Project 2 - Photojournalism Aftermaths and aesthetics

A few lines the I'd like to ponder on a bit more:

"In the light of Sekula’s closing remark it is worth considering why it is that the ‘late photograph’ has become a ‘convincing style’ in contemporary culture. Its retreat from the event is no guarantee of an enlightened position or a critical stance.  Its formality and visual sobriety secure nothing in and of themselves. Yet it is easy to see how it is that in an image world dispersed across screens and reconfigured in pieces, a detailed, static and resolutely perspectival rectangle can appear to be some kind of superior image.But we see it increasingly in new photojournalism, documentary, campaign work and even news, advertising and fashion. One might easily surmise that photography has of late inherited a major role as an undertaker, summariser or accountant. It turns up late, wanders through the places where things have happened totting up the effects of the world’s activity.  This is a kind of photograph that foregoes the representation of events in progress and so cedes them to other media. As a result it is quite different from the spontaneous snapshot and has a different relation to memory and to history.

However, in the popular culture of mass media, the frozen image is often used as a simple signifier of the memorable, as if there were a straightforward connection between the functions of memory and the ‘freezing’ capabilities of the still camera. Indeed this is such a well-established assumption about photographs that to even question it seems a little perverse. So rather than thinking about a direct relation between the photograph and memory let us think about the two of them in relation to other media.

 A truly social documentary will frame the crime, the trial, the system of justice and its official myths … Social truth is something other than a matter of convincing style.”

Safety in Numbness: Some remarks on the problems of ‘Late Photography’ | David Campany. 2015. Safety in Numbness: Some remarks on the problems of ‘Late Photography’ | David Campany. [ONLINE] Available at: [Accessed 24 November 2015].