Still Stereotypes

Photography, as suggested by Collier and Collier (1986) is a mechanistic record of culture, behaviour and interactions which extends our perceptions and representations of our surroundings and environment. Photographs and still images are able to encapsulate our senses to reveal a record of abstraction and vision to create a material representation of what the photographer recognises as meaningful (Collier & Collier 1986). However, according to Davies (1999), a camera which captures these images does not record what the ethnographer sees and hears, but only a mechanically limited selection of it. Additionally, Ruby (cited in Davies 1999, p.122) suggests, "the camera creates a photographic realism reflecting the culturally constructed reality

According to Davies (1999), utilising a series of still photographs taken over time, from varying perspectives, is useful in the analysis of a particular cultural group. What will be explored in this essay is what Morphy & Banks (1997) considers a process of capturing the cultural and social reproduction of practices as well as recording the various positions of the subject as an everyday action, in more concrete forms which signify socialised and observable behaviour patterns, and shared presuppositions. In this instance, these images will reveal how photographs are able to capture specific elements and proxemics of a cultural group that words cannot. The practice which will be analysed is a gig or a live musical performance of the indie-rock band, Last

Captured from two different angles, Figure 2 was taken as a side-angled long-shot while Figure 3 was captured as a high-angled long-shot image, so it can be assumed Figure 3 was taken from an upper level or higher positioning. As Banks (2001) illustrates, an arrangement of elements while taking a photograph, such as the angle, is deemed important and needs careful thought. What is then revealed by Figure 2, which is not as prominent in Figure 3, are the distinct side profiles of the audience members showing pure awe and focus toward the band. Further, both images are able to encapsulate the divide between performer and spectator, and a clear “gig” etiquette is revealed. Both images show how closely-knit and respectful the audience members are to one another as they position their heads and bodies accordingly to view the band as a collective. As Collier and Collier (1986, p. 91) suggest, photographic records of events and social processes can provide insight into the dynamic structure and form of social interactions and