As such, we can say the subject derives its existence from the photographer by morphing itself for him.
When being photographed and knowing it, the Spectrum transforms themselves into an image through the process of “posing”. The Operator is the Photographer the Spectator is ourselves admiring the Photograph the Spectrum is the object being photographed. It is exactly how I tend to think about ideas and I connect strongly with his view.īarthes introduces the main 3 players of Photography based on the main actions encountered: to do, to undergo, and to look. I love Barthes’ naturalness and honesty in describing precisely what he feels and sees. However, throughout the book, he explains what each Photograph means to him by meticulously defining terms to understand the intricacy of Photography. There are always two sides of analyzing a Photograph: one expressive, the other critical, and this distinction uneases him. He explains that a Photograph is always invisible, for it is not it that we see. In the beginning of his classification, Barthes discovers that Photography evades us and it is, perhaps, unclassifiable. In this process, Barthes distinguishes between the regular, plain photograph or photography and the much grander, thought-out Photograph or Photography, capitalizing all these essential terms to give them value. The author learns this by splitting photography into its components and analyzing them one by one.
From the beginning, he declares he is not a photographer, but merely an admirer in search of defining what about photography fascinates and touches him. Starting with his fascination for Napoleon’s younger brother’s portrait, the author describes his journey to discovering what photography is “in itself”.
Shayan Abbasi on The Wasteland: A Poem about De… Street Photography R… on Henri Cartier Bresson’s… Criticizing Photographs, Chapter 2: Describing Photographs.Photo Resurrections & Myth of Narcissus Reflections.
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