Photographic Representation and Interpretation

Contrary to the commonly-held popular belief (or common sense, if you like), a photograph is NOT a representation of objects or scenes, no matter how faithful the images on it may seem. It is an interpretation (or a set of interpretations) of objects and scenes.



The process of interpretation in the production of a photograph is complex and involves different phases that begin even long before a photographer pushes his camera button.

First, let's not forget that a photographer is never born in a cultural vacuum. That is to say that he/she has undergone a long process of cultural programming before he/she even knows how to take a picture. This so called cultural programming includes - but not limited to - the way he/she sees, orders or maps, and values things in his/her mind. Seen in this perspective, a photographic composition is thus never just a mechanical question of formulaic exactness. A lot of subtle and soft-programmed elements are involved and can be traced back in it.



Second, aside from the soft or cultural proramming, a photographer also operates on the knowledge-based level of consciousness when making a photograph. This includes the use of his/her overt and mechanical knowledge of composition, of light, of geometric elements, of subject choice, et cetera that are important in making a photograph.

Like any empirical knowledge, photograph-making know-how may be learned and copied across cultural milieux and as such may - on the surface at least - look neutral, that is regardless of who the person behind the camera is, the "mechanical traces" (that denote knowledge of compositional formulae, etc.) are there and may be universally used to judge and determine the goodness (i.e. qualitative values) of a photograph. But this neutral or neutralizing element never operates alone and out of contexts. The soft and cultural traces will always be imbued and embedded there. It is at this point, I think, that the aesthetic quality of a photograph are often disputed. What looks good to one may not be pleasing to another because different beholders have different sets of expectations.

Of course, we must also be cautious about making straight and rigid claims when it comes to the effect of soft or cultural programming on the production of a photograph. Although more difficult than that of overt knowlege, soft or cultural programming can also be acquired or instilled. Experiences with different and diverse cultural milieux are an important factor that can make one fluently conversant in different cultures and feel equally comfortable with expressing and appreciating different styles of aesthetic expressions.

Written by
Eki Qushay Akhwan
5 August, 2009

Note:
Representation here is defined as "something that stands in for something else"; whereas interpretation is "an attempt or set of attempts to communicate or make sense of things (ideas, objects, scenes, etc.).

Photo Exploration # 35: Space Within Space # 2

I believe that the more elevated goal of photography is and should be to discover, reveal, and see what the ordinary eyes and mind-eye miss.

In photography, recording and reproducing images are not enough simply because such things can easily fall within the realm of what I call "the mechanical optic" or the mechanical vision".

Discovering, revealing, and seeing what the ordinary eyes and mind-eye miss require more than just glancing or moving your vision superficially across fields and subjects; more than that, you need to penetrate into the very soul that moves your awareness and sense of geometric interplay that provides meanings and dynamic representations of experiential realities.

Such a penetration cannot be achieved mechanically - either by the gears you control or by rigid and schematic attitudes and approaches towards the fields and subjects. Rather, it should and can only be achieved by opening yourself widely to any possibilities and embracing them like you would when you hear a moving set of musical tunes that move you to spontaneously dance without questioning what, why, and how such things could transpire.

Ultimate enjoyment of revealing, discovering, and seeing the unseen comes from within with the externalities functioning only as a trigger that invites you to move in and be involved and emerged in the promising visual experiences that are presenting themselves at the right time and space.

Eki Qushay Akhwan
09 June, 2009

Photo Exploration # 34: Space Within Space

Space, they say, does not have the boundaries; it's three-dimensional, and the very thing that makes it possible for objects and events to exist. Can that thing we see in the mirror be considered space?

If space is boundless, then it must be. But is the space within the mirror three-dimensional? Is it possible for objects and events to exist - to take place - within it?

Then, there is of course the question of the photograph itself. Is it space? If we stick to the physicist's definition of linear space, it can't be. It has boundaries, the frames. And it's only two-dimensional. However, the photographic "space" does make objects and events exist or can be created to exist.

Let's also consider space's fourth dimension that forms a continuum with time and hence is called spacetime. Now you have the very thing - contentious as it might be - that defines our perception of the universe.

Welcome to space within space.

Shadow #005: C.C.

JAGAT FOTOGRAFI is participating in Shadow Shot Sunday.

Faces in The Crowd: Laughter

Faces in the crowd, they say, is a fascinating subject for the study of human nature. Photography makes it all possible.

This is JAGAT FOTOGRAFI's participation in this week's Photo Scavenger Hunters.

Photo Essay: The Barongsai Story

Hello, children! My name's Barongsai. I'm a lion. My ancesstors are from China. They were born about 2,300 years ago. They are pretty old, are they?



Yes, I look fierce. But look at my eyes ... You see ... I'm friendly.



That's why children like you adore me ..., do you?



By the way, I like eating envelopes that contain money, you see. They are called "Lay See" or "Huang Pao". Yummy! Feed me that ..., and I'll dance for you.

Monochrome Shadow: Reaching The Unreachable

JAGAT FOTOGRAFI is participating in Shadow Shot Sunday and Monochrome Monday. Please check out the links to see other participants' photos.