Homelessness is a pervasive social issue affecting millions of people worldwide. Amidst the statistics and policy debates, photographs serve as powerful tools for storytelling, humanizing those often marginalized and forgotten. This is the third blog in our Media Matters series, and it explores the intersection of media, photography, and homelessness. How do images shape public perception, what ethical considerations are involved, and how can visual advocacy drive change?
The Power of Photographs
Visual imagery is a crucial component of media coverage, as photographs provide compelling visual hooks that enhance the narrative. Just like stories, photographs can emphasize certain elements while downplaying others, influencing how viewers perceive and understand events. This can shape their beliefs and interpretations in various ways. On the one hand, visual imagery can offer a deeper, more nuanced understanding of an event, going beyond what words alone can convey. On the other hand, it can also reinforce common beliefs and stereotypes, potentially leading to skewed or biased perceptions. When it comes to homelessness, how has photography shaped its portrayal?
Media Representation
The media often relies on specific narratives and themes when depicting homelessness. Common images include individuals sleeping rough, panhandling, or in shelters. Such images further perpetuate existing stereotypes and contribute to the production of negative discourses. Research has shown that despite the diversity among people experiencing homelessness, the majority of images display a middle-aged white male. When people with lived experience reviewed such photos, one noted,
“I have never slept on a bench in the park, and I don’t know anyone in my environment who has.”
Similarly, a study that analyzed 61 photographs taken in Calgary, Alberta, that were featured in traditional news media also found that the photography in their sample reinforced stereotypes. The images of people experiencing homelessness often emphasized their isolation and “otherness,” portraying them as separate from the rest of society.
In more recent years, researchers and photojournalists have also investigated to what extent certain features of photographs are present, such as subject gaze and eye contact which are often an element of humanization and allows for the viewer to engage with the subject. Bowen and Capozziello found that among 226 photographs in the US media, only 18% of photos containing at least one presumably homeless person demonstrated full eye contact. In contrast, housed individuals showed eye contact in 45% of the photos they appeared in. This is problematic, as the absence of elements like eye contact can further marginalize people experiencing homelessness and further dehumanized individuals.
For a critical understanding of the visual representation of homelessness, underlying categories such as the photographic event itself, its intention and circulation, as well as questions of power relations and ownership need to be considered.
Subject gaze and eye contact with the camera generally denotes an invitation for the viewer to engage with the subject; therefore, the absence of these elements in photographs of marginalized subjects may signify dehumanization of the subject and social distance between the subject and the viewer. (Parry, 2020; Remillard & Schneider, 2010)
Social Media and Photography
Using photographs of people experiencing homelessness on social media raises significant privacy concerns. In a revealing study that analyzed public Facebook group discussions, social media acted as a platform where users could easily expose the location and lives of vulnerable individuals without their consent. This exposure was noted to be particularly problematic when users shared photos and videos of people experiencing homelessness engaged in life-sustaining activities such as sleeping in public, searching through donation bins, or seeking shelter from the cold.
Images were often accompanied by hostile comments that criticized the presence of individuals or encampments. Such posts not only invade these people’s privacy, but also contribute to negative stereotypes by portraying them as public nuisances rather than community members in need of support.
Creating Change through Visual Advocacy: Leah den Bok
Leah den Bok
However, photography has also become a powerful force in reshaping narratives about homelessness. Photographers, non-profits, and advocacy groups have effectively used photography to not just document homelessness but to humanize and mobilize support. Campaigns like “Humans of New York” showcase the stories of homeless individuals, raising significant funds and awareness. This kind of visual advocacy goes beyond mere documentation; it challenges entrenched stereotypes, fosters empathy, and drives meaningful action from the public and policymakers alike.
A notable example of impactful visual advocacy is the work of Canadian photographer Leah den Bok. Leah den Bok is a 24-year-old photographer who grew up in Collingwood, Ontario, and has been photographing people experiencing homelessness since 2015. Her project, Humanizing the Homeless, focuses on the dignity and humanity of people experiencing homelessness. Through her striking portraits, Leah not only raises awareness but also fosters a deeper understanding of the systemic issues contributing to homelessness. Her work has been developed into a book series, Nowhere to Call Home: Photographs and Stories of People Experiencing Homelessness, which exemplifies how photography can be a tool for social change, transforming public perceptions and inspiring action to address the root causes of homelessness.
Leah’s journey as a photographer began at just 12 years old, and she then discovered her talent for portraiture at the age of 15. Inspired by the work of UK photographer Lee Jeffries, who also captured the lives of people experiencing homelessness, Leah set out to use her camera to challenge the negative stereotypes about homelessness.
Her experience behind the lens opened her eyes to the realities of homelessness, reshaping the understanding she had. Leah’s unique approach involves using a plain backdrop, which isolates her subjects from their surroundings and compels viewers to focus solely on the individual. This technique strips away the distractions and stigma often associated with homelessness, encouraging people to see the person, not just their circumstances.
Portrait of Duffy by Leah den Bok
Click to read the story that accompanies this portrait.
