The Thorny Politics of Protest Photography
A new documentary follows the work of activist and photographer Misan Harriman, but risks overly aestheticizing the movements he captures.
The question of how far to take protest photography has been pondered by author Barrett Swanson in a 2013 essay. With the overwhelming volume of digital news and persistent global crises, the issue remains highly relevant, especially in the context of protest and social movement imagery. When photos of protesters flatter the participants, they can be criticized for promoting performative activism that distracts from the real issues at hand.
Conversely, if the images are too visually appealing, they may obscure the potential for violence from governmental forces. On the other hand, overly graphic photographs can strip individuals of their dignity and transform dissent into a mere spectacle.
Nigerian-born photographer-activist Misan Harriman, who has gained prominence since the summer of 2020, is acutely aware of these complexities. Harriman is the focus of director Andy Mundy-Castle's latest documentary "Shoot the People," which chronicles the 48-year-old's journey as he captures activist movements spanning three continents.
Harriman's transformation from a hobbyist to the first Black photographer to grace the cover of Vogue's September issue showcases his skill, but his true art lies in the sensitive representation of protests, particularly those led primarily by Black and Brown individuals.
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