The Notion of Uniqueness, Value and Meaning in Photography.

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Fig, 3. Abraham Lincoln, 1862-1912. George Henry Story.

If we apply the Lincoln piece to Berger's discussion of consumerism and publicity – the painting will be considered as the 'vintage print'. This is because of the artists vision. Each Lincoln painting may have started from the same photograph but the painters were adding assumptions of Lincoln's life to broaden the imagery. Similar to the portraits of English monarchs, such as Queen Elizabeth I who was painted alongside world maps, jewels and weaponry. Each painting, is therefore, equal in its own rights as it's not an accurate reproduction of Brady's photograph.

The impact of photography differs from art in it's ability to reproduce identically. Each portrait of Lincoln can be publicised as a 'vintage print' as all are, in their own way, unique versions of President Lincoln. From this viewpoint it is fair to assume that the value of meaning is equal amongst all the works. But it's not. All pieces were created at different points in time. Some prior and past the assassination of Lincoln. Bowser was the only one whose work was completed before his death. 'Bower's portrait was brought by Lincoln soon after it was completed', this interaction with Lincoln will make Bowser's vintage print more commercially valuable than the others. If Lincoln's purchase of Bowser's painting increases its value based on its uniqueness, why isn't Brady's photograph valued higher?

Brady photographed Lincoln on many occasions. Perhaps this repetition is why his work could be considered banal. Brady photographing great historical figures becomes an expectation of his work, over a marvel that it was ever done.

"The modern day notion with photography is meaning and value decline as reproduction continues."

A similar instance to the choosing of the Lincoln painting would be choosing a cover photo for a magazine. In a photoshoot, hundreds of photographs are taken. The agency choose one image for the cover. Is that image worth more for its uniqueness if the public don't see the rest of the contact sheet? Or has it lost all meaning because it was selected for commercialised publicity? A photograph on a magazine is going to be viewed a countless number of times as people browse past it in shops and street stands. The consideration of reproduction will hardly cross the mind of the consumer as it is considered normal in the digital age.

"If art is renowned for its uniqueness, is photography no longer an art?"

Perhaps it is a pawn, a tool in the game of 'glamour' as Berger sees it. Glamour is the product of envy, which is the product of publicity, which is formed by presenting the public with a consumable desire, happiness, pleasure which they cannot have. Photography is commended on its reproducibility. Through institutions like the Louvre, allowing people to glamourise art as a singular item of want and pleasure – likewise the act of photo taking to nothing more than publicity.

There are a number of institution with Photography exhibits, showcasing photos as works of art in their own creative right. However, a photograph may not become a work of art until it has reached a divine completion. Modern images are often not complete without manipulation. Brady's photograph was not considered the final form of art, it was manipulated indirectly into an oil painting. As a result 'the art' (or finished photograph) then becomes the 'vintage print'. The piece that is publicised and commercially valued. The contact sheet becomes the stencil.

Drawing back to the hypothesis that Brady's photograph is nothing more than a stencil, it can be assumed that all photographs not contextualised as 'art' are of publicity use, or a tool to achieve higher value based on uniqueness over meaning. The more photographs of something is taken the increased possibility that there will be a singular image which will come to be worth lots of money. This theory pushes the practise of art above the practise of photography in relation to the value, meaning and uniqueness. In turn lessening the impact it has on the modern world.