In the summer issue, Report, Foam Magazine goes on an investigative journey into the evolving world of photojournalism in the multiplicity of it's dimensions.
The 'classical' function of news images is to provide convincing proof of the truth and accuracy of the original report. Is this attitude still working?
While zooming in on major events happening right now, Report brings up the challenges of the notion of the photojournalistic genre itself. What is a report now? What are the shifts in it's functions and forms?
The Report issue states that photojournalism is not dead, as it has been announced often enough. It is very much alive. Moreover, photojournalism is entering the period of it's Renaissance: new strategies are being developed, new types of cooperation forged, new platforms invented, new stories, questions, and forms of criticism produced.
Each of the eight portfolios presented in Report reveal a critical attitude towards the medium, whether it be work created by Michael Christopher Brown in Libya with the Hipstamatic application on his iPhone, Chris de Bode's coverage of the exodus of refugees from that same North-African country, or Mikhael Subotzky and Patrick Waterhouse's portrayal of a Johannesburg apartment tower and its residents.
Or indeed the conceptual and methodical way in which Taryn Simon deploys the evidentiary capacity of photography in her latest series A Living Man Declared Dead and Other Chapters I - XVIII; the striking pictures of young people in Tehran by Amirali Ghasemi or the specific use made of Google Street View by Doug Rickard.