Thoughtfactory: Leica poetics

Leica, film, snaps, chronicles, cliches

different perspectives on a photo-picture

Todays photography is digital plus  computer graphics, which brings incredible capability. Its computational photography. 

This  gives people the  power to create. The future looks to be one of turning the complex physical parts of a camera into software and algorithms making computational photography more of a  data-crunching problem.   

If photography has changed in terms of  faster, better cameras, new processes and workflows, improved storage mechanisms — but  it has yet to fundamentally re-think the actual picture.  Classical  photography assumes a fixed perspective ---photographers freeze a moment, and do so with particular intentions since  the focus, the depth of field, the composition all serve a careful purpose. 

What the classical picture didn't  allow the viewer  was multiply perspectives  within a single picture. The single perspective was that of the photographer. 

The assumption of the realist tradition in classical photography was a Cartesian one. The 'Cartesian' tradition in Western philosophy  has generally come to stand for a search for certain and objective knowledge through the exercise of scientific reason; for a disinterested and rational method of enquiry untainted by the feelings and subjectivity of the observer. The attainment of certain knowledge by an abstract reason exercised by a 'disembodied' mind is the 'Cartesian dream'. 

Yet the indexicality of the photo--the referential nature that links the the image to its its objects or events  is what distinguishes the photo-image from other forms of representation--is counterbalanced by the photo intertextual connections to the written text and other images. Photos are texts inscribed in various discourses  consisting of overlapping series of previous texts.  We are, for instance,  surrounded by photographs that are illustrations, by newspapers that are narrations, by cinema images by television images and we ordinarily place photographs into sequences and contexts—the family album, the newspaper, the filmstrip.   

This intertxuality means that objective certitude and its utility to modern systems of knowledge has been displaced in favour of the fluidity and diversity of cultural and social meaning.