C&N Coursework, Context & Narrative Blog, HNC Photography, Part 1: The Photograph as a document, Project 2: Photojournalism
Aftermath or ‘Late’ Photography: the changing face of photojournalism
In his essay his 2003 Essay Safety in Numbness David Campany talks about the changes in photojournalism seen in recent years, where we have seen video almost seeming superseding the still images as the primary source and still images or traditional photojournalism has changed to become what he call Late Photography – shots of the aftermath of an event and the problems associated with it.
Campany’s essay discusses Meyerowitz’ coverage of the aftermath of 2001’s, September 11 attack at the World Trade Centre, to illustrate some of the issues with this style of photography. Meyerowitz was the only photographer to be granted access to the site of the site and he took his time using a 1940’s plate camera. This choice of camera and approach lead to a kind of theatre to his work which leads to images that reflect the enormity of the unexpected attacks and the sobering loss of life and consequential dramatic effect of the community..
In Campany’s words, the images are, sombre and straight, almost forensic. He quotes Peter Wollen to describe them as “cool” photograph as opposed to “hot photographs” of an event. Style photographs that summarise or event audits events, often with no people, with only remnants of the activity but a style that is not just a passing art “fad” as it is increasingly prevalent photojournalism, documentary, campaign work and even news, advertising and fashion
Campany goes on to talk about the demise photojournalism, which has been in decline since the end of the Vietnam War in the 1970’s; which was the last ‘photographer’s war’, although this change is partially due to the changing nature of war. War is rarely photographed live with is authorised video being released and those journalists that are embedded and reporting direct more likely to armed with a video camera than a Leica. – with the traditional photojournalists being allowed in afterwards to photograph the aftermath – as happened in Kuwait in the 1991 Gulf War.
However, what the still photographers can produce is more reflective in nature, allowing it to be printed in newspapers, magazines and later exhibited; news video can show live events unfolding, ‘late photography’ reflects on the impact of the event. This is why the aftermath is left to the stills photographers.
Meyerowitz was passionate about his recording 9-11 for history, for the New Yorkers who were touched by it, as native New Yorker Meyerowitz himself was touched by it in the Channel 4 documentary about his work you saying how he took a picture on September 7th, of the NY skyline including the twin towers, he wasn’t too happy with it and thought I’ll retake next week they’ll always be there. Therefore it is understandable why the work was undertaken and how it would be used as a focal point of grief.
Nevertheless, there are concerns that this style of late photography when it is used as a vehicle for morning has other consequences such as indifference and political withdrawal, there are also concerns (not expressed) about using the images out of context. Campany suggests that the purpose of a photography is to aid memory, and is also suggests that late photography can have a banal matter of fact-ness about it. And images such has those of Meyerowitz although banal can fill us with a sense of the sublime just because of what those images represent to the viewer because of their position to the geo-political nature of the event.
Does this shift to late photography mean that as Campany is suggesting photography’s position a news media has been eclipsed and it is now just a 2nd media – I do not thinks as we have discussed above photographs are more reflective in nature than video and I feel that the audience can recognise that and it through photographs and the memories they recall can society reflect tragedy in far and distant past. Although the images that came out of the Vietnam war were ‘hot’ images at the time – when we look at the now they have cooled and serve a reflective purpose
This is not to say that I think Campany was wrong, Meyerowitz’s images are nice (too nice?) however, I think the essay was written in a different time than we are in now. 2003 the trauma of 9-11 was still raw and also time was move and we have seen more late photography. Particular Paul Seawright’s, work Hidden and Edgar Martins reflection of the house market crash.
Seawright’s work is similar to Meyerowitz it documents the aftermath of conflict, it is devoid of action and draws the audience to reflect on the inherent danger. But as with Meyerowitz there is an argument that they are too safe for the subject matter.
None of these arguments can be laid at Martins work they subject matter is perfect for late photography as it the aftermath of the house mark collapse that is the news. Having worked in the finance industry at this time dealing with the houses in the US that fell into this category the work perfectly reflects the broken dreams and frozen nature of the market. The reflective nature of the pictures capturing symbolises they time how every connected to stood and looked.
Late photograph has a place – just need reflection by the audience, exactly what trying to provoke, so that it full benefits can be appreciated.
Bibliography
YouTube. (2007). Reflections Of Ground Zero Part 1a. [online] Available at: https://www.youtube.com/watch?v=A8hN-aNWWBE [Accessed 22 Jan. 2018].
YouTube. (2007). Reflections Of Ground Zero Part 1b. [online] Available at: https://www.youtube.com/watch?v=0eKyhfG6MF0 [Accessed 22 Jan. 2018].
YouTube. (2007). Reflections Of Ground Zero Part 2. [online] Available at: https://www.youtube.com/watch?v=3vAZDBDDtz0 [Accessed 22 Jan. 2018].
Campany, D. (2003). Safety in Numbness: Some remarks on the problems of ‘Late Photography’ – David Campany. [online] David Campany. Available at: http://davidcampany.com/safety-in-numbness/ [Accessed 22 Jan. 2018].
Dunlap, D. (2009). Behind the Scenes: Edgar Martins Speaks. [online] Lens Blog. Available at: https://lens.blogs.nytimes.com/2009/07/31/behind-10/ [Accessed 22 Jan. 2018].
Seawright, P. (2002). Hidden. [online] Paul Seawright. Available at: http://www.paulseawright.com/hidden/ [Accessed 22 Jan. 2018].