The Evolving Lens of Photography: A Journey Through Generations
Kevin Parsons and His Photographic Heritage
Kevin Parsons offers a distinctive perspective on photography that bridges the past with the modern era. Growing up in Western Australia’s Midwest during the 1950s and 60s, his mother was a passionate photographer, capturing moments at home and in the natural beauty surrounding Geraldton, a city 400 kilometers north of Perth.
While reflecting on his mother’s work, Parsons recalls, “Anything in town, she would be there.” This dedication resulted in a cherished collection of photo slides and 8-millimetre film reels, which have since become a source of nostalgia. As he expressed, “Mum took some really good photos at times, especially out in the bush, good scenery.”
Her collection serves not just as a glimpse into the past, but as a stark contrast to the bustling regional city today. Within those slides, echoes of a quieter, more intimate time persist.
Kevin Parsons holds his mum’s camera that she used prolifically during the 50s and 60s. (ABC Midwest and Wheatbelt: Chris Lewis)
Back in a time before social media, family slide-show nights were the primary way to share photographic memories. “We used to have film nights in those days and get family and friends to come over and watch,” Parsons recalls, highlighting the communal aspect of photography.
Now, in his 90s, Parsons has adapted to technology—using a mobile phone for its simplicity: “It’s a lot easier to get it on there and you look at it immediately. If it’s not a good photo, you take another one.” This speaks volumes about how photography has democratized over the years, becoming accessible to practically everyone.
In a world where digital images disappear with a swipe, holding a photograph can feel rare and special. (ABC Midwest and Wheatbelt: Chris Lewis)
Why Do We Take Photos?
As technology evolves, the reasons behind taking photographs may seem to shift as well. Emily Brink, an associate professor in the history of art at the University of Western Australia, asserts that early photography was rooted in the act of commemoration. “Photography’s promise, other than being a capture of truth, was that it was an arrest of time,” she remarks.
Brink notes that modern photography often veers away from this intent. Today’s virtual photography tends to focus more on constructing an image rather than capturing genuine moments. The result? A different kind of experience: “The way that we are experiencing our lives now is increasingly mediated by the photograph.”
The pervasive question persists: when one goes out for a meal, do they savor the moment or spend it framing the perfect Instagram shot? Brink elaborates, “How does that change your experience of social interaction, and how does it transform your experience of that time?”
The New Age Photographer
According to Brink, the essence of authorship remains critical in contemporary photography discussions. “I want to believe that a photographer is still somebody who is choosing to take an image, not choosing to purely make an image.”
In the age of perfected digital images, old photographs hold a unique allure. Brink suggests this attraction is partly because they possess an intrinsic imperfection, a stark contrast to the glossiness of modern-day images shared online.
Some argue we lose a sense of community when we experience content on our own. (ABC Midwest and Wheatbelt: Chris Lewis)
Brink raises an intriguing point—a deeper engagement with photographs occurs in shared, physical spaces. “I think we lose some of the serendipity of laughing at the terrible photograph of the finger over somebody’s head, in the same time and space,” she notes.
While digital platforms offer phenomenal opportunities, Brink believes the essence of community gets diluted. “When we acknowledge our shared imperfection, that’s really where community might be generated.”
Sharing Experiences Through the Lens
In today’s digital landscape, selfies are often dismissed as trivial self-indulgence. French graphic and music designer Valentin Mermet-Bouvier’s project, "Cliche," captures hundreds of the same types of images taken by countless individuals. Reflecting on this, he argues that such commonality isn’t inherently negative.
“Almost a decade ago, I realized that it just proves that we all share the same need to document our experiences when we’re in similar situations,” he shares. With Instagram’s rise, sharing pictures has grown more accessible, sparking debates about authenticity and self-obsession.
Photography film has today become a niche medium with the advancement of digital imaging. (ABC Midwest and Wheatbelt: Chris Lewis)
Mermet-Bouvier suggests that humanity’s instinct to capture shared moments remains unchanged; only the means of doing so has evolved. “The new generation might seem self-absorbed, but I think people have always sought ways to connect and share experiences,” he reflects, demonstrating the fluid connection between personal expression and community.
Through Parsons’ nostalgic lens and recent academic insights, we see how photography has transcended its original purpose. It has become both an individual and communal medium, evolving as society grapples with changing technologies and shared experiences.
