A Method of Documentary Photography and its Application in a

Student Project of Acculturation in Bali

Aristarchus Pranayama Kuntjara

Visual Communication Design Department, Art and Design Faculty
Petra Christian University, Surabaya
Email: [email protected]

Abstract

I have devised a methodical research outline for students’ final projects that involve photography as their
main medium. The method accommodates the two major kinds of photographic project characteristics. The
first is the conceptual or the commercial type, and second is the observational or the photo story type. This
article focuses on a photo story type project by a student who has followed the method closely. Osel
Gunarso focused his study on documenting a unique acculturation between Christian tradition and
Balinese customs in the village of Blimbingsari in Jembrana County, Bali. Through ethnography and
qualitative analysis, Gunarso achieved visual discourse for understanding a cultural phenomenon.
Although he had beautifully exhibited his documentary project, it also projected several problems and
issues that would be important to consider in future projects with similar conditions, especially
undergraduate final projects that are confined to a single semester. Technical and non-technical issues in
documentary photography become significant and therefore must be addressed in advance along with the
methodology.

Keywords: documentary photography, visual method, ethnography, qualitative, cultural phenomena,

acculturation, Blimbingsari, Christian, Bali.

Abstrak
Penulis telah membentuk sebuah panduan metodologis bagi karya tugas akhir mahasiswa yang
menggunakan fotografi sebagai media utama mereka. Metode tersebut mengakomodir dua jenis
karakteristik proyek pemotretan yang paling utama. Yang pertama adalah tipe yang konseptual atau
komersil, dan kedua adalah yang observasional atau tipe cerita foto (photo story). Artikel ini terfokus pada
tipe proyek photo story, terutama yang dilakukan oleh seorang mahasiswa yang telah mengikuti panduan
metodologis tersebut secara cermat. Osel Gunarso melakukan studi untuk mendokumentasikan keunikan
akulturasi antara tradisi Kristen dan adat Bali yang terjadi di desa Blimbingsari, kecamatan Jembrana,
Bali. Lewat etnografi dan analisis kualitatif, Gunarso menghasilkan wacana visual untuk memahami
sebuah fenomena kultural. Walaupun dia telah menghasilkan pameran hasil akhir proyek dokumenternya
secara bagus dan indah, ada beberapa masalah dan isu yang muncul, yang menjadi penting untuk
dipertimbangkan dalam perancangan-perancangan karya sejenis di kemudian hari. Perancangan karya
tersebut khususnya yang mempunyai kondisi yang hampir sama dan sebuah karya tugas akhir strata satu
yang terbatas dalam satu semester. Isu-isu teknis dan non-teknis dalam fotografi dokumenter menjadi
signifikan dan harus disampaikan sejajar dan bersamaan dengan metodologi.

Kata kunci: fotografi dokumenter, metode visual, etnografi, kualitatif, fenomena kultural, akulturasi,
budaya, Blimbingsari, Kristen, Bali

Introduction pictures not for nostalgia but rather for knowledge

(Tomaselli, 1996, p. 2). This observational field
The study of a culture through photography work is known as visual anthropology or the
explores visual evidence that can be valuable to the analysis of patterns of culture through represent-
understanding of that specific culture. This notion tation. In some cases it also falls into a field called
comes from the pioneering work of ethnographic visual sociology, depending on its method,
film-makers, where different to tourists, they take conceptual emphasis, and research techniques.

