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Welcome to the Guardian Long Read, showcasing the best long-form journalism covering culture,

politics and new thinking. For the text version of this and all our long reads,

go to thegardian.com-word-slash-long-weed.

The Smooth Compromise, how Obama's iconography obscured his emissions, by Blair McClendon,

Redbyte and Zell Sylvia, and produced by Esther O'Poco-Jennie. From the beginning,

Obama's team was invested in constructing a certain image of what would be deemed a historic

presidency. During Obama's campaign, the artist Shepard Ferry, who designed the famous

Hope poster, was widely acknowledged as his key iconographer. But in retrospect, who Obama was

and what he represented, endorsed in the public imagination thanks to the work of the White House

photographer, Pete Soza, a longtime photojournalist who first had the assignment under Ronald Reagan.

Over time, Soza helped create a new image of race in the US. This was an image of a post-racial

nation, where post-racial didn't mean liberation. It meant a US where race was solely effect

and gesture. Rather than the old brew of capital land and premature death, progress would deposit

us in a place where black would be pure style, a style that the ruling class could finally wear out.

...