Abstract

The point of departure of Berger and Mohr’s Another Way of Telling (1982) is what they call the discovery that ‘photographs did not work as we had been taught’. Since their book was written, the same feeling of ‘discovery’ has been expressed in other writings on photography. Often, these ‘discoveries’ have been linked with the way ‘ordinary’ people have been using photography. This paper addresses this recurrence and asks what are the discursive conditions under which this understanding of photography has been perceived as a ‘discovery’ whenever it has surfaced in the last 30 years. The paper analyzes the conceptual grid within the hegemonic discourse on photography that has contributed enormously to the marginalization of this new understanding of photography — the common opposition between the ‘aesthetic’ and the ‘political’, and accordingly between two seemingly contradictory judgments: ‘this is too political’; ‘this is too aesthetic’. These judgments, applied frequently to photographs taken in zones of ‘regime-made disaster’, usually differ and sometimes completely prevent the possible encounter with the photographed people who, through the photograph, are co-present with the spectators in the event of viewing the photograph.