79
80 Jurnal Desain Komunikasi Visual Nirmana, Vol. 11, No. 2, Juli 2009: 79-85

Although anthropologists try to integrate original concept. The second is the observational or
themselves into the societies or cultures they are photo story type, which derives from photo-
studying, visual sociologists however have a much journalism (Kobre, 2004). This type of photography
closer relationship to theories of still documentary project aims for powerful images that can express a
photography than do visual anthropologists to film certain story, and usually relies more on intuitive
theory (p. 4-5). In any case, in this visually driven shots to capture those “decisive moments.” Each
age, visual data prove to be an increasingly type of photography has its own difficulties, but the
significant part of research. It gives glimpses of real two can be organized in process and writing in a
stories surrounding a certain community or a similar outline. This article focuses on the latter
record of a cultural heritage left by ancestors. A type in the work of Osel Gunarso, a student of
primary approach in visual research is the Visual Communication Design at Petra Christian
generation and use of photographic still images, University, who has created a final project focusing
which is primarily used by ethnographically on the acculturation between Christian tradition
oriented researchers as an additional means of and Balinese customs in a village called
Blimbingsari, Jembrana County, Bali (2009). This
documenting social and cultural processes.
project followed closely the methodological
Anthropologists and qualitative sociologists tend to
guideline. In the end, Gunarso has received high
be the main users of this method (Emmison &
marks and has exhibited his photos at the
Smith, 2000: 22). It can, however, be used also by
department’s exclusive final project exhibition. In
students of visual communication, as they also in a
this review paper, I evaluate his research process
way try to communicate an understanding of a and conclusion in order to also evaluate the devised
certain culture to an audience for a specific research outline. Although Gunarso’s work was
purpose. Through photography, specifically beautifully materialized, several problems and
documentary photography, one can capture and issues or limitations must be noted from his
convey “frozen” details of lives and culture that can experience. Even if problems are contextual, some
be weaved together through a group of images that specific points of conclusion can be obtained and
form a story, which sometimes words cannot addressed for consideration in future projects of a
describe, as Lewis Hine once said, “If I could tell similar nature.
the story in words, I wouldn’t need to lug a camera”
(Sontag, 1977). A Photography Project Method
This powerful medium opens the opportunity for The methodical research outline is arranged and
students to investigate, examine, and understand systematically organized into five parts or chapters
social and cultural phenomena around them (Lynn as in basic academic writings or final project
& Lea, 2005); sometimes even in faraway places, in reports. The basic outline, without going through
a different city or island. Indonesia, with its alternative sub-chapters and after the Abstract,
cultural diversity, offers endless topics of Table of Contents, and other preceding infor-
unexplored cultural assets. Therefore, students are mation, is as follows:
encouraged to delve into these priceless treasures.
Through documentary photography, untold or 1. INTRODUCTION
forgotten stories can be revealed, and rich cultural 1.1. Topic Background
heritage can be explored, documented, and 1.2. Focus of Discussion
preserved. Moreover, these stories and heritage are
1.3. Confines
what is important that need to be communicated
1.4. Objective
by Indonesian students in that in their
1.5. Significance
representations, they also get educated with
1.6. Terminologies
knowledge about parts of their culture and at the
1.7. Methodology
same time reflections about their own cultural
identity. 1.8. Research Project Diagram

I devised a methodical research outline to help 2. IDENTIFICATION AND ANALYSIS OF DATA

students who are using photography as the 2.1. Underlying Theories
primary medium for the final project (Kuntjara, 2.2. Primary Data
2009). In preparing the guideline, I had in mind 2.3. Secondary Data
two major varieties of photographic projects. The 2.4. Data Analysis
first is the conceptual or commercial type, which 2.5. Synthesis
usually focuses on promotional or advertising
needs. This type of photography project usually 3. PHOTOGRAPHY PROJECT
weighs on the technical and visual quality of the 3.1. Planning & Time Table
photographs to meet the exact requirements of the 3.2. Photography Concept
 Aristarchus P.K.: A Method of Documentary Photography and its Application in a Student Project of Acculturation in Bali 81

