Camera lucida
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is often said that it was the painters who invented Photography (by bequeathing
it their framing, the Albertian perspective, and the optic of the camera obscura
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Reading Material for Week 4 (For class internal use only) Camera Lucida By Roland Barthes Chapters 34 to 37 from “Camera Lucida”; 1981; New York 34 It is often said that it was the painters who invented Photography (by bequeathing it their framing, the Albertian perspective, and the optic of the camera obscura). I say: no, it was the chemists. For the noeme "That-has-been" was possible only on the day when a scientific circumstance (the discovery that silver halogens were sensitive to light) made it possible to recover and print directly the luminous rays emitted by a variously lighted object. The photograph is literally an emanation of the referent. 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. A sort of umbilical cord links the body of the photographed thing to my gaze: light, though impalpable, is here a carnal medium, a skin I share with anyone who has been photographed. It seems that in Latin "photograph" would be said "imago lucis opera expressa"; which is to say: image revealed, "extracted," "mounted," "expressed" (like the juice of a lemon) by the action of light. And if Photography belonged to a world with some residual sensitivity to myth, we should exult over the richness of the symbol: the loved body is immortalized by the mediation of a precious metal, silver (monument and luxury); to which we might add the notion that this metal, like all the metals of Alchemy, is alive. Perhaps it is because I am delighted (or depressed) to know that the thing of the past, by its immediate radiations (its luminances), has really touched the surface which in its turn my gaze will touch, that I am not very fond of Color. An anonymous daguerreotype of 1843 shows a man and a woman in a medallion subsequently tinted by the miniaturists on the staff of the photographic studio: I always feel (unimportant what actually occurs) that in the same way, color is a coating applied later on to the original truth of the black-and-white photograph. For me, color is an artifice, a cosmetic (like the kind used to paint corpses). What matters to me is not the photo- graph's "life" (a purely ideological notion) but the certainty that the photographed body touches me with its own rays and not with a superadded light. (Hence the Winter Garden Photograph, however pale, is for me the treasury of rays which emanated from my mother as a child, from her hair, her skin, her dress, her gaze, on that day.) CTIN 501: Database Cinema; Instructor: Andreas Kratky 1/6 Interactive Media Division USC School of Cinema Television
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