“My old man’s passed away,” Duffy declared to us. “Everyone’s passed away. My grandmother’s passed away. She outlived her kids. I wouldn’t like that! … But she still had her mind.” But despite the fact that Duffy, seemingly, has fond memories of his family, it seems that all was not well with his relationship with them. “I was a ward of the court at four,” he told us sadly. “I’ve been on my own since four.”
Duffy, who is 58-years-old, was born and raised in the GTA (Greater Toronto Area). “I was born in York, the first capital of Canada,” he told us with a note of pride in his voice. However, he grew up in Brampton. “It was 30,000 when I moved there in ’64!” he said excitedly. “Thirty thousand people!” Duffy has travelled the country from coast to coast. When asked what his least favourite place to visit was, he replied, “I’d say the toughest city is Winnipeg, Canada … This is a tough city here. Hamilton’s a tough city.” When asked what his favourite place to visit was, he said, “Actually, it was the Rocky Mountains.”
“You’ve got a nice Philadelphia Flyer’s ring on your finger there!” my dad said to Duffy. “Yeah, 1974”, he said as he held it up proudly. “Is that the Stanley Cup ring?”, my dad asked him. “Yeah, it’s got some time on it too,” he replied. When my dad mentioned to Duffy that it probably had some value to it and that there were, likely, some people who would want to get their hands on it, Duffy replied, “They wouldn’t get it off my finger. They’d have to take my finger off.”
When we met Duffy he was sitting on a bench, just down the road from the Booth Centre, chatting with his friend Mike. Later Mike said of his friend, “He’s the nicest guy. He’d give you the shirt off his back!”
Portrait of Gisell by Leah den Bok
Click to read the story that accompanies this portrait.
My dad first spotted Gisell when we were doing a photo shoot with another individual outside Fred Victor Housing in Toronto. She was just about to enter the shelter. Because of her striking eyes, he immediately stopped what he was doing and asked her if she would be willing to have her photograph taken afterwards. “Can I put my make-up on first?” she asked my dad. He told her that it wasn’t necessary since I prefer photographing people experiencing homelessness just the way they are. Just before disappearing into the building, she smiled and said, “Maybe.” About 20 minutes later as we were walking through a tent city across the road from the shelter, my dad again spotted Gisell, this time walking with a friend. “Have you decided if you would like to have your photograph taken?” my dad asked Gisell. This time she happily obliged.
Gisell told us that she has three children aged, 7, 11, and 12, whom she hasn’t seen in 7 years. “That’s got to be hard,” my dad said sympathetically. “It is,” she replied sadly. “It’s probably a lot harder on them. I mean … time flies when you get caught up in drugs and stupid **** ****. And it does hurt a lot. But I ******* …. Sorry! I fear for what they’re going through. But I know they’re spoiled rotten, because I know they’ve got the best.” Gisell told us that her children are with their dad. “Are you allowed to visit them?” my dad asked Gisell. “I think he would be open to me visiting,” she replied. “But I’d have to definitely clean up my appearance a lot. I’d have to clean up my life a lot.” “It gives you something to work towards,” my dad said. “Absolutely!” she replied. But try as she might to put on a brave face, her voice was full of fear and uncertainty.
By working predominantly in black and white, Leah further eliminates any visual distractions, drawing attention directly to the individuals’ face. This method encourages viewers to engage with the person, making eye contact through the photograph—an interaction that might otherwise be uncomfortable. Leah’s approach is a powerful way to present people experiencing homelessness, emphasizing their humanity and personal dignity rather than defining them by their homelessness.
All profits from Leah’s books are donated to shelters, underscoring her commitment to making a tangible impact in the lives of those she photographs. Her work has been exhibited globally, and she actively engages in public speaking to further her mission of changing perceptions about homelessness.
In collaboration with her father, Tim den Bok, Leah documents the stories of the people she photographs, adding depth to her work and further humanizing her subjects. This storytelling component is crucial for breaking down judgment and fostering understanding.
Leah’s commitment to ethical practices is central to her work. She ensures that each person she photographs fully understands the project and consents to participate. This transparent approach addresses any concerns about exploitation, with many who initially questioned her motives changing their perspective after learning about her practices and hearing testimonials from those she has photographed.
Leah’s work is deeply personal, shaped by her mother’s own experience with homelessness as a child in Kolkata before being adopted from Mother Teresa’s orphanage. This connection drives Leah’s passion for advocating for those experiencing homelessness, guided by the belief that,
“If you judge people, you have no time to love them.”
In a field with few resources or guides, Leah’s approach to photography offers valuable lessons in humanizing and ethical storytelling. Her methods, from obtaining consent to ensuring that subjects are treated with dignity and respect, set a standard for others in the field. Through her work, Leah den Bok is not just capturing images; she is creating connections, fostering understanding, and driving change.
Every Image Tells a Story
The interplay of media, photography, and homelessness underscores the profound impact that images can have on public perception and action. While traditional portrayals often reinforce stereotypes, visual advocacy has the potential to reshape narratives and inspire empathy. Through compassionate and ethical photography, we can transform perceptions, foster understanding, and drive meaningful change. Every image tells a story, and each story can ignite action. It’s crucial to approach image selection with intention and to avoid judgment, remembering that a picture speaks volumes. Let’s harness the power of visual storytelling to advocate for a more just and inclusive world.