On the limitations of photography

With the development of photography technology. Cameras have entered every household in Qian Qian. Taking photos during travel, meetings and major events, but we seldom think about the significance of shooting. Perhaps you will retort that the significance of filming lies in recording, remembering and even exposing the dark side of society from the height of human nature, and embodying moral care and universal values. Let's talk about the limitations and core of photography from these angles.

1. Refuting that mass photography only has recording function.

Photography has become a kind of entertainment, almost as extensive as pornography and dancing, which means that photography, like all forms of popular art, has not been practiced as an art by most people. This is a social ceremony, a way to resist anxiety. Cameras accompany family life, and many families have cameras as a tool to record their children's growth. If you don't take pictures of them, especially at a very young age, it becomes a sign of parents' indifference. Not participating in the filming of "graduation photo" has also become a sign of not considering classmates and adolescent rebellion. These examples show to a great extent that the recording significance of photography in public life has become an accessory of social ceremonies. Most people don't want to take photos and record, but want to complete the ceremony.

In addition, the big photos of each family serve as the testimony of family ties. However, with the shrinking of family size and the division of family, photographic memory symbolically becomes a tool to maintain the unstable relationship between family members, so as to weaken people's anxiety about clan life.

In addition, photography and tourism develop in parallel. It seems unnatural to travel without a camera. Photos can provide irrefutable evidence that people have traveled and had a good time. Taking pictures is a way to verify the experience. Most tourists put their cameras between them and what they meet, stop, take a photo, and then keep walking. This method is especially popular in countries suffering from relentless professional pressure and moral destruction, such as Japan and Germany. They can't get rid of the anxiety of not working when traveling, so they use the form of taking pictures instead of working to alleviate the anxiety of doing nothing.

People living in industrialization, the pace of life changes very quickly, so they have to gradually give up the past and separate from it. This is why photos actively promote nostalgia. When countless life forms and social life are gradually destroyed in a very short time, the camera plays a role in recording. It records the relentless passage of time and provides us with a sporadic connection with the past.

The camera is a shotgun and photography is aggressive.

Photographers always take a lot of photos of any farmer, that is, to capture the most suitable lens and the accurate facial expression of the subject, which is in line with the photographer's concept of poverty of the subject. When taking pictures, photographers always impose their own standards on the subjects. So photos, like painting, are an explanation of the world and things, which contains a lot of subjective judgment factors, and treat photographers' photos with a didactic attitude.

Three. Objectivity of photography

Photographers are regarded as keen but non-interfering observers, scribes, not poets. However, as people soon discovered that no matter how you shoot the same thing, you can't always shoot the same photo. The objective assumption that the camera doesn't provide personal feelings gives way to the fact that a photo is not only a proof of existence, but also a proof of what you see in your own eyes, not a record of the world, but also an evaluation of the world. Obviously, there is not only a simple and unified activity called "watching", but also a kind of "photography watching"-a new way for people to watch and a new activity for people to perform.

4. Questioning the morality of humanistic photography

Many people think that documentary photography and humanistic photography are the attitudes that photography should pursue. Through many touching pictures, people understand cruelty, sympathy and giving. But in fact, photography is limited to understanding the world. Although it can arouse conscience, it will never become ethical understanding or political understanding in the end. The knowledge gained through still photos is always promiscuous and discounted. Just like suffering is one thing, living in the image of pain is another, and it may not be able to strengthen conscience and sympathy. May corrode conscience and compassion. Once you see such an image, you are on the way to see more. The image will make people stunned. Images can make people numb, just like watching pornographic images. The first surprise and confusion disappeared as I watched more. The tragic and unfair giant stocks recorded by photography all over the world, to a certain extent, make everyone familiar with atrocities and make terrorist phenomena more common. Therefore, the ethical content of photos is fragile, and most photos can't maintain their original emotional strength. Photos create sympathy as much as they reduce sympathy and alienate feelings. The realism of photography creates confusion for cognitive display: moral numbness and sensory stimulation. No matter what moral requirements photography puts forward, the main function of photography is to turn the world into an exhibition hall, and every photographed object is devalued as a consumer product or upgraded to an aesthetic.

The authenticity captured by photography in a one-sided moment, no matter how meaningful and important, can only establish a very narrow relationship with the need of understanding. Contrary to what humanists call photography, the camera has the ability to turn display into beautiful things precisely because it is a weak tool to convey truth. Humanism has become the dominant ideology of ambitious professional photographers, and the reason behind it is precisely that humanitarianism covers up the truth and beauty of chaos in photography.

Verb (abbreviation for verb) photography deception

Many people feel anxious when preparing to take pictures, not because they are as afraid of being invaded as people in primitive areas, but because they are afraid that the camera will lose face. People want to see an idealized image, a photo of themselves and show their best. When the image given by the camera is not more attractive than it is, they will feel scolded. However, few people are lucky enough to be photographed, that is to say, they look better in photos than in real life (even without makeup). Photos are often praised as frank and honest, which just shows that most photos are not frank and honest. 1Ten years after Fox Talbot's positive and negative plate-making method began to replace Daguerre's silver plate-making method in the mid-1940s, a German photographer invented the first technique for correcting negative films. He produced two versions of the same portrait, one with retouching and the other without retouching, which shocked the audience at the second World Expo. The news that the camera will lie makes taking pictures more popular. In other words, photography is arbitrary even if it has the most moral mission. In fact, photographing someone or something has become a routine part of the process of modifying that person or thing.