Documentalismo fotográfico contemporáneo

There was a time, the time of universal language, in which the photo was presented as the record of the plainly truth. After that, the genders of realism, the documentary and the report came, and the photo became part of the press and the credible. Meanwhile, the sublime was classified as well as beauty in consonance only with the creative genius, with the artist photographer, in the purest line that distances life in short and haute couture in the bourgeois ideology. Until it was impossible to hide the role of the mass media in the construction of the rules of signification. Then the photographer got ride of the objective obsession, he observed the real as fiction, he looked himself as part of the game, taking hand of the codes and tics of his time, his history and his album of contradictions, entering a thousand ways to define the morbid, contemporary conventions of the photographic documentalism.