Oct 24, 2007
On Photographs: Conclusion
By thinking about the Fenton photographs we are essentially thinking about some of the most vexing issues in photography – about posing, about the intentions of the photographer, about the nature of photographic evidence – about the relationship between photographs and reality.
The third, and final, part of Errol Morris's remarkable essay on Robert Fenton's two photographs is now out.
Like I said before, it is essential reading for us historians. I especially enjoyed the postscript:
"POSTSCRIPT: History is always incomplete. There is always the possibility that new historical evidence can be found. A safe crammed with documents, photographs in a hatbox, a packet of letters tied with a faded yellow-ribbon. I spoke with Dennis Purcell recently and asked, “Do you think these essays will put this issue – the issue of which came first – finally to rest.” Dennis replied, “No. I don’t think so. There could be some guy who reads your essays, writes in, and says: ‘You know, there aren’t just two photographs. I found another. There are actually three.’ ”"
The third, and final, part of Errol Morris's remarkable essay on Robert Fenton's two photographs is now out.
Like I said before, it is essential reading for us historians. I especially enjoyed the postscript:
"POSTSCRIPT: History is always incomplete. There is always the possibility that new historical evidence can be found. A safe crammed with documents, photographs in a hatbox, a packet of letters tied with a faded yellow-ribbon. I spoke with Dennis Purcell recently and asked, “Do you think these essays will put this issue – the issue of which came first – finally to rest.” Dennis replied, “No. I don’t think so. There could be some guy who reads your essays, writes in, and says: ‘You know, there aren’t just two photographs. I found another. There are actually three.’ ”"