ABSTRACT
This chapter explores the notion that the evolution of the photographic image will continue to be tied in with the evolution of digital networks. It discusses a false dichotomy that the terms 'post-truth' and 'fake news' have assumed in relation to the photographic image. The interlinked discursive formation 'post-truth' and 'fake news' are primarily focused on the written word, the published news item, or the spoken word, such as a politician speaking at a press conference. The reductionist binaryism that the term 'post-truth' implies is particularly crude with regards to theoretical discussions on photography. Since the very invention of photography in the 1830s and 1840s, artists, photographers, scientists and writers questioned and indeed subverted any preconceived notions about a photographic truth. The visual effectiveness and the viral popularity of the photographic juxtaposition published by Reuters clearly caught the attention of the Trump administration, which considered it an affront.
