The first time I was so concentrated on it and I took an hour or two to read it in a singe sitting, and to untangle all of the meaning in it.

Looking at a photo of someone and knowing they are now dead.

You can use them for inspiration, an insight into a particular topic, a handy source of reference, or even just as a template of a certain type of paper. He says ‘once I feel myself observed by the lens…I transform myself in advance into an image.’ (p10) He discusses the impact of this fact on ever finding ‘the truth’ of an individual in an image.’, He acknowledges also that even if he sees in his own portrait, the ‘truth’ of himself, reproduction of this image may turn him into something else (and as such he as subject ‘dies’). He names this constraint, “That-has-been” or “the Intractable” (77). From a real body, which was there, proceed radiations which ultimately touch me, who am here; the duration of the transmission is insignificant; the photograph of the missing being, as Sontag says, will touch me like the delayed rays of a star. he so longs for transcendence, redemption, and eternal life and he prays it might come through the archives and the text. The body or face or a person holds a different effect. if you ever wondered what in search of lost time was really about but didn't want to leaf through the 3000 pages (but i recommend you do that) then this a short treatise on what proust was doing in telling his story.

1) Making photography into art, because art is never mad. He feels his mother “lent” herself to photographs. He so much as admits he knows not much about photography, and goes on to talk at great length about himself instead. There is a tangible connection between the thing that has been photographed and the viewers eyes. There are two elements that compose this attraction. he so longs for transcendence, redemption, and eternal life and he prays it might come through the archives and the text. Sometimes photos reveal looks that we don’t see in real life. So his draw to the photo (and thus his understanding of the essence of photography) has to be personalized and unique. However, inspired by them, I decided to make something of a summary as a way of embedding my understanding and helping with my memory of this book. Posted on July 6, 2015 July 6, 2015 by Danah Hashem. He feels that the truth lies in this photo because the draw he felt for that photo would be the emblem of any draw anyone felt towards photography in general. “therefore I missed her altogether” (66). He says he only recognized her in fragments, bits and pieces, but that he did not recognize her being. Frustrating. Barthes mother does not fit into a category.

I began calling it: the pangs of love” (116). Critical analysis of Barthes’s Camera Lucida-Reflections on Photography.

In finding this image of his mother, he feels that “photography gave me [him] a sentiment as certain as remembrance” (70).

But isn’t the meaning of the thing the only reason we actually like photographs? It is a short (120 page) exploration of the unique qualities of photography compared to other forms of representation.

We utilize security vendors that protect and ensure the integrity of our platform while keeping your private information safe. Barthes describes journalistic photographs as examples of such photos without punctum. It is historical testimony “by a new, somehow experiential order of proof, although it is the past which is in question,” that slavery existed (80). As such, the Photograph is a “cunning dissociation of consciousness from identity”, it transforms subject into object. He just acknowledges that it is one of the punctum of the photograph. Why did he need the personalized photo to make that connection?

For example, he says we can have three relationships to photographs: we can take them (he doesn’t take them so he has virtually nothing to say about this), we can be in them (and this is interesting, as having our picture taken means to pose – so what is it that we are seeing when we see a photo of ourselves?) This is because the ‘symbolic photograph’ reflects an image which is optionally not real, but essentially the actual object that was posed in front of the camera for a photograph to appear.

Mainly because it is one of the books I go back to again and again, a book that encapsulates for me the pathos of the captured image, the inherent sadness of human life. Roland Barthes examines the photograph philosophically; he sees it not as capturing the moment, something nothing can, because the present, as Buddhists,T S Eliot and many others know, is always the past, but one in which, Barthes final book is an agonising, almost painful, quest to identify the nature (the, As a photographer I've always wanted to read Barthes and decided to just jump into Camera Lucida... apparently I've been in a French Philosophy/Theory mood lately.

