One of the interesting problems that surfaced during the shift from portraiture to photography is the nature of photography’s claim to be a scientific representation of absolute truth. As John Tagg writes in The Burden of Representation, “The value and fascination of such mechanically produced portraits seemed to lie in their unprecedented accuracy. The mechanisation of production guaranteed not only their cheapness and ready availability, but also, so it seemed, their authenticity. When the technology of the camera first became available, there was a great deal of concern about the accuracy of a photographic representation. Because we are pre-programmed to accept a photograph as “truth” and due to new technologies such as facebook, this concern is still relevant today.
Diane Arbus, a 1960’s photographer, explores the truth-claim of photography and the ability of the camera to reveal what she described as the “gap between intention and effect”.
An excellent example is her photograph, “Child with Toy Hand Grenade”. When viewed in tandem with her contact sheet, it is clear that Arbus chose to represent the boy as crazy even though he appears to be a completely normal child in all the other photos.