A.D. Coleman ‘The Well-Made Photograph’

“Stuck indoors in the the air-conditioning during the July 2012 heatwave in New York, I began to explore a set of issues I’d contemplated for several years: the stupefying similarity of much contemporary photography, especially certain endlessly reiterated image structures and project formats.”

Francis Hodgson talking with Jörg Colberg


Joan Fontcuberta and Pere Formiguera 'Fauna' 1987

Joan Fontcuberta and Pere Formiguera ‘Fauna’ 1987

What follows is a conversation. It is rough and ready, and it is closer to a collection of notes than to finished writing. At the centre of it lies the shared conviction that it is high time that we sought certain standards whereby to discriminate between photography as digital junk and photography as the most powerful and engaging means of communication that we have. The former sometimes poses as the latter, and more often the latter is mistakenly dismissed for not being properly distinguished from the former.

The Golden Paradox


Richard Moose. Safe From Harm, North Kivu, Eastern Congo, 2012

Richard Moose. Safe From Harm, North Kivu, Eastern Congo, 2012

“we are being forgotten and we are forgetting photography projects faster the more we produce. This is the Golden Paradox of contemporary photography. The more we work and create and the more of us there are making great work, the less memorable the work we make is, the less time it circulates, the less relevant we are individually.

This hyper-rate of production and volume of photographers is abetted by Internet speed. Projects chewed over for four years are digested in an Internet minute. The acceleration of consumption has created a click through culture in photography, the infinite wealth of potential material and proliferation of sites drowning depth of engagement.

The quickness of dismissal by the average contemporary observer cheapens our efforts, degrades the interaction, eliminates profundity of experience.”