3.3. Photo Session 1 as non-technically, its failures and/or successes,

3.4. Analysis of Session 1 Photos evaluating whether the photos support the
3.5. Photo Session 2 objective or not; technical editing by showing a few
3.6. Analysis of Session 2 Photos examples of before and after pictures; analysis of
(if needed, session 3 & its analysis, and so on) the editing and overall “package” to see whether as
3.(7.) Editing a whole, it has told the complete story and has met
3.(8.) Analysis of Editing the objective; and the design of additional
3.(9.) Additional Supporting Materials supporting materials, such as posters, catalogue,
brochure, etc.
4. FINAL RESULTS
4.1. Selected Final Photos From chapters two and three, one finds that the
4.2. Distribution and/or Presentation Settings main methodical orientation used here for
documentary photography is ethnography. Through
5. CONCLUSION ethnography, the photographer must become a
5.1. Final Remarks participant-observer or an observer-participant.
5.2. Suggestions The two must be in balance and considered
contextually. Getting acquainted with the place
BIBLIOGRAPHY and people of interest requires time and a respect
APPENDICES on the part of the student. To be able to get “inside”
a community and document its culture photo-
Beginning with an introduction, it discusses the graphically, students must acquire interpersonal
main topic or problem, or background of the skills and have adaptability or tolerance for
research; focus of the issue; confines of the research difference on a long-term basis (Ingledew, 2005).
if any; the objective and significance of the project
for the author, the department, and the organi-
Through ethnographic study, the student photo-
zation or institution or company that oversee the
grapher has the opportunity to probe a deeper
subject, and so on; some operational definitions or
understanding of the subject, and aim to capture
terminology; the methods used in collecting data,
behaviors, motivations, beliefs, interests and
analyzing, and creating the photographs; and the
customs of the subject (Kuntjara, 2004). Thus,
diagram plan of the whole process of the project.
naturalistic research using qualitative methodology
serves as the best approach in documentary
The second chapter consists of an identification of
photography. Self-involvement is necessary to be
data and analysis. Data can be collected in a
number of ways and weighed according to which of able to capture what Kratochvil & Persson (2001)
those data are primary and which are secondary. suggest when they observe that “there is more to
Some main examples would be interviews, initial see and more that must be understood. There is
surveys and observations, texts, and visual the ‘why’ and the ‘how’ behind their actions.” There
references of works from artists or photographers is no other way of knowing or understanding a
with similar visual or conceptual interest. It should subject than by living and mingling amongst the
be noted that this stage of data collection precedes subjects; sometimes participating in their actions
the photographing of final images of the project. while at the same time consciously and critically
Therefore preliminary documentation such as observing them and ourselves.
photographing the points of interest is also
encouraged as a resource for the real photo A photo story must also come in a package,
sessions. All of this would then be analyzed meaning a group of photos telling one story. By
qualitatively in the development of a detailed seeing the whole picture, the viewer can gain wider
concept of the story the student wants to convey. and deeper perspectives about the subject matter
or the story depicted, rather than seeing one or two
Chapter three, which is quite different from other of the pictures. With the “package,” the viewer
final project guidelines, addresses photographic understands more about the subject in a much
concept development and process. It includes a detailed and more intense way. And then there is
planning and time table for scheduling photo the idea that the whole must be greater than the
sessions and setting weekly goals; the photography sum of its parts. The pictures themselves do not
project’s visual concept description; photo sessions have significance unless they are shown as a whole
(the number of photo sessions here is planned to an audience. Therefore the photography project
according to information gathered from initial must also include a strategy for delivery or
surveys and interviews) and several samples of the distribution of the photographs, usually by
photos; analysis of each session, technically as well presenting them in an exhibition setting.
82 Jurnal Desain Komunikasi Visual Nirmana, Vol. 11, No. 2, Juli 2009: 79-85

Different than photo essays that are argument- not to overdo or distort what is depicted in the
tative or opinionated with a specific point of view, photographs. Although subjectivity is unavoidable,
the nature of documentary photography is that it is they must strive to be as fair and accurate as
supposedly neutral. It presents the pictures for possible. Editing for dramatic moods or certain
viewers to judge for themselves from their atmospheric quality is still tolerable, but it must be
intelligence and personal experiences, even their in line with the story that is being portrayed.
skepticism (Kratochvil & Persson, 2001). However,
the objective and story of the documentary must be In the end of chapter three, a final analysis of the
clear and consistent from beginning to end. whole project must be elaborated. Do these selected
Therefore, the analysis in chapter three is photos do their job in telling the story? Do they
important to keep track of the results of each photo convey enough of the story for the viewer? Do they
session. The student should ask himself or herself depict the story truthfully? Is something omitted
if the photo meets technical and non-technical from the picture? Or is something unnecessary in
merits. The technical aspect is quite straight- the picture? Is the whole really more than the sum
forward in composition, exposure, lens, lighting, of its parts? Do they come together as a package
and artistic and aesthetic qualities. Non-technical that can be exhibited in a gallery?
aspects cover questions such as: Does the
photograph depict part of the bigger picture? Does The fourth chapter showcases all the chosen and
it stay true to the objective and the story or the title finalized photographs. Each must then be given a
of the documentary project? Students must assess title and short description. In this process students
its merits and decide which pictures they want to learn to direct the story as well as the
keep and which they want to retake if possible. In a interpretation of the viewer. Presentation of the
documentary photography project, a picture must photographs is also a task that the student must
not only be aesthetically pleasing, but it must tell handle. How would the final project be presented?
an important part of the story, and vice versa. And If it is through an exhibition, what would the
eventually this picture would have to work exhibition be like? What kinds of supporting
together with other pictures to form the story. This materials would it include? Students must explain
is not an easy task. the concept and projected exhibition of the
photographs in detail and in drawing.
Students are also reminded to know where they
stand when they are composing a picture (Wenger, A photography exhibition is the expected final
2007). The angle and framing of the picture also outcome of the project. Thus, a minimum of 20
suggests their position or the viewer’s position in medium to large scale photographs is established
the story. From each analysis, photos must be as a requirement for advancement to the final oral
selected and documented to keep a progress examination. This number has been decided in
journal on the project. Analysis can be based on consideration of the number of images enough to
context of viewing, context of production, and cover a story, the number of slides students are
specific conventions (Lister & Wells, 2001). Each usually expected to have in their portfolio for
photo must then be described and outlined in application submissions, and the load of work for
paragraphs, dealing the technical and non- an undergraduate final project. The reduction and
technical aspects of why the picture has been selection process triggers students’ critical thoughts
selected. Students learn to encode as well as decode on deciding whether a picture is important enough
images as visual language (Kuntjara, 2008). or not to be in the “package.”
Taking a picture is different than describing it in
words. Both must go hand in hand for students. Finally a concluding chapter gives details of
accomplishments and/or reflections of unsuccessful
Editing becomes an important issue in document- attempts, and suggestions of possible steps to be
tary photography especially in this digital age, taken in future work on the project, or things that
because of the truthful nature it must convey. A have yet to be conveyed in the documentary.
basic rule for editing is being honest and truthful.
From a technical standpoint, this means that there Acculturation: A Cultural Phenomenon
should be a limitation of color and contrast
adjustments, as well as dust removal and cropping. Osel Gunarso, student of Visual Communication
Another basic rule of thumb for editing is anything Design at Petra Christian University, focused his
that can be done in analog photography or in final project on a unique village of Blimbingsari, in
Adobe Lightroom software, an equivalent of the Jembrana County, on the island province of Bali
darkroom for the digital photographers, is (Gunarso, 2009). Balinese people are predominantly
acceptable. However, students must be very careful Hindu, and have rich cultural traditions that
 Aristarchus P.K.: A Method of Documentary Photography and its Application in a Student Project of Acculturation in Bali 83

