fake photos, historical evidence
Tuesday, July 28, 2009
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reproduce here a text by Susan Sontag on the relationship between photography, the trick and history. With the digitization of our time and the infinite possibility of creating images on facts that have not even been in front of a camera, these reflections on the " staging" of images that seem like true just now that the idea of "real " seems to dissolve. There was a time where the notion of being deceived was a notion further, now anything can be simulated without anyone worry or even bother finding out. If the TV we confronted the alleged truthfulness making the picture lost the power of deception, scanning led to the immobility and fearlessness. Today in any picture loses its value when we know how it was done and the trick and simulation as an essential part of our day to day, stop and think about the veracity of the image seems appropriate. (LIC)
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fake photos, historical evidence
Susan Sontag
discover that the photographs which appear to record intimate climax, especially of love and death are built especially dismayed us. The significance of Death of a Republican soldier is that it is a real moment, captured by chance, lose all value if the soldier collapses is that he was acting before the camera layer.
Robert Doisneau never explicitly stated that the picture for Life of a young couple kissing on a sidewalk near the Hotel de Ville Paris in 1950 had the category name. However, the revelation, more than 40 years later that the photo had been staged with a woman and a man hired for the day to be snogging with Doisneau caused many spasms of disgust among those who had a vision lovely romantic love and romantic Paris.
We want the photographer a spy in the house of love and death and that the portraits are not aware of the camera, they are to "guard." No complex definition of what is or may be the photograph never dim the pleasure in store for a photo of an unexpected event that captures the middle of the action alert photographer.
true only if we take for the resulting photographs that the photographer is in the vicinity, with the shutter open, just at the right time, you may consider a few images of victory . Take action to drive a flag on a hill as the battle comes to an end. The famous photograph of lifting the American flag on Iwo Jima February 23, 1945 proves to be a "reconstruction" of an Associated Press photographer Joe Rosenthal of the morning ceremony of lifting the flag that followed the capture of Mount Suribachi, rebuilt That same day, but later with a larger flag.
The story of another image of victory, also iconic, that the Soviet war photographer Yevgeny Khaldei took Russian soldiers hoisting the red flag over the Reichstag, Berlin is still burning while the May 2, 1945, is the feat was organized before the camera.
The case of an optimistic picture, widespread, made in London in 1940 during the blitz is more complex because the photographer, and therefore the circumstances of their realization, are unknown. The picture shows, through a wall missing from the library without a roof and completely ruined mansion of Holland, three men standing on the rubble, more or less far apart in front of two walls of shelves miraculously intact. You look at the books, another hooked a finger in the back of one who is about to remove the shelf, another, book in hand, read: the elegant composition of the painting must have been addressed. It is pleasant to imagine that the picture is not the invention from scratch by a photographer lurking in Kensington after an air strike, which had led to three individuals to play three curious undaunted when he discovered the library of the great Jacobean mansion and given severed, but rather that the three men had been seen to satisfy their appetites at the mansion destroyed bookish and photo-graph had done little more than space them differently in order to achieve a more poignant picture. In any case, the picture retains the charm and authenticity of the time that celebrates an ideal and disappeared from national fortitude and coolness. Over time, many fake photos become historical evidence, though of a kind impure, like almost all historical evidence .
Only after the Vietnam War is almost absolute certainty that none of the best known pictures are a trick. And this is inseparable from the moral authority of those images. The photograph of 1972, which signs the horror of war in Vietnam by Huynh Cong Ut made, about children who are screaming in pain down the road from a village just bathed in American napalm, belongs to the realm of photographs that is not may pose.
The same is true of the best known on most of the wars since then. That from the Vietnam War has there been so few photographs faked war means that photographers have complied with the highest standards of journalistic integrity. This is partly perhaps because television became the defining medium for distributing images war in Vietnam and because the brave lone photographer with his Leica or Nikon in hand, operating without a good view of the time , was then to tolerate the proximity and compete with television equipment, bear witness to the war and almost never a solo effort. In its technical possibilities to fix or manipulate electronic images are greater than ever, almost limitless. But the practice of inventing dramatic news pictures, to mount to the camera, seems on track to become a lost art.
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