Photographer photograph their families

The traditional family album usually contains photographs of happy memories and moments that wish to be kept. They’re rarely photographs of unhappy moments or bad memories we wish to forget. Julia Margaret Cameron is a photographer that would photograph her family, but instead of capturing special memories, they would be portraits of her loved ones. In her photographs she has an imaginative use of light and focus.

'Behold, the most beautiful old man in the world!'

This is a photograph of Charles Hay Cameron who was Julia Margaret Camerons husband. In this photo the textures are soft which emphasise his withered face and hair. However even though the photo may display his age, his eyes and alert gaze show that he is intelligent.

'Devotion - Archie, My grandchild, 1865'

She also photographed her Grandson, Archie who was the first child of her eldest son. This photograph is different from the one of her husband as it is a much more intimate scene. The photograph shows the love between the two family members and isn't just seen as a photographer and her model. The photograph also has religious references of Mary and the baby Jesus. The photo is concentrated on the baby, with cameron looking as if she is more in the background and slightly out of focus. The photo is clearly an intimate family moment and something which could only be achieved by having such a relationship.





Bookstock - Julia Margaret Cameron, Joanne Lukitsh.

Documentary and photojournalism: Surveyors and surveyed

Documentary and photojournalism are used all over the world and are used to document and display events or past occurrences. Both types of photography have no clear boundaries and they cannot be defined. Photographs are a powerful tool to get a reaction and to let people have an insight into places or events that they may never see, past and present. Photojournalism and other types of photography such as fashion often respond to events happening at that time. However, even though putting a message across through a photograph might be seen as an important objective, to see what is happening in other parts of the world, faith in photographs has been somewhat lost. Photographs were initially seen as scientific and an object of evidence with truth, however with developments in editing, the relationship between photographs and reality has been somewhat compromised. This is clearly shown in fashion and magazine photography where images are heavily edited to create a unrealistic image. Documentary photography has no clear definition as it does not have a specific style. A war could be documented or a family could be documented through a family album or photos. These two examples are completely different events. Photojournalism and documentary photography are both linked in some ways as they both narrate current events and are good ways to illustrate them. Photojournalism spread quickly during the 1930's with the introduction of magazines like 'Look' and 'Life' in America, however developments with technology such as camera phones means it is slowly becoming less needed. Both types of photography claim to have an an accurate view of the world through their photographs however trust in photographs has been lost and whether they are factual is being questioned. There is now a need to make images which are in line with society so for social and commercial uses that the nature of photography is being questioned and understanding 'the real' is becoming more difficult.

Family Subcultures

Subculture as Family

Nicholas Nixon :

Nicholas Nixon, born in 1947, is known for the ease and intimacy of his black and white large format photography.  Nixon has photographed porch life in the rural south, schools in and around Boston, cityscapes, sick and dying people, the intimacy of couples, and the ongoing annual portrait of his wife, Bebe, and her three sisters (which he began in 1975).  Recording his subjects close and with meticulous detail facilitates the connection between the viewer and the subject.

It's obvious that this particular series documents and reveals the gradual changes within time. Every year Nixon would photograph his wife and her three sisters, and to me, this shows their strong bond as siblings. Over the 30 years he photographed them, there position and place are always the same. Perhaps this is done to show how their family line has been strong throughout their childhood. A change in position might suggest their connection is broken or their's been some sort of confliction.

Sally Mann:

Sally Mann was highly criticized for her work because families weren't usually photography the way she photographed them .Mann's photography touches on a more darker theme such as death and 'cultural perceptions of sexuality'. Upon the release of her third collection called the 'Immeadiate family' there was a controversy that spread all throughout America and abroad, accusing her work of being child pornography. Mann herself considered these photographs to be “natural through the eyes of a mother, since she has seen her children in every state: happy, sad, playful, sick, bloodied, angry and even naked.” Critics agreed, saying her “vision in large measure is accurate, and a welcome corrective to familiar notions of youth as a time of unalloyed sweetness and innocence,”

Virginia is shown with her eyes half-lidded, and her arm between her legs, modestly covering herself. She looks serene, and is transformed into a iconic Madonna like figure, her body free from blemish or scar of any kind. The toy horse is lying down in the dirt, its paint chipping. If the horse has been discarded, what does this say about Virginia's childhood and innocence? 