dominate their lives, from their arts to their rituals. Gunarso photographs the evidence of acculturation.
One anomaly, however, exists in Blimbingsari. All It is the heart of Blimbingsari. Ceremonials are
of its citizens are Christian. Although they live a celebrated communally and fervently with
Christian life, they still adopt Balinese tradition in abundant ornaments and decorations just as with
their everyday lives. It creates an acculturation common Balinese-Hindu tradition.
that is unique to Blimbingsari. Gunarso, whose
hometown is in Bali, was able to find this Gunarso followed the method closely for this
interesting phenomenon and wanted to document project. He had a heavy task at hand however, as
this piece of Indonesia’s cultural heritage and show he had to find many sites of acculturation in
how it resulted in an interesting mix of cultural Blimbingsari. He had to not only photograph the
symbols. He also wanted to convey how differences mixing of symbols and ornamental motifs readily
can negotiate, adapt, and live together. Part of the available at the church’s exteriors and interiors,
aim of this project was to preserve such rare but also try to find evidence of acculturation in
acculturation that has the possibility of many other more significant elements of culture.
diminishing in this global era, and to raise These include rituals, the system of the
awareness of such unique cross-cultural unity. community, art, language, and the people’s
behaviors. Such a task would require that the
photographer have some background knowledge of
both components of the acculturation. Having been
born in Bali, Gunarso was quite knowledgeable of
the common tradition there. Although a Buddhist,
he has lived among Christians during his years in
the university. By having this advantage of
background knowledge and experience, he was
able to sensitively find the images he needed to
capture many clues of acculturation surrounding
the church life in Blimbingsari without overlooking
or taking things for granted. One example in
Figure 2 is of mothers playing in the Balinese
gamelan orchestra at church for an Easter
ceremony. Such a scene would not be found in
other Balinese gamelan orchestras because
“traditionally” the players are men.

Figure 1. One of Gunarso’s photographs showing a

representation of an acculturation in a statue of
an angel with Balinese dress in front of
Blimbingsari’s temple-like church (Gunarso, 2009).

The Blimbingsari community came into existence Figure 2. Women playing Balinese gamelan
in 1939 because of an exodus of Balinese orchestra, commonly played by men. (Gunarso,
Christians who had been under control of the 2009).
Dutch, separating them from the Hindus because
of social conflicts. Until today, Balinese customs After several photo sessions and analyses, Gunarso
still influence their lives greatly. This can be seen was faced with limitations, as he was unable to
in the architecture of their homes and church, capture the whole picture. There are other aspects
dresses and lifestyle. They have one church as their of culture that are not visible in the photos he
central focus for all Christian ceremonials. This produced, such as the verbal language, behaviors,
church, which resembles a Balinese temple with a occupation, and life outside the church, i.e. in their
cross on top, becomes the main setting where homes. Another issue in such a project is the
84 Jurnal Desain Komunikasi Visual Nirmana, Vol. 11, No. 2, Juli 2009: 79-85

