section 4
In regards to section 4:
Barthes' analysis of the photograph is constructive. Braking down the entire “life” of the photograph is interesting. It seemed to be a bit obvious and open ended, but it is always good to here a compelling writer articulate these concepts, no matter how basic we may think they are. I think we tend to over look many miniscule photography philosophies, and just skip to the action of the trade (maybe it takes a non-photographer to ever see it in such a light).
The tri-level photo viewing higher-archy is intelligible. It is good to make a distinction between the different roles of all who are involved with the photo viewing experience. I find it a bit funny when Roland states he “may suppose that the operators emotion at the time angle and framing of the distinctive moment, to me this is solely (well maybe 90%) of the power behind a moving and compelling photo.
He also speaks to the dichotomy of the photo process, that of distribution and displaying; and that of the initial image capture. To present these ideas as a duality makes sense, but, again, I do not think that they are equal. The process of printing an mass-producing an image is much more technical than the creative process the photographer goes though in his mind at the decisive moment, of clicking the shutter. Because of this I think that this creative aspect is more crucial than that of the mechanical. Any image can be printed and reproduced in this day in age, but only the most powerful and compelling of images will be loved, and displayed.
