Post by mostakimvip11 on Nov 14, 2022 3:59:50 GMT -6
The contradictions continue with the path of a photographer from the role of recorder of memories to that of creator. The first captures with his lens important events of his life. The second realizes that the insignificant is important that the details are what should speak for the whole and that the more important the event itself the more insignificant its photographic capture risks being. But even the commemorative photograph itself turns from a tool for stimulating memory into an autonomous memory carrier the moment we find that the photos in the family album no longer preserve the years of our youth but replace them and become our memory as such.
The photograph of our father finally occupies the place that the e-commerce photo editing image of his form had in our minds. And as if all this were not enough the unclear identity photographer realizes that he is obsessed with equally unclear intentions since while he is called to immortalize reality in fact he does nothing but transform it. That is he quickly finds that what the photograph conveys is a new reality that has been transformed by the intermediate presence of the photographer himself. The postmodern cult of reality may have deified photography nowadays but the latter slips away revealing that its value lies in the photographed event and not in the event itself and that all things people and events are transformed once they are photographed.
The already unclear and contradictory space of photographic identity and photographic intentions to that of the photographic process we will encounter an even greater chain of schizophrenic contradictions. First of all the photographic transformation takes place primarily due to the cutting and the way it is cut of a part of reality from the total field of view that the photographer's eyes face. The act of cutting out turns that slices reality. But while the photographer focuses his interest on what is included in his frame in essence he deals with what he will exclude. Since the real events or objects enclosed in the photographic frame existed before the intervention of the photographer his decisive contribution lies in what he excluded.
The photograph of our father finally occupies the place that the e-commerce photo editing image of his form had in our minds. And as if all this were not enough the unclear identity photographer realizes that he is obsessed with equally unclear intentions since while he is called to immortalize reality in fact he does nothing but transform it. That is he quickly finds that what the photograph conveys is a new reality that has been transformed by the intermediate presence of the photographer himself. The postmodern cult of reality may have deified photography nowadays but the latter slips away revealing that its value lies in the photographed event and not in the event itself and that all things people and events are transformed once they are photographed.
The already unclear and contradictory space of photographic identity and photographic intentions to that of the photographic process we will encounter an even greater chain of schizophrenic contradictions. First of all the photographic transformation takes place primarily due to the cutting and the way it is cut of a part of reality from the total field of view that the photographer's eyes face. The act of cutting out turns that slices reality. But while the photographer focuses his interest on what is included in his frame in essence he deals with what he will exclude. Since the real events or objects enclosed in the photographic frame existed before the intervention of the photographer his decisive contribution lies in what he excluded.