PAOLO FABBRI on Semiotics of Photography and Ivan Cerullo Staged photographs

We all know that photography correlates strongly to its reality with a tendancy to reference itself, enunciating reality by reproducing it. But those who know about photography know that there are composition or decomposition strategies that exist with which photography organizes the experience of the reality it has in front of it. So the reality before us is not a reality that isn’t described, it’s a reality that is described and what interests us is how it is described, why? Because the way in which it is described can have different meanings. What interests us is not how photography reproduces reality, but how it organizes meaning. To do so it obviously organizes meaning with a certain readiness of the observor’s eye, but this readiness of the observor which we call enunciation can have different levels: it could be a general enunciation, in which photography organizes and composes the image, and one of these possibilities is that in which the enunciator; the photographer, is directly represented in the photograph itself. This presence of the photographer in the photograph is that which we call enunciation enunciated, where the enunciator, (the photographer) is in the same reality that it represents. Semiotics and Photography , Paolo Fabbri

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