Family histories and the photograph

I visited the Manchester metropolitan library and found a book by Iona McGregor called Bairns “Scottish children in photographs". The book consists of photographs of children from all backgrounds captured at home, school, at play, at work. All photographs are drawn from  the Scottish ethnological archive, to which many individuals groups and organizations contributed material to document families and children.

There is a section on home and family that I thought captured families and the history well. The home and its contents give the most obvious clue to the way a family functions. Scottish wages were lower than the English average and the late 1930s unemployment reached a higher peak. A weekly bath was held sufficient and indeed had to be. To avoid the tedious boiling of kettles younger children were dumped in a "dolly barrel". 

"Fathers vanished into war"

Overall the book shows a collection of  lots of family photographs and different histories behind each family, as a photograph comes with a caption. For example " The Rennie family of Edinburgh, photographed about 1890. Mr Rennie owned a busy butchers shop in Black Friars Street. The children are Jessie, Lewie, James and Polly. Polly died while still a child."

Photography: A critical introduction surveyors and surveyed.

Photography: A critical introduction surveyors and surveyed. Pages 102 - 115.

In my piece of text it is talking about how documentary photography is changing.

In documentary: new cultures and spaces.

This paragraph talks about how documentary photography only use to be used to draw the attention of the audience to a particular subject, but now it is used to show how ordinary people lived. It also tells us that the means of documenting is not to take a photo to analyse what it is about but is a “witness to nothing of great importance.” This meaning that the subject matter of documentary is expanded to include whatever the photographer wants.

Theory and the critique of documentary.
In this paragraph it talks about how photographs are seen as “pieces of texts that need to be structured and encoded”.  It talks about how looking at the work expresses power and control over the spectator.

Cultural politics and everyday life.
In this paragraph it talks about how instead of documentary photography being about “ordinary and everyday life” recordings it was also being shown as a way of showing our own particularity and differences.  Feminist groups took photos to politicise concepts such as motherhood to overcome the limitations of documentary photography.

The real world in colour.
In this paragraph it is talking about how the use of colour in documentation shows us things that we might have never seen before and how it can express and induce feelings.  It also talks about how colour was regarded as lacking the technical control that black and white photography has. “To work in black and white now is to make a deliberate statement or to reference work from the past in a particular way.

Documentary and photojournalism in the global age.
This paragraph talks about how documentary has moved on from social and politic views and is now being seen as more art on gallery walls. It also talks about how documentary is running out of history with new technologies that mean less time printing images.

Documentary and Story-telling

Documentary photography emerged after the First World War and developed through the twentieth century. Photo magazines “Life in the USA, Picture post in Britain” “Drum” in South Africa and many others created stories on everyday life. The aim of social documentary work was to enlighten and creatively educate.

Editing such as arrangement of pictures, the layout on the page, cropping photographs, use of captions and titles establishing context for work. Editors had to think of the audience and advertisers, potential legal or political issues. Censorship was used.

Auteur photographers came around in 1930s.  Photo books were published Brassai’s famous book Paris du nuit”. Bill Brant’s 1938 book “A night in London”.

Russian revolution of 1917. Constructivism in the USSR.  Western democracies were all Documentary movements  and social change. “Humanist” photography, Martha Rosler.

Stories on “illicit love” or “The French leaving Vietnam after Communism had taken root.

Social documentary was about social experience. In police mug shots or social surveillance, use pictures as visual evidence.

Matthew Brady, Jacob A., Lewis Hine, all aimed to educate and disseminate the truth about an issue. Issues they documented- war, slums, immigrants, child labour, street workers.

Eric Hobsbawm notes “Reportage’ the term first appears in French dictionaries in 1929 and in English ones in 1931 – became an accepted genre of socially- critical literature ”.

(Peter Woollen “Fire and Ice”. Berenice Abbott)

(Henri Cartier- Bresson’s “The decisive moment” )

 “Seeing with there own eyes”Documentry photography won arguments built on trust.

1930 American depression, as represented by the Frarm security Administration project. (work on wars and their aftermath, exploited migrant labour, racism, genocide.

The idea of witnessing invokes the concept of voyeurism, defined as an illicit or obsessive act of looking.  French psychoanalyst Jacques Lacan puts it like this in his essay “What is a Picture?” “How could this showing satisfy something, if there is not some appetite of the eye on the part of the person looking? This appetite of the eye must be fed produces the hypnotic value of painting.”

