Jean Baudrillard, extracts
from Photography, or the Writing of Light:
"The miracle of photography, of its so-called objective image,
is that it reveals a radically non-objective world. It is a paradox
that the lack of objectivity of the world is disclosed by the photographic lens.
At the same time, photography transforms the very notion of technique.
Technique becomes an opportunity for a double play: it amplifies
the concept of illusion and the visual forms. A complicity between
the technical device and the world is established. The power of objects
and of "objective" techniques converge. The photographic
act consists of entering this space of intimate complicity, not to
master it, but to play along with it and to demonstrate that nothing
has been decided yet (rendre evidente l'idee que les jeux ne sont
pas faits). "What cannot be said must be kept silent." But
what cannot be said can also be kept silent through a display of
The instantaneity of photography is not to be confused with the simultaneity
of real time.
We are never in the real presence of the object. Between reality
and its image, there is an impossible exchange."
Here I start my research; through the duration of time I step into
its simultaneity, captured by long exposure. Our (eyes') real time
is constantly produced and erased therefore it is indifferent to the
third dimension of the photographic moment. Visual flows only know
change. The image is no longer given the time to become an image in
'instant' photography (which equals to the blinking of an eye). And
it is again the photography that enables a technical perfection of
the gaze (through the lens) which does not protect the object from
aesthetic transfiguration - long exposure modifies.
"But no matter which photographic technique is used, there is
always one thing, and one thing only, that remains: the light. Photo-graphy:
The writing of light. The light of photography remains proper to the
image. Photographic light is not "realistic" or "natural."
It is not artificial either. Rather, this light is the very imagination
of the image, its own thought. It does not emanate from one single
source, but from two different, dual ones: the object and the gaze.
"The image stands at the junction of a light which comes from
the object and another which comes from the gaze" (Plato)."