Barthes then attempts to understand what makes some photos better than others. We use the time to analyze “that has been” and “what is behind” (100). He then kind of comments on how that will also die when he dies and is no longer around to testify to it, so generally he seems to be blurring life and death into photography again. Now, I'm distracted by work, by thinking about other things, by stress, and it seemed a lot more critical. My cousins, now dead or old, as they were when young, at birthday, Easter and Christmas parties, and my mother as an attractive young woman with her life before her. A photo can have an air of goodness or of gravitas. He uses, as example, the difference between pornography and erotic photography, describing pornography as ‘unary’: without punctum, and ‘banal’. In the end, Barthes recognizes he cannot penetrate, cannot reach into the Photograph.

In remembering his final time with his mother, he feels that they had an understanding “that the frivolous insignificance of language, the suspension of images must be the very space of love, its music” (72). My stories are a way of shutting my eyes.”, “What the Photograph reproduces to infinity has occurred only once: the Photograph mechanically repeats what could never be repeated existentially.”, ورشة في مركز الصورة المعاصرة عن كتاب الغرفة المضيئة It is exactly how I tend to think about ideas and I connect strongly with his view. Using an image of his mother and father together, knowing that they loved each other, as an example, he questions who will be able to verify that fact once he himself is dead. I love Barthes’ naturalness and honesty in describing precisely what he feels and sees. In addition, his view was that a photograph could signify a very real scenario in life, a quality that he considered very distinctive in an individual interpreter. Free download or read online Camera Lucida: Reflections on Photography pdf (ePUB) book. The photograph involves “flat death” (92), meaning that it considers death very flatly and doesn’t consider the horror involved. They need to be informative, to capture the knowledge entailed by the studium; however, they do not need to disturb. None of them has a voice. “what founds the nature of photography is the pose” (78). He compares photographs to dreams, where you recognize something or someone, but it isn’t quite right and you find yourself straining to determine what’s different. The final chapter of Camera Lucida considers the photograph as a likeness of the subject. When being photographed and knowing it, the Spectrum transforms themselves into an image through the process of “posing”. History, in his definition is “simple that time when we were not born” (64).

We start off with high hopes, we think we can conquer the world with all the wonders it has to offer, and that is true of course for a time. To be fair, Sontag’s point is that the photograph lies about the meaning of the thing. The nature of this evidentiary power changes when the referent is a being and not a thing. The book was a rewarding book for me to think about photography in unfamiliar ways. My tutor advised that I look at Camera Lucida as part of my research for assignment 4. Of punctum, he says that it could be any detail: ‘a child’s bad teeth, dirty fingernails.’ He says punctum ‘can be ill-bred.’ (p43) He suggests that punctum is not necessarily a deliberate choice by the photographer and that if it was, it would not ‘prick’ or impress him. It is a short (120 page) exploration of the unique qualities of photography compared to other forms of representation.

The image later appeared on a pamphlet and gave him nothing more than a ‘sinister countenance.’ (p15). As such, we can say the subject derives its existence from the photographer by morphing itself for him. There are always two sides of analyzing a Photograph: one expressive, the other critical, and this distinction uneases him. As a photographer I've always wanted to read Barthes and decided to just jump into Camera Lucida... apparently I've been in a French Philosophy/Theory mood lately. The likeness of a person, to Barthes, encompasses more of their essence and identity. '(p64) He identifies more with images that show accessories that he remembers. 2) generalizing art “until it is no longer confronted by any image in relation to which it can mark itself, assert its special character, its scandal, its madness” (118). Barthes separates punctum from ‘photographic ‘shock’, arguing that the ‘rarity of the subject’, the ‘prowess’ of the photographer, the capturing of something that the eye cannot see, the ‘lucky find’ or technique, do not impress him.

He acknowledges that history separates himself from the photographs. At times, he approaches the mystic, speaking of the photograph as created from rays coming from the thing or person photographed, giving them a continuance in the photograph even though they are no longer there—and he even likens the photograph to Eastern Orthodox icons, in that for both the image itself becomes transparent and the viewer/worshipper looks at (or seems to look at) the thing imaged.

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