Gradually during the 1980s, the use of colour photography began to appear in documentary and art.  Arguments that colour documenting was too easy and superficial and cosmetic came about.

William Eggleston ( The Democratic Forest) is a snapshot based aesthetic.

Photographers adopted tatics ranged between tripod-based and hand held scenes which create distinct viewer positions perceived as either an objective or subjective “witness” position.  

Jeff walls art photographs he calls “near docimentry” represent reincarnation of history  and social documentary. 

Photography as family therapy.

Martina Lopez

Lopez began working with her family's photographs as a way of reconstructing memories and exploring feelings of loss and change. She created works dedicated to her father, mother, and her eldest brother who was killed in Vietnam. She remarked that many of the memories of her oldest brother were in part constructed from his presence in family photographs. Working with snapshots from family vacations Lopez began to stitch together new images of her family that would exist in an artificial space of her own creation outside of a specific moment in time. 

"By extracting people from their original context and then placing them into fabricated landscapes, I hope to retell a story of their being, one which allows the images to acquire a life of their own. While the pieces from photographs verify an actual lived experience, the landscape stands as my metaphor for life, demarcating its quality, where the horizon suggests an endless time." - Martina lopez.

The figures in Lopez's images vary in scale and placement within each scene and are rendered in monochromatic tones so they seem to have no direct connection to the fabricated landscapes they occupy. The surreal landscapes, composed of disjointed topographies that are appropriated from other sources and from photographs made specifically for the piece, become a stage setting in which the placement of each character is carefully choreographed.  

Subculture as Family - Web (Sally Mann)

Sally Mann - Immediate Family & Family Pictures

Mann's work mainly explores family portraits and snap shops, and develops the idea of without photographs there is no way of looking back and the past and remembering it; you just get told about it and how it happened but there is no actual proof of it. Just like the stories that your family tell about the time you fell over on holiday that time.
A camera has become very important within the family and has helped to shape what we mean when saying the term 'Family'. In America, it was seen as extremely important to have a camera within your household to capture the special moments and memories for the children when they grew up. This is exactly the same as today, as nearly every person carries a camera of sorts, it is seen as a typical piece of technology to own.
However, photographing the family, especially your own is completely different than photography others and/or the public. The are many different ways to photograph families, and they tend to be a lot more open as the photographs usually mean something to them, the person who is photographing will always have a certain was of seeing the image, just like a professional. Sally Mann took this art and decided to bring it to her own idea of family.

Candy Cigarette. 1989

Sally Mann photographed her children at a young age, but the images were not your typical image that a parent would take of their children, never mind let others look at. The photographs Mann took of her children represent some of her childhood memories and not those of her children's life. Mann explains this may be because her father had 'a keen sense of the perverse' as he photographed her nude as a little girl. This could be the main reason as to why women tend to be move favoured as family photographers, as the man of the house would be seen as wrong and not right in doing so. 

"Mann's images of children, manipulated to appear sexualized and physically abused, may say more about repressed memories of her own childhood than of her present relationship with her children. Mann says her father, a man with "a keen sense of the perverse," photographed her in the nude as a young girl. Perhaps the psychologist who attends Mann's children would do better to attend to their mother's repressed childhood traumas and ask why a woman who sexualizes photographs of her children would utter the self-denying pronouncement, "I think childhood sexuality is an oxymoron."

The New York Times, The Photography of Sally Mann, (1992). The Photography of Sally Mann. Available at (http://www.nytimes.com/1992/10/25/magazine/l-the-photography-of-sally-mann-712292.html?ref=sallymann

Fig2.Mann.S. Family Pictures.


 


Fig3.Mann.S. Family Pictures.

I think that Sally Manns work tells a story of her childrens life and how events portrayed in the photographs do happen, but are never documented by regular photographers and as family snapshots. I think that Manns image have helped to shape the idea of the family subculture, as many people still focus on the good, happy memories that are shown in the family albums and seem to think that things shows in Manns images do not happen because they are not documented.

photographer photograph their family

When photography photograph the family the image become can be seen as a more intimate experience furthermore the image into a much more personal and long lasting internal narrative due to the photographers deep involvement with the photograph. Photographer such as Larry sultan depicts this notion well, as the relationship between him and his parents are skilfully portrayed.

