The journalist-photographer used to be some sort of a lone traveler one that assumed the role of witness to war, a person used to sound out society risking his life in the process of doing so; humanity was always identified and clearly apparent in the photograph as the sole protagonist.
The most compelling photojournalism was capable of bringing together technical rigor and courageous inquiry, often providing an astonishing piece of investigative journalism; at times the basis of entire history chapters.
Today’s approach towards this kind of photography is completely different.
In the age of total communication, of a hyper-consumption of television sequences, photojournalism is – at best – a difficult alternative, a noble way of suggesting us to set aside a quiet moment to think. It seems that what once was an ethically objective and austere photography is being muddled by the continuous global media unrest.
[…]In these pages we are not shown a low end commerce of emotions.
The photographs here resemble literary prose, at times poetry that particular style that is capable of bringing the onlooker closer to the world and to its unsettled problems.
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[typography font=”Droid Serif” size=”19″ size_format=”px” color=”#BBBBBB”]At present, the steady advance in technology – explicitly in digital imagery – is obliging us to hold a far more vigilant and critical attitude towards photography. This medium is going through a profound transformation that disrupts certainties so far acquired. We will need to learn to separate facts from fiction; we will need to be capable of reading through tomorrow’s flood of digital visual information.
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