venezia, night photography, long exposure


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 images.
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)."