A series from James Russell Cant Divided Ocean is a series of portraits of individuals, including his own farther, who have migrated to Great Britain by ship. The collection uses the sea and tide as metaphors, to consider the sprit of the individuals who take on not only the benefits of migration but face its inherent divisions of time, space and self. The photographs themselves are composites, palimpsests of twenty-four images. Made over a period spanning high water, they record duration as each person returned to, and was photographed at the approaches to their port of arrival. As an island notion these waters not only act as conduits for travel but also as sublime barriers. Ebbing and flowing, they are a metaphor for the sometimes hidden confrontation between past, present and future as the forces of rootedness battle with those of movement. Whilst celebrating the diversity of a nation, born out of its maritime history the series attempts to consider British migration through an empathetic imaging of each individual narrative. 

(Image issue 419)

Basil: George Town, British Guyana to Southampton 1960

Simone: Uetze, Germany to Dover 1998

Wallace: Birchip, Australia to London 1936

Lottie Davies‘s memories and nightmares project is a series comprised of portraits conceived out of a retelling of individual early childhood memories or nightmares. Lottie takes others recollections and uses them as inspiration for a series of stunning images. She explains; we all have our own tales and myths which we use to describe our lives and in many ways memories are an essentially human experience which over the years can often change. In recounting nightmares some people remember a clear narrative others only a feeling or location. The surreal or impossible elements of the dream are often the most fascinating. In these images I aim to celebrate these fantastic, crazy and brilliant stories and encourage them to tell us more about ourselves.

(Image issue 403)

Photography as family therapy

Phototherapy techniques use people’s own family photos, albums and photographs taken by other people to evoke thoughts, memories, and feelings as well as enhance their therapy process, in a way that words are unable to do. When we take a photograph it is usually for a reason, a prompt by external or internal force. It becomes a “mirror with memory” reflecting back memories of people or moments that impacted us enough to freeze forever by camera. Collectively we form a story of our life, creating visual footprints whether emotionally or physically, perhaps signalling the beginning or end of a journey we are taking or have yet to take.

The actual meaning of a photograph lies not so much in visual facts but rather in what these details evoke inside our mind (and heart). When people reflect on a photograph they construct a meaning that they generated from that photo. This may not necessarily be the original interpretation of the photographer who took it. Therefore its meaning or “emotional” meaning is dependent upon who is doing the looking, because people’s perceptions and life experiences will always define what they see as real. Therefore, the reaction to prompted questions regarding a “special” photograph will automatically tell us something about that person.

These “special” photographs used in the right environment can give great in-sight into deeply embedded emotions and feelings of that person. These may vary depending on the family member, for example, a wife viewing a photograph of her late husband will stimulate and stir completely different emotions than viewed by her children. Or, similarly, a young child may have a stronger connection to a photo fridge magnet which her father gave her of them enjoying time playing on the beach while on holiday, to say, the intimate framed photo the husband gave to his wife of the two of them enjoying a weekend break. They both show the same man but in different context, stirring different connotations and memories.

With the aid of a trained therapist natural bridges can be formed to access, explore and communicate deep emotions and memories of each individual to personalise their transitions through the grieving process.

 

Research

 

 The Canadian Art Therapy Association Journal, 2004

 

Current Directions in Psychology Science, 2005

 

Phototherapy – Centre Journals.com

 

Applied Cognitive Psychology, 2008 – Wiley online library

 

 

The body as an object of medical research

The body as an object of medical research

In the early years of Photography the medium was initially being used as an instrument of scientific exploration and recording. It could be used as a means of classification such as identifying certain illnesses to portraying commonalities between the features that criminals were seen to have in those days.

Francis Galton  

http://www.sciencemuseum.org.uk/broughttolife/people/francisgalton.aspx

Eugenicist such as Francis Galton was fascinated by the theory of evolution proposed by Charles Darwin. He carried out his own investigations in human heredity and biological variation. Galton’s work in this area would form the basis of the philosophy he named eugenics in 1883. Galton developed a lifelong interest in studying variations in human ability. He was convinced that these variations were a product of biological inheritance, rather than simply a matter of upbringing.

Galton devoted many years of study to the use of "Composite Portraiture He was especially interested in the use of these composites to test if there was a recognizable criminal type revealed by them. This technique of composite portraiture was also used to identify the sick by appearance of a ‘sick type’. This idea of almost stereotyping and categorising people is from appearance goes fall far from the ideas of hybridity and plurality we see today in a postmodern society.

