Crisis of the Real

What does this mean to me?

“One direction contemporary documentary practice might take, then, is toward recording the “I” instead of the “Other”, centering itself on what the photographers life is rather than what it is not, and acknowledging the crucial presence of the photographer on the scene.” pg 196.

I had never considered that the direction of photography was changing from presenting something that people would not else have a chance to see, to presenting what people are trying to avoid and photographing projects for self-satisfaction. Now photographers have their own goals, their work mirrors them. It can be said that all there was to do has been done, which now leaves photographers in a state which they have to present their own fresh ideas, and in what better way is there, than to present themselves. I agree that the photographer now has a lesser task in outdoing others, ‘wowing’ with new techniques, it is about catching a viewers eye with things they would walk past everyday, teaching them what they already know.

“photojournalism is directed at a large audience” pg 187

“What separates these photographers from their younger colleagues is less a matter of style than of content” pg 188

“But the competition, as it is, may already be over. The current interest in photojournalism could be  a sign not of vitality but of its new status as an artefact. Taken of the page and folded into the museum, the New Photojournalism becomes simply another genre in the realm of art, dysfunctional but beautiful.” pg 190

“The pictures looked like art” pg 185

Photography has the largest audience in the world, the new became the old when photographers realised, they dont need to please everyone. Its ‘art’. Being defined as art, being placed in museums and gallery’s, is a hard subject for photographers, as the two were always drawn a fine line apart. There is no competition anymore, photographers can express themselves through their work.


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