photographer (Hall, 2015) who documented the aftermath of the Hiroshima attack
believed that has died shortly after the event. The photographer himself and
the people depicted in the photos were exposed to fatal levels of radiation.
There is a really interesting story “behind” the exhibition of this series of
photos. The photographer died before the camera went on sale 70 years ago, the
photographs were discovered 12 years ago, but were displayed for the first time
in a museum 2 years ago.
photography is not visually complex (Johnstone 2015); it straightforwardly
presents the details of the aftermath sites. There is a need thought the viewer
to be provided with more details to understand what they are viewing and which the
catastrophic event was.
The viewer is
invited to pause, acknowledge the event and reflect on what happened a little
or long time before the photograph taken, and caused suffering at the time that
happened and possibly still causing suffering today. It might allow the viewer to think about what
they are viewing. Hence, from an otherwise simple representation of an event,
more complicated discussions can be raised. Due to their disturbing nature
these images are aimed to raise political action (Lisle, 2011), (Sontag, 2003).
were not taken to pleasure the viewer. Photographers have different reasons and
motivations to cover the aftermath of events. João Pina (Pina, 2014) took
photos of survivors, families of people who disappear and the places everything
happened in South America during the Operation Condor. He took the photos
around 30 years after the events and aimed to create images of something
happened in the past, hoping that the resulting work would not only create a
visual memory but also aid survivors and bring those responsible to justice.
Dan Kitwood (Kitwood)
visited Philippines to capture the aftermath of Typhoon Haiyan. They have gone
there to document the destruction and the ability to adapt. What surprised them
was that the people were not desperate but hopeful as they were trying to adapt
and move on.
(Love, 2014) documented Fukushima a year after the nuclear disaster which was
initiated by the tsunami. Kinoshita wanted to show the extreme loneliness,
despair and grief, from which people cannot escape after a catastrophic event.