John lamprey

books.google.co.uk/books

Imperialist notions of European superiority and global control nourished the interest in collecting and classifying information about human bodies. The lack of standardization in anthropological photography led to scientists such as john lamprey to create systems by humans could be photographed for observation and comparisons. 

Photography from john lamprey shows a Malayan male being photographed as a means of classification. At the time Victorians thought of these people as half way between animals and human which reflected the ideologies of the times. Photographers sought to highlight the cultural differences.

http://science.nationalgeographic.com/science/photos/human-body-upgrades/

                                            

 In the more modern times photographic equipment has advanced vastly allowing using to delve further than ever before going to microscopic levels of the human body. In many hospitals photography helps with such things as making or ruling out a diagnosis, being part of medical records and teaching purposes.

Nuclear imaging examines "aching bones" for fractures or diseases like leukemia, lymphoma, and other cancers. Patients are injected with a radioactive tracer which enters the bloodstream and passes in a matter of hours into the bones where it can be imaged by a "gamma camera." The resulting images reveal abnormalities in bones which are marked by non-uniform distribution of the tracer. 

http://barrylategan.com/

Barry Lategan is one of the country’s most renowned and influential photographers. Probably best known for his early discovery and portraits of Twiggy – two of which are exhibited in the V&A Museum – Barry has photographed some of the most notable celebrities of the past forty years. His career as a fashion photographer has also seen much of his work make it to the pages and front covers of international editions of Vogue and Harpers Bazaar and he won the Halina award for the 1986 Pirelli calendar. 

http://www.huffingtonpost.com/2012/03/16/seeing-ourselves_n_1332228.html#s765184

The exhibition "Seeing Ourselves: The Science and Art of Diagnostic Medical Imaging" shows that art and science are two means of making images. The collection features medical imaging modalities and contemporary artworks that, oftentimes, don't look all that different.

The show is curated by physicians Koan Jeff Baysa and Caitlin Hardy, who gathered work from 60 international artists all working in a variety of media. The works on display demonstrate the importance of sharing of institutional knowledge while also examining the advantages of viewing this information from an aesthetic standpoint.

Recent technology has brought on huge breakthroughs in medical imaging -- images of the human body created for clinical investigations. These advancements have enhanced our knowledge of our physical selves, but it also intensifies our view of ourselves.

Documentary and storytelling – summary

Documentary and storytelling, a chapter from the David Bates’s photography (key concepts) initially discusses the origins of documentary explaining that its aims were to show the actuality of everyday life’s of ordinary people. The explosion of documentary due to the rise in mass press after the Second World War saw the emergence of popular illustrated photo magazines. Photographers played key positions in illustrating a story through the photograph. Text became secondary to the image acting as assistance to the image. The aim of documentary work was not only to record and document but also to creatively educate.

Organisation is also said to play a key part in the storytelling for example layout of pictures. However the photographers had little control over how the images they had worked hard to take were organized which may detracted from the intended the meaning the photographer initially intended.

Documentary was seen to have developed from the mass rise of democratic movements the importance was given ordinary people, inspired by the idea of factography ‘the representation people’. Early documentary photography before it became popular was seen to have focused on the plight of the poor to the middle-classes.

Reportage, derived from the idea of the snapshot which implied a great expressive quality with a high amount of subjectivity. Subjectivity and objectivity are seen as two key modalities of documentary, one always being present even if unintended.

The decisive moment an idea put forward by Henri Cartier-Bresson brings together the notion of instantaneity with the concept of storytelling with a single picture.

The aim of documentary is to make the spectator into the eye witness. A spectator can participate by seeing with their own eyes what the photographer has seen. The two tendencies in documentary photography as first-person and third-person documents position the viewer differently. The subjective view point appears involved and engaged in the event, while the neutral or objective viewpoint appears almost indifferent or disengaged.

Documentary relies on the construction of an image of reality in representation. Construction, on which the whole project of documentary was based, can also be described as manifesting a desire for reality.

During 1980 colour photography began to appear in documentary and art. Initially colour wasn’t seen to embody the quality of documentary. Eventually the arguments gave way and colour became the new reality.

The rhetorical form of documentary photography still exists however it had to find a new voice within contemporary media.

Documentary and Photojournalism - A Synopsis

Time in photography isn’t measured purely in days, months or years; it’s about capturing a fleeting moment that occurs in a split-second or less.

