This thesis utilises Ariella Azoulay’s proposition of the ‘event of photography’ as a critical research method and curatorial framework to explore the affective meanings of photographs in the context of the aftermath of the Troubles signalled by the Good Friday Agreement. It examines the implications of staging the ‘event of photography’ as a curated research process and dramaturgical methodology in order to explore the political temporality of post Agreement through a discussion of the affective meanings of the work of six photographers - John Duncan, Kai Olaf Hesse, Mary McIntyre, David Farrell, Paul Seawright and Malcolm Craig Gilbert.