrocities into consumable objects. For example, in her essay "The Image-World," she critiques how the omnipresence of photographs—from advertising to journalism—can distort our understanding of reality, creating what she calls "image-saturated societies."

Sontag also delves into the idea of photography as an act of aggression. In her essay "In Plato’s Cave," she argues that taking a photograph is inherently voyeuristic and objectifying, likening it to a form of predation. This idea was groundbreaking at the time and remains a subject of intense debate in modern discussions of ethical photography.

Furthermore, On Photography raises compelling questions about the medium’s role in shaping history. Sontag suggests that photographs not only document reality but actively construct it. This observation has influenced generations of photographers and critics, prompting deeper consideration of how images shape collective memory and perception.

Sontag’s exploration of photography’s relationship to power is another key element of her work. She examines how cameras can serve as tools of surveillance and control, noting that the act of photographing can imply dominance over the subject. In the era of social media and mass data collection, this idea feels more relevant than ever as the boundaries between public and private life become increasingly blurred through the lens of a camera.

The book also touches on the democratization of photography. Sontag acknowledges how accessible cameras have become, enabling almost anyone to participate in the creation of images. However, she critiques this democratization, suggesting that the ubiquity of cameras dilutes the depth and intention behind many photographs. This tension between accessibility and artistry continues to provoke debate among photographers and critics today.

Why On Photography is Controversial

For all its acclaim, Sontag’s book has also been the subject of criticism. One of the most contentious aspects of her work is her apparent cynicism toward photography. Many readers feel that her arguments emphasize the negative aspects of the medium while overlooking its potential for beauty, connection, and understanding. This one-sided critique has led some photographers, myself included, to view the book as unfairly dismissive of their art.

Another point of contention is Sontag’s broad generalizations about photographers and their intentions. Critics argue that her characterization of photography as inherently exploitative fails to account for the diversity of motivations behind image-making. For example, documentary photographers who work to shed light on injustice might take issue with being labeled as voyeurs or predators.

Her assertion that photographs desensitize viewers to suffering has also sparked significant debate. While it’s true that overexposure to certain images can lead to apathy, photography has also been a powerful tool for raising awareness and mobilizing action—as seen in iconic works like Dorothea Lange’s Migrant Mother or Nick Ut’s Napalm Girl. Some argue that Sontag’s critique doesn’t fully acknowledge the medium’s ability to inspire empathy and change.

Her perspective on beauty in photography is also contentious. Sontag suggests that an overemphasis on aestheticism can trivialize serious subjects. While this critique may be valid in specific contexts, it risks diminishing the power of beauty to draw attention to and humanize complex issues. Many photographers argue that crafting visually compelling images is not a betrayal of their subject matter but a means of amplifying its impact.

Lastly, some critics have noted that Sontag’s essays lack practical engagement with photography as an art form. Her philosophical musings often neglect the perspectives of working photographers, leaving readers with a view of the medium that feels detached from its practice and creative potential. While her ideas are intellectually rigorous, they may feel alienating to those who approach photography as a craft or passion rather than a theoretical exercise.

The Legacy of On Photography

Despite these controversies, On Photography remains a cornerstone of photographic theory. Its impact can be seen in the ways photographers, academics, and critics continue to grapple with its ideas. Sontag’s observations about image-making ethics resonate in contemporary debates over photojournalistic integrity, consent, and representation. Her critique of "image-saturated societies" has proven prescient, particularly in an age where billions of photos are shared daily on digital platforms.

The book has also inspired countless discussions about photography's philosophical underpinnings. Sontag’s ability to connect the medium to more significant cultural and existential questions has elevated photography as a subject worthy of serious intellectual consideration. While not all her conclusions are universally accepted, they have opened the door for further exploration and debate.

Sontag’s influence extends beyond the world of photography. Her writings have informed broader conversations about art, media, and the human condition. In her later work, including her essay collection Regarding the Pain of Others, she revisits some of the ideas from On Photography, providing a more nuanced perspective on how images shape our understanding of suffering and conflict.

Why On Photography Matters Today

Whether or not we agree with Sontag’s arguments, her work forces us to think critically about how we use and consume images. Her insights are more relevant than ever in a world dominated by visual media. She challenges photographers to question their intentions and consider the broader implications of their work. At the same time, she asks viewers to reflect on how they engage with images, urging us to move beyond passive consumption to active interpretation.

On Photography also reminds us of the medium’s complexity. Photography is not just about capturing moments; it is a powerful tool that can shape perceptions, influence behavior, and define history. Sontag’s essays encourage us to embrace this complexity, acknowledging both the medium’s potential and pitfalls.

While I don’t subscribe to all of Sontag’s conclusions, her work has inspired me to approach photography as a medium that is not only technical but also profoundly philosophical and ethical. Her ability to provoke thought and spark debate ensures that On Photography remains an invaluable resource for anyone seeking to understand the complexities of this powerful medium.

Thank you for reading, and I hope you have a GREAT weekend!