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Riassunto di libro Fotografia (Marra)
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- Marra's Core Argument: The advent of digital photography is not a revolution but a continuation of its established social functions, maintaining its identity rooted in uses, practices, and contexts.
- Dual Nature of Photography: It is inherently both science and art, truth and imagination, objective and subjective, exemplified by its inventors (e.g., Daguerre as painter/scenographer, Talbot as chemist/mathematician/painter).
- Hardware vs. Software: While photographic 'hardware' (physical instruments) evolved significantly over 160 years, the 'software' (cultural and logical apparatus) has remained largely consistent since Daguerre and Talbot.
- 19th Century Developments (Ottocento):
- Initially dominated by its technical-scientific aspect, artistic recognition only came later with movements like Futurism and Surrealism.
- Photography was seen as an artificial extension of human vision, enhancing observation and influencing scientific understanding.
- Debates among artists emerged: Delaroche proclaimed 'painting is dead,' while Baudelaire argued photography's excessive realism and lack of authorship separated it from art.
- The 'pictorialism' movement attempted to establish photography's artistic identity by mimicking painting techniques, like photomontage.
- Massification occurred with the 'carte de visite' (1854) and the introduction of Kodak (1888), making photography accessible to many.
- The photo album became a crucial cultural tool for preserving intimate memories.
- Despite its perceived objectivity, the photographer's subjectivity was always present; the idea of photography as 'incontestable proof of the real' led to phenomena like spiritual photography.
- 20th Century (Novecento) Shifts:
- The rise of television and cinema led to a redefinition of photography's role in information, pushing it towards more reflective forms like reportage.
- Fashion photography highlighted the medium's art/science duality and the centrality of the photographer's authorship.
- Marra notes that using 'language' to describe images is a convenient simplification, as a single, definitive interpretation of a photograph is impossible.
- Beyond 2000 (Oltre il Duemila) - The Digital Era:
- Marra dismisses discussions of a 'POST' or 'AFTER' digital photography as often misguided, viewing the digital shift as another technical evolution.
- He clarifies that analog (mirror-like representation) and digital (non-mirror-like representation) are different ways of expressing information.
- The debate about digital photography undermining the 'veridicità' (truthfulness) or Roland Barthes' 'it has been' principle due to ease of modification is unfounded.
- Marra argues that the 'digital photo does not exist' as a fundamentally new entity; electronic recording merely replaced chemical recording, both serving as a 'mirror.'
- The social uses of digital photography are identical to those of analog, and analog photography itself was not immune to manipulation (e.g., photomontage).
- Photography's presumed realism is primarily a cultural paradigm.
- The art world, paradoxically, embraced digital photography for its potential to enhance artistic authorship.
- The proliferation of smartphones has drastically increased image production and reduced self-censorship, effectively removing the choice of whether or not to carry a camera, as it's now omnipresent.