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Headache Relieving Mask. Jumbo Stuffed Black Bear an Silent Vibrating Alarm Watch. Lelo Touch Sensor Wand Pers The L Pillow. Cooling Car Seat Cushion. The past few decades, too, have seen the photobook emerge as perhaps the most vibrant arbiter of photography culture. Small, independent photobook publishers proliferate; pop-up events around indie photobooks and zines draw a young and informed audience.
Get the picture: the Instagram accounts that post the same photo every day
Offprint , the photography publishing fair, attracts large, mainly younger crowds annually to its book markets in Paris and London. Flying in the face of the unstoppable flow of digital images online, traditional photography culture endures and proliferates, with both the photobook and the photo archive — material things that can be handled, browsed over, collected, exchanged — assuming a heightened importance. What, though, of the photography itself? Faced with the unprecedented flow of digital images, one has to ask if the traditional status of photography as a way of documenting the world has been altered irrevocably.
Whither documentary in the post-truth era? Or portraiture at a time when the selfie has reduced the traditional idea of the self-portrait to a casual narcissistic reflex m selfies were posted on Instagram in ? And what role does reportage now play in an age when the smartphone has made us all potential citizen photo journalists? The last question is particularly resonant when you consider the following incident and its immediate aftermath: on 20 June , year-old Neda Agha-Soltan was shot by a pro-government sniper near the scene of a protest against the Iranian government.
The Iranian state had declared the protest illegal and barred foreign media from covering it. Within hours, footage of her death posted anonymously on YouTube was viewed by the American president.
In a world where we are all able to fulfil the role of bearing witness that once fell to photojournalists how can traditional reportage compete? The anxieties that Wiley identified converge around not just the status, but the meaning, of photography in a digital world drowning in images.
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For that, you would still need to possess a rare set of creative gifts that are to do with seeing, with deep looking. Perhaps our relationship with the photographic print — for so long the standard of excellence and artistry — is changing in a world where so many images float unmoored from their context. As if to illustrate this, one of the most arresting pieces of work I saw last year was an installation by the Indian photographer Sohrab Hura, The Lost Head and the Bird , shown on a sped-up projection in a darkened, semi-derelict space in Peckham.
It was a dramatic merging of the real and the possibly fictional, a stream of visceral images of life on the margins in India that had an almost hallucinatory intensity. Here, all the tired tropes of street photography were upended into a visual stream of almost subliminal images that jolted the viewer — the traditional, reformatted and revitalised.
In contrast, another noteworthy series I first saw last year was Ex-Voto by English photographer Alys Tomlinson, which comprises black and white portraits and landscapes of contemporary pilgrims and holy sites in France, Poland and Ireland.
It has since won Tomlinson the Sony world photography award. Using film, her work draws on the austere portraiture of August Sander and the human otherness captured by Diane Arbus. In its still, spartan style, it is the perfect merging of form and subject, reaffirming a tradition of craft and attentiveness. Yokota, for instance, has treated images with heat and iron powder, and subjected others to constant rephotographing, rescanning and reprinting. The results are closer to abstraction and make the idea of photography as a medium that simply records the world around us seem positively quaint.
A glance at the range of processes that underpin contemporary photography practice attests to the fact that the medium is now performance, sculpture, abstraction, deconstruction and diary as much as it is documentary. None of this is entirely new. It is worth remembering, too, that although our contemporary image culture is without precedent in terms of its scale and its endless flow, there was another moment when technology sparked a surge in vernacular image-making.