Reality or fiction, document or art. Photography, from the very beginning, has been divided between two souls. Every photographer prefers one of them, even if the boundaries are often thin. A photo depicts real objects, but can be staged during shooting or worked on later. It happened with the analogue, it happens very easily in the digital age, not always for purposes of expression.
If the intent of photography is to inform, ethical questions arise now more than ever. Perhaps part of its charm lies in the ambiguity of photography. Suspended between the real and the imaginary, we are not sure that it always tells the truth. Only if the intentions of the author are clear can we admire the double language without fear of being deceived.
How to face a piece of news or an image? How to find the correct source? Fontcuberta focuses on the great danger of credulity and on the importance of authenticity. Doubt and reflection on this theme make us aware and strong in the face of manipulation.
The entire photographic production of Max Pinckers develops around a double ambiguity: the ambiguity of the real – multifaceted, manipulated, interpreted, invoked – and the ambiguity of the oldest of the media invested with the responsibility of documenting it, photography.
Photojournalism is a window open on the world, whose first duty is to inform about events, captured through a lucid eye, inspired by criteria of credibility, reliability, truthfulness. It is less free than higher forms of photography, but that is its nature. Or at least, it should be.
The project “Scatta la notizia” has had as its protagonists the students of two high schools in the Neapolitan territory, assisted by two exceptional teachers. For two years Photolux, with the support of Canon Italia and the collaboration of Neapolis.Art, has brought two great photographers, both winners of the World Press Photo, to accompany the kids in the world of visual communication.
“Un’autentica bugia” [An authentic lie] one of the most interesting and complete essays of recent years on the ambiguous dialectic between the nature of the index/document of the photograph opposed to its ability to lie.
Questo sito utilizza i cookie per fornire la migliore esperienza di navigazione possibile. Continuando a utilizzare questo sito senza modificare le impostazioni dei cookie o cliccando su "Accetta" permetti il loro utilizzo.