The recent technological invention of cheap smartphones with decent cameras, the availability of cheap and fast internet in cell phones, and social networking platforms allow almost anyone to become a “photojournalist”. We are able to capture and share images and videos of a noteworthy event even live. Additionally, professional photographers continue to cover noteworthy events. It's almost impossible not to find images of a noteworthy event in 2017. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essayHowever, the photographer's interest in a significant story does not stop with the end of the event. With the end of the event, its consequences begin. In Aftermath or Late Photography, the photographer tries to capture the effects of a disaster. The photographer not only wants to inform but also to raise discussions and, hopefully, with the awareness of preventing these events from repeating, when possible. But is it possible? Can only photographs of catastrophic events change attitudes and policies? Can seeing images of socks and the sad feelings that come from them reduce the number of war crimes, wars, terrorist attacks? Can violent images such as those of the Grenfell Tower fire (BBC News, 2017b) change the way we construct buildings etc? Late PhotographyA genre of photography (Faulker, 2014), (Campany, 2003) has emerged over the last two decades in which images of the effects of historical and/or catastrophic events on landscapes, buildings, objects and people have been captured. The photographer arrives late, wanders around places where something has already happened and tries to capture its effects. These are pictures of what was left after the event ended. This type of photography of the aftermath of events was called "Late Photography" by David Campany. Please note: this is just an example. Get a custom paper from our expert writers now. Get a Custom Essay The first photos (Tello, 2014) , (Johnstone 2015) of this type were mid-19th century Crimean War photos taken by Roger Fenton and taken approximately two months after the events. His photos still influence professionals of the genre. However, Aftermath Photography as a genre did not properly emerge until the 2000s. Characteristic examples of late photography from this era are the images taken by Joel Meyerowitz after the 9/11 attack on the World Trade Center and photos of the wars in Iraq and Afghanistan by Paul Seawright (Seawright), Lyndell Brown and Charles Green (Brown, L., Green, C., Cattapan J., 2014). Meyerowitz (Phaidon, 2011) was the only photographer granted access to the scene and cleanup operations at the World Trade Center.