Abstract

Photographic truth has traditionally been theorized on the basis of ‘correctness’, whereby the image’s mechanically produced correspondence to reality guarantees its truth. This article suggests that Christian Patterson’s photobook Redheaded Peckerwood (2011) engages with a notion of photographic truth that can more usefully be understood in relation to Martin Heidegger’s descriptions of truth as aletheia or ‘unconcealing’. By including ambiguity, mystery and fiction in this nonetheless seemingly truthful retelling of historical events, the work suggests that a straightforward notion of the photograph’s transparency to the world is insufficient to explain the truth of photography.