Photography and Philosophy: Essays on the Pencil of Nature by Scott Walden

By Scott Walden

I am a photographer who will do something to attempt to enhance the standard of the photographs I trap. that incorporates all types of books that initially may possibly seem to have little to do with images. even if, a booklet entitled "Photography and Philosophy: Essays at the Pencil of Nature" gave the look of it could have anything to provide me.

The booklet is a suite of essays from a chain of recent philosophers who're all for images. It emphasizes sub-fields of philosophy: epistemology, the learn of ways we all know; and aesthetics, which bargains with the character of good looks and artwork. The e-book covers a variety from the questions of no matter if images is an artwork and what the reality worth of a photo is to the way it is that pictures have price to us and what's moral habit for a photographer. there's even a dialogue of ways the personality of a film megastar results the translation of the motion picture within which the famous person appears.

The writing varies from fascinating to enjoyable to bland. a few of this can be similar, not less than, to the density of the fabric awarded and the way a ways it really is faraway from our daily issues. For me, the main fascinating essay used to be written through Arthur C. Danto, an aesthetician who additionally wrote often on artwork for the journal "The Nation". After a circuitous process Danto explores the ethics of photographic intrusion upon the lives of individuals.

Luckily, the creation by means of Scott Walden, the editor, offers a precis of every of the essays that i discovered valuable to refer to earlier than examining every one essay and sometimes after.

Typically, one of many essays contends that images can't be an artwork as the photographer via mechanical capability captures merely what's in entrance of his lens. so much photographers will indicate that even if this can be real, photographers can keep an eye on what's in entrance of the lens to exhibit a few imaginative and prescient as to the character of the topic. extra importantly, the worth of photographic pictures would possibly not rely on no matter if images is an paintings. i used to be reminded of the thinker Ludwig Wittgenstein, who argued that philosophy required that one needs to first outline phrases and that it used to be most unlikely to outline the phrases. He then hand over the career of philosophy. (I'm definite that i've got simplified the tale to make my point.)

Undoubtedly, philosophy has nice worth should you are interested by the bigger questions of existence, and maybe all wondering those that desire to guide an highbrow existence needs to contemplate it. And but, as i'd have anticipated, my ultimate end is that there's little to be realized from the speculations of the philosophers in terms of enhancing photographic talents or studying how one can learn a photograph.

If you are worried with these better questions, i assume this ebook will be of curiosity. For the common photographer, I anticipate that this booklet can help them discover a imaginative and prescient and switch it right into a communicative picture no longer one wit.

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Sample text

Contrast a patient who receives a double eye transplant or a patient who is fitted with artificial prosthetic eyes. This patient does see. He is not relying in the relevant manner on anyone’s beliefs about the things he sees, although his visual experiences do depend on the work of the surgeon and on the donor of the transplanted eyes or the manufacturer of the prosthetic ones. In real life, cataract patients owe their visual experiences to others. All of our visual experiences depend on acts of omission by those who have refrained from altering or destroying our visual organs.

So one does not see through the memory image for the same reason that one does not see through paintings. But, if we are to speak of “seeing-throughphotographs,” we may have to allow that when an image of something one saw previously, but did not notice, pops into one’s head, one sees it again. I do not find this result distressing. For any who do, however, or for any who reject the possibility of seeing the past, there is another way out. Suppose we agree that what I call “seeingthrough-photographs” is not a mode of perception.

Photographic constructions do differ importantly from snapshots, but to lump them with paintings would be a big mistake. There is the extreme case of a “photograph” made by exposing photograhic paper, dot by dot, with a flashlight, to make a pointillist-style rendition of Lincoln, for example. This is drawing with a flashlight; one doesn’t see Lincoln through the picture. But consider more common darkroom techniques such as combining negatives and manipulating contrast. We see a 27 28 29 30 It was not uncommon in the mid-nineteenth century to paint portraits over photographs (see Aaron Scharf, Art and Photography [Harmondsworth, 1968], p.

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