![]() ![]() The personal and social position through which the beholder is looking can bring what she or he sees into focus, or distort it beyond recognition. Moreover it is not just identification of a subject that is at stake but, often, identification with it. The moment of identification, unlike that of illumination, does not distinguish photography from other visual images, or even from encounters in the world at large.Īt work in any personal exchange identification plays an integral role in the formation of groups. This view of photography, however characteristically ignores another, equally important moment: the moment of identification. As this theory would have it, the key moment in photography occurs when the shutter opens, allows light into the dark chamber within, and gives lasting representation to whatever is in front of its lens. ![]() ![]() by Geoffrey Batchen (London: MIT, 2009) 75-89Ī photograph enjoys an unusually close relationship to its referent, acording to a widespread theory about the nature of photography. Olin, Margaret., ‘Touching Photographs: Roland Barthes’s “Mistaken” Identification’ in Photography Degree Zero: Reflections on Roland Barthes’s Camera Lucida ed. ![]()
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