The In the Aftermath or Late Photography, the

Topic: SocietyWar
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Last updated: May 17, 2019

The recenttechnological invention of cheap Smartphones with decent cameras, theavailability of cheap and fast internet in the mobile phones and the socialnetworking platforms allow almost everyone to become a “photojournalist”. Weare able to capture and share images and videos of a newsworthy event evenlive. Furthermore, professional photographers are still covering newsworthyevents. It is almost impossible not to find images of a newsworthy event in2017. However, thephotographer’s interest for a meaningful story does not stop with the end ofthe event. With the end of the event, starts the Aftermath of it.

In the Aftermathor Late Photography, the photographer tries to capture the effects of adisaster. The photographer does not only want to inform but also raisediscussions and hopefully with the awareness to prevent these events, whenpossible to happen again. But is this possible? Can only photographs ofcatastrophic events change attitudes and policies? Can the view of sockingimages and the sad feelings raised from them, reduce the number of war crimes,wars, terror attacks? Can socking images like the ones from the fire in GrenfellTower (BBC News, 2017b) change the way we build buildings etc? Late Photography A genre ofphotography (Faulker, 2014), (Campany, 2003)  has emerged the last two decades in whichimages of the effects of historic and / or catastrophic events on landscapes,buildings, items and people has been captured. The photographer arrives late,walks around in places that something already happened and tries to capture itseffects. These are images of what left behind after the ending of the event. Thistype of photography of the aftermath of the events was termed “LatePhotography” by David Campany. The earliestphotos (Tello, 2014), (Johnstone 2015) of this type were photos of the CrimeanWar in the mid- nineteenth century by Roger Fenton and were taken around twomonths after the events.

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His photos still influence practitioners of the genre.However, Aftermath Photography as a genre did not emerge properly until the 2000s.Characteristic examples of this era’s Late Photography are the images taken byJoel Meyerowitz after the 9/11 attack at the World Trade Centre and photos ofthe wars in Iraq and Afghanistan by Paul Seawright (Seawright), Lyndell Brownand Charles Green (Brown, L. , Green, C., Cattapan J., 2014).

Meyerowitz (Phaidon,2011) was the only photographer that has been granted access to the scene andthe clean- up operation at the World Trade Centre.

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