limitation of time for administrative purposes. The captured if they occur outside the semester, such as
final project must be finished within one semester. Christmas in Gunarso’s case. Another aspect is
Therefore, Gunarso was only able to cover the that the ethnographical method takes time. There
Easter processions without covering another is very little time to get to know the subject, as has
important Christian traditional celebration, which been described in the above.
is Christmas. Thus a more complete picture of the
acculturation was not possible, except if Gunarso Due to the time limitation, students should be
were to postpone his graduation for a semester. encouraged to firstly try to find a research topic
from their own cultural backgrounds or hometown,
In the final analysis, Gunarso has demonstrated or a cultural subject about which they already have
commendably a rigorous attempt at capturing, some background knowledge. This is to accelerate
selecting, analyzing, and editing the photographs. the progression of the project, allowing students to
The documentary photography achieved a balance concentrate more on the documentary process.
between technical know-how and cultural
sensitivity. However, it produced more of a visual As in Gunarso’s case, the student must have
documentation or evidence rather than a narrated knowledge of the history of each culture before
story. In order to achieve a more thorough such acculturation so that he or she will know
documentary, in this case, time seems to be the exactly what is a result of acculturation and what
essential issue that limited Gunarso. We can is not. Without this background knowledge,
conclude from this project several points of understanding a culture can take a long time and
consideration and annotation to complement the would easily consume the semester, and the project
methodological guideline. would not have the sensitivity that a
knowledgeable person might have. Although
sometimes too much knowledge can also make one
miss things that are taken for granted, therefore
not realized and not captured.

The second point is that students must plan photo

sessions far in advance of the initial surveys. This
could be separated into categories whether they are
special events or specific subject matters, such as a
person or a place. And importantly, in a
documentary project, observation is a continuous
process throughout. Therefore, there can be
arbitrary but important occurrences that may
happen during the research time that could add
significant depth to the project, such as births or
deaths, weddings, etc. A photographer researcher
must also be flexible when such occurrences do
happen. This should be taken into account as well
when developing the project plan.

The third point is that the difficulty of a

documentary photography project lies in creating
high quality work in both technical and non-
technical aspects. Students should attempt to
achieve both through careful and thorough
analysis, at least in balance and in consideration
towards the project’s objectives and story concept.
The photographs must not only be good visually,
Figure 3. An Easter procession. (Gunarso, 2009). but they also have to be powerful or strong images.
Therefore, all technical aspects must be considered,
Points of Consideration including equipment and weather conditions. Skills
and experience in photography should also be
The first point of consideration before executing inherent in the student. Without these, there will
such a project involving cultural studies is the not be the instinct and sensitivity necessary to
limited timeframe of one semester. Therefore, capture the “decisive moments” that make great
there will be moments or events that cannot be photographs.
 Aristarchus P.K.: A Method of Documentary Photography and its Application in a Student Project of Acculturation in Bali 85

Conclusion Ingledew, J. (2005). Photography. London: King

Laurence Publis.
Through an ethnographical method of documentary Kobre, K. (2004). Photojournalism: The Professionals'
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discourse for understanding a cultural phenomenon. Kratochvil, A., & Persson, M. (2001, Fall). Photo-
It also projects several limitations and issues that are journalism and documentary photography:
They are identical mediums, sending different
important for consideration in future documentary
messages. Nieman Reports, 55(3), 27-28.
photography projects. Technical and non-technical
Kuntjara, A.P. (2008). Teaching visual literacy
issues in documentary photography prove to be through digital photography and imaging
significant and must be addressed along with the exercises. Journal of Visual Communication
methodology. It is to be hoped that with future Design Nirmana, 8(2), 58-64.
projects of a similar nature, more cultural traditions Kuntjara, A.P. (2009). Panduan sistematika
and legacies can be exposed and further explored. At penulisan laporan penulisan karya fotografi.
the same time the methodology used will progress In Panduan sistematika penulisan laporan
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Kuntjara, E. (2004). Research in culture: A
Acknowledgements practical guide. Yogyakarta: Graha Ilmu.
Lister, M., & Wells, L. (2001). Seeing beyond belief:
I would like to thank Osel Gunarso who allowed his Cultural studies as an approach to analysing
work to be discussed in this article and Professor I the visual. In Van Leeuwen, T., & Jewitt, C.,
Nyoman Mantra Fandy who co-advised with me in Handbook of visual analysis, (pp. 61-91).
Gunarso’s project. London: Sage Publications.
Lynn, N., & Lea, S.J. (2005). Through the looking
glass: Considering the challenges visual
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