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Artikkel av Susan Sontag: Undertittel: Photography’s view of devastation and death. Etter en noe traurig start, mye interessant info om krigsfotografi og analyse av hvordan publikums persepsjon har forandret seg.

Photography has kept company with death ever since cameras were invented, in 1839. Because an image produced with a camera is, literally, a trace of something brought before the lens, photographs had an advantage over any painting as a memento of the vanished past and the dear departed. To seize death in the making was another matter: the camera’s reach re2_kommentared limited as long as it had to be lugged about, set down, steadied. But, once the camera was emancipated from the tripod, truly portable, and equipped with a range finder and a variety of lenses that permitted unprecedented feats of close observation from a distant vantage point, picture-taking acquired an immediacy and authority greater than any verbal account in conveying the horror of mass-produced death. If there was one year when the power of photographs to define, not merely record, the most abominable realities trumped all the complex narratives, surely it was 1945, with the pictures taken in April and early May in Bergen-Belsen, Buchenwald, and Dachau, in the first days after the camps were liberated, and those taken by Japanese witnesses such as Yosuke Yamahata in the days following the incineration of the populations of Hiroshima and Nagasaki, in early August.

Photographs had the advantage of uniting two contradictory features. Their credentials of objectivity were inbuilt, yet they always had, necessarily, a point of view. They were a record of the real—incontrovertible, as no verbal account, however impartial, could be (assuming that they showed what they purported to show)—since a machine was doing the recording. And they bore witness to the real, since a person had been there to take them.

The New Yorker: Fact