Rise of the Blur

Because detective shows and soap operas use this blurry-foreground move so regularly, its sudden ubiquity in the news represents a significant shift in register, or even genre, for journalism. Photojournalism has for decades restricted itself to a stark framing of visual facts, never wishing to compromise its evidentiary role in the narration for a more theatrical one. The best news photos deftly capture the drama with a shutter click, but that is also the abiding rule: it either happens in that click, or it doesn’t make it to print. Framing and depth-of-field are the only things the photographer can deploy in that moment, so that’s why they’re being used together and pushed to extraordinary limits in the rise of the blur.

Rise of the Blur, Dushko Petrovich in n+1