Chapter two of Clarke’s “The Photograph” addresses the subject of photography in the nineteenth century. It highlights ways in which photography sought to mimic painting in some aspects such as mixing prints by Gustave (43). There was also some form of selectivity; for instance, London could be portrayed as individual buildings or as an extensive chaos. The second chapter equally documents the advent of travel photography that enabled people to record various traditions globally as well as impose their various cultural perspectives. As Clarke notes “to photograph is to give evidence to the facts” According to Clarke’s second chapter, photographs must not be read as images but as texts. Perceiving photographs in this manner forms a relation between readers of the photograph. Such a relationship is plausible because photographs are the most intricate form of representation since the photograph represents the photographer’s point of view. A distinction thus exists between passive and active taking of a photo. According to Clarke, photographs are never passive but active. Additionally, each photographer possesses a visual style. The American civil war for instance- the most photographed war of its time, attests to this fact. Photography according to Clarke is an art and the use of terms such as landscape or portrait, only serve to reduce photography to mere production of pictures. In as much as any person can presently produce a picture, photography according to Clarke needs heroes with an artistic edge.
Such views resonate with the course content learned so far which highlights the fact that photography offers a true representation of facts in life. Clarke’s second chapter helps a reader perceive photography in a wider sense- that of art. Photography to photographer is thus not a passive activity. Clarke’s work thus inspires me to perceive photography as an extension of the photographer’s personality. This is because photographs are uniquely taken by photographers with varying viewpoints of life. Understanding this aspect of photography is revolutionary since it inspires me to present my perception of life to others in my own unique way. Personally, this is a form of art where the creative mind is allowed to roam free and present timeless photographs.
Personally, I believe that whereas photography hinges on the capacity to see and to record, it can only express itself via a proficiency of technique. However, laying a lot of emphasis on the technical bit may cripple and preclude creative photography. Furthermore, every aspect of photography has to be clearly and distinctively understood at the intuitive level prior to merging into one coherent function. Like most photographers of our time, I believe that the challenge of photography lies in technology. Very few photographers live to master the art of photography. Instead of mastering photography, they allow the medium of photography to master them as they enter an endless chase for the latest technological gadgets and lenses instead of staying with one piece and harness its full potential.
Conclusively, Clarke presents insightful work for any wannabe and expert photographer. It is thus essential to learn that the vitally sharp and vivid colors of a photograph do not emerge from a photographers innate abilities, instead, they are a result of a photographers ability to learn new skills and diligently apply them as he perfects his or her trade. A photograph however precedes operating a camera. The photographic idea is the difference.
Work cited
Clarke, Graham. The photograph. Vol. 1. Oxford History of Art, 1997.
