Part 1
I imagine (this is all I can do, since I am not a photographer) that the essential gesture of the Operator is to surprise something or someone (through the little hole of the camera), and that this gesture is, therefore, perfect when it is performed unbeknownst to the subject being photographed. From this gesture derive all photographs whose principle (or better, whose alibi) is “shock”; for the photographic “shock” (quite different from the punctum) consists less in traumatizing than in revealing what was so well hidden that the actor himself was unaware or unconscious of it. Hence a whole gamut of surprises” (as they are for me, the Spectator; but for the Photographer, these are so many “performances”).
Page 32 ,Chapter 14
This passage interested me because Barthes explained how he views surprises in photography defines the performance of the operator. Barthes view that when an operator photographs the subject without the subject knowing; they have performed perfect photography. He explains the principle of “shock” in five different surprises. He mentions that the photograph must be rare, a stop in motion and time, prowess, uses of unusual techniques, and “lucky find”. This part of the passage is crucial because it notes the element of history and the idea that the photograph won’t be seen again. The surprises that Barthes mention emphasized that a good photograph will need to be those that “normal eyes cannot arrest it (page 32). ” It captures a moment of time that stops the motion of time. The photograph must be immobilized as it depicts a rapid scene. Once a photograph is taken, it occurs in the past. He also mentions that a good photograph must be those that are “lucky find”. It is those that are not arranged or manipulated. It is important as it shows that the illustration of the photograph once occurred will no longer exist for another to copy.
Part 2
For once, photography gave me a sentiment as certain as remembrance, just as Proust experienced it one day when, meaning over to take off his boots, there suddenly came to him his grandmother’s true face, “whose living reality I was experiencing for the first time, in an involuntary and complete memory.” The unknown photographer of Chennevieres-sur-Marne had been the mediator of a truth, as much as Nadar making of his mother (or of his wife-no one knows for certain) one of the loveliest photographs in the world; he had produced a supererogatory photograph which contained more than what the technical being of photography can reasonably offer. Or again (for I am trying to express this truth) this Winter Garden Photograph was for me like the last music Schumann wrote before collapsing, that first Gesang der Friihe which accords with both my mother’s being and my grief at her death; I could not express this accord except by an infinite series of adjectives, which I omit, convinced however that this photograph collected all the possible predicates from which my mother’s being was constituted and whose suppression or partial alteration, conversely, had sent me back to these photographs of her which had left me so unsatisfied. These same photographs, which phenomenology would call “ordinary” objects, were merely analogical, provoking only her identity, not her truth; but the Winter Garden PhotOgraph was indeed essential, it achieved for me, utopically, the impossible science of the unique being.
– Page 70, Chapter 28
The passage adds to the theme of grief for Barthe’s mother. I chose this passage because it elaborates Barthe’s feelings towards his mother in this part of the book. He was looking at a photograph of his 5-year-old mother as it brings back memories. His mother is gone but photographs still exist. He missed his mother and looking back at the picture allows him to ” gradually [moved] back in time with her( page 67)”. This passage talks about how the photograph is able to the feeling of remembrance back to Barthes but he also realizes the reality that what is dead can not be turnback. Photographs can show her identity but do not help him feel her presence as she is already dead.
Part 3
How can the idea of photographs telling the truth about the past change as modern technology like photoshopping manipulates the truth?
Part 4
Meindert Hobbema, Hamlet in the Wood, 1660-65
What drove you to pick this piece of art in relation to the ideas of Barthes? In the beginning of the book he seems to have the stance that no matter the resemblance, a painting is not a photograph, however do you think that his ideas could still apply to the painting?
Hongying,
I really liked the quotes you chose! I especially like the first one, as we can probably all resonate with its meaning. Nowadays, friends try to get “off-guard” photos of each other, and this, according to Barthes, is “the perfect photograph.” I agree with what you and Barthes claim; when posing for a picture, it seems forced and unnatural, whereas a “shock” photograph depicts the subject in his or her genuine, raw state. Axel also chose a quote that discusses the rigidness of posing and the death of the subject’s essence that is a result of its photograph, and I think he would definitely agree with what you’re saying! You can even reference him and his quotes in class during the discussion about these important themes. Overall, great job!!
Julia
I really like your question because photography has definitely changed over time due to numerous photoshopping tools and filtering techniques. This can go back to my idea of inauthenticity and whether or not a picture accurately depicts reality. Also, I really like where you say, “Photographs can show her identity but do not help him feel her presence as she is already dead.” Photographs can evoke memories, but not necessarily emotions. This is why it is important to truly live in the moment and appreciate what’s in front of you. Overall, I really like your piece because it has a good amount of analysis and you do a great job of stringing your thoughts together.