One thing seems to lead the issues at the heart of a modern proffessional photographer. That the potential to get a decent photostory into the press and subsequent funding for said story is becoming increasingly unrealistic. While at the same time photographers are replacing stills work with video,a possibly earned by recent developments in technology.
It’s oft argued that the greed for more for less media has got photogs doing film and stills at once. That new tech and distribution had opened up the potential mediums of syndication. But part of this I shift is I believe, down to the current failures of the photograph/image to fail to live up to the targets modern journalistic photography expects of it. There is a misunderstanding I believe at the heart of photojournalism. That the great photostory is a work of great narrative. Even the hybrid term photostory is a misdemeanor, a casually constructed lost leader. The true power of the image is held in it’s isolation from narrative, in it’s harrowing ambiguity. A void at the heart, negociated, not filled with narrative or explaination. A scientific example would be Capa and Dunkirk. Little can be learnt from the images yet they haunt our imagination.
To be continued…