 Increments of time are impossible or difficult to perceive by the eye but not to digital memory or light sensitive film. The difference between a second, fifteenth or hundredth of a second alters what stands before the camera. The split second click of a shutter speed grabs, organises, identifies and interprets information in order for us to represent and understand what we have in front of our eyes. It evokes a more meaningful visual experience.

Photographer Joseph Rodriguez said “as a kid I was always told to shut up, you know be quiet and speak when spoken to. I could never get my voice out. Photography is my voice”.  (Light: 142)

How do we use photography as a voice? We can do this through photojournalism and documentary photography. Both are identical mediums, sending out different messages.

Documentary photographers reveal the infinite number of situations, actions and results over a period of time. In short, they reveal life. Life is not a moment; it isn’t a single situation, since one situation is followed by another and another. Which one is life? Photojournalism in its instant shot and transmission – doesn’t show “life”. It neither has the time to understand it nor the space to display its complexity. The pictures we see in magazines and newspapers show static moments taken out of context and exhibited in a way the media sees fit, then sold as truth. For the photojournalist time is of the essence and a deadline looms. We as viewers are often left with a biased opinion, abandoned to make up their minds based on incomplete evidence.

Violence and tragedy are staples of photojournalism, “If it bleeds, it leads” is a popular, unspoken sentiment widely used. We as viewers are attracted and intrigued by such stories; and photojournalist’s who win international prizes and competitions are almost always witness to such tragedies that get published. How many of us sit in front of our televisions not wanting to watch such abhorrent, inhumane sights, but doing so through gaps in our fingers? Photojournalism has shifted from being used as a clear focus on social, political and personal lives to pulling in a new generation of people whose fascination is with bloody body bags, violent crime and an obsession with peering into the life of normal people suffering from loss of a loved one. It’s raw, and you can almost wipe the tear off the persons face. We are dehumanised.

 

 

I feel that in certain situations we need photography to feel better about our own lives.

This image changed the lives of both the photographer and the victim and also created a stir about where a photographer’s duty finishes, behind or beyond the camera. Ut was accused of exploiting the child in the photograph but although the image did not erase the damage nor end the war, he saved the life of the girl he had photographed. Why take the photograph instead of just helping her? We question and we judge. Images like these taken in the 1970s brought to people the suffering and horrors of war that only those serving in the army usually got to experience.

With the 21^st Century bringing with it an era of digital photography e.g. YouTube, Flickr, and numerous other websites (not to mention camera phones); hundreds of new images are being released every week, and it has become the norm to open the newspaper and see devastation taken on a phone or with a cheap happy snappy camera.

Although there is good in photography, are we allowing photography to support heinous crimes and acts of suffering? Are we photographing victims?

“Today everything exists to end in a photograph”. – Sontag (1977 P24) American writer and film maker and political activist.

   

 

 

Photography: A Critical Introduction - Surveyors & Surveyed

In the early days of photography, it was deemed that an image shown through the camera was the truth. It was used in places such as Egypt, USA, Paris, the Himalayas, Syria and other places around the world to portray many different events. Events such as life on the streets, war, scientific observation, pornographic images, charity images of the poor and homeless and recording of monuments. This meant that images that had already been manipulated such as the montages of fairies, ghosts and elves appeared to confirm the supernatural ideas that were around at the time.

The 1930s was the decade where most of the ideas about documentary as social and political objectives were formed, both documentary and photojournalism were said to offer authentic and accurate images of the world as it was, however, many images that were taken during times of war and other events were tampered with, set-up and altered. This was mainly associated with documentary as it became problematic idea and a number of conventions and practises had to evolve to ensure that the images were authentic.  Such practises were those of printing a full image with a black border around it to ensure that the viewer saw the entire reality, and deeming any image that had been taken using flash as ‘illegitimate’.  This made way for codes of conduct that began to emerge on the way photographs were to be taken.

Jacob Riis directly connected photography to journalism by giving the media images to go along with the stories of poverty and overcrowding, and as these images were seen to be true, they gave the evidence needed to provide an insight into the real lives of that time.

As technology advanced, it became easier to manipulate photographs as the digital age was arriving, this meant that no image could be truly real without a witness being there from start to finish, however it can be an offense to show an untrue image in a national and global publication. Many claim that being able to create, manipulate and edit images has destroyed the claim photography once had to show the truth. We all have a subconscious within us that says that untrue images are wrong, yet at the same time we want to believe that the photographs are evidential and more ‘real’ than any other image.