Photography
evades us as it intrigues us to observe a photograph and makes us notice that
life consists of little touches of solitude. It mechanically repeats what could
never be repeated existentially. It cannot be transformed or (spoken)
philosophically; it is wholly ballasted by the contingency of which it is the
weightless, transparent envelope. A specific photograph, in effect is never
distinguished from its referent, but it requires a secondary action, of
knowledge or of reflection. It is unclassifiable because there is no reason to
mark this or that of its occurrences. It always carries its referent with
itself, both affected by the same amorous or funereal mobility and at the very
heart of the moving world, they are glued together.

Photography
is motionless and frozen, it has the cryogenic power to preserve objects
through time without decay and photographs appear as devices for stopping time
and preserving fragments of the past, like flies in amber.

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Barthes
on the encounter with the photograph of Lewis Payne says” I observe with horror
an anterior future of which death is the stake. By giving me the absolute past
of the pose, the photograph tells me death in the future.” In this text he
talks of the studium and the punctum. The studium is subjective and talks about
the cultural interest of the picture as a whole, whereas the punctum is the
subjective detail that is reliant on the individual. It is visceral. Where the
studium is that the photograph is handsome and so is the boy, the punctum is
that he is going to die and that his time is coming to an end. The person is
alive only in the picture (studium) but in the real context (punctum) he is
dead. The photograph creates a mystery as the person is both alive (in the picture)
and dead (in realism) at the same time. It is a catastrophe which has already
occurred, and whether or not the subject is already dead and that every
photograph is this catastrophe.

The
photograph can be the object of three practices or of three emotions or
intentions where it is: to do, to undergo, to look. In this case the operator
is the photographer where he captures that moment, the spectator is ourselves
as we glance through it, and lastly the person or thing photographed is the
target, the referent. The moment captured in the image is of near-zero duration
and located in an ever receding ‘then’. At the same time, the spectators ‘now’
the moment of looking at the image, has no fixed duration. It can be extended as
long as fascination lasts and endlessly reiterated as long as curiosity
returns. The relationship of photography to time is more complex than is
usually allowed. Its is impossible to extract the concept of time from the
grasp of the narrative. The time of photographs themselves is one of stasis as
they endure. There is a fit between the photographic image which signifies a
state where we sense something paradoxical about the photograph that signifies
an event, like a frozen tongue of fire.

The significance
of a photograph is seen as a state, a process or an event. It is stable, unchanging,
or if it is a changing dynamic situation, it is seen from outside as conceptually
complete, or from inside as ongoing. The fact that images may themselves appear
as punctual, virtually without duration, does not mean that the situations they
represent lack any quality of duration or other qualities related to time.

Different
genres of photography imply different perspectives within durative situations
and sequences of situations. “Still photographs cannot be seen as narratives in
themselves, but as elements of narratives.” I sense that every photograph can
narrate its and that relies on the perspective of the observer as every
spectator will pursue it differently. The photograph of Lewis Payne provoked me
to observe it and made me look at it from a different perspective, not just
that of a spectator but one that of an operator. I envision myself living that
moment and capturing that instant which will become a memory and feel that me
as an operator, would want to capture the emotions (horror or pain) of my
target (the referent) and evaluate them, as now (present) when I perceive it,
the photograph speaks of death.

There lingers
a sense of uncanny. As I try to observe the photograph through the eyes of an
operator, I imagine myself living the moment when it was clicked, the
atmosphere around me changes and I see myself present in that very second, with
Lewis Payne sitting right there in front of me, staring into the lens as I try
to seize that instant and record it as a memory. For an instance, as an
operator, I envision myself visiting that place now, in the present; horror and
fear strikes me as I look at the photograph whilst being at the place where it
was taken, a sense of uneasiness runs through. As I hold the picture of what
was once captured live there is no longer in being, but exists just as a memory,
for death is the anterior future and time is the punctum.  It is undoubtedly related to what is
frightening, to what arouses dread and horror equally and is clearly definable
as it coincides with what excites fear in general and people vary so very
greatly in their sensitivity to this quality of feeling.

The sense
of death, fear, pain, horror and that the time is coming to an end has to be
added to every unfamiliar novel to make it uncanny, as it can be seen in this
one. Either we can find out what meaning has come to be attached to the picture
in the course of its history or we can collect all the properties of persons, things,
sense –  impressions, experiences and
situations which arouse in us the feeling of uncanniness, and then infer the
unknown nature of the picture from what this have in common with uncanny. I feel
both lead to the same path, where uncanny is that class of the frightening and
the picture is what leads back to what is known of old and familiar but long
gone; but yet it is alive. In the production of the feeling of uncanniness to
intellectual uncertainty the essential factor is ascribed, so as it was, the uncanny
would always be something about one who does not know his way about in. The
better orientated in his environment a person is, the less readily will he get
the impression of something uncanny in regard to the objects and events in it. The
circumstances and objects call forth the feelings of distress and repulsion.

Speaking
of time as a punctum, more or less blurred beneath the abundance and disparity of
contemporary photographs, is vividly legible in historical photographs, that
there is always a defeat of time in them. At the limit, there is no need to
represent a body in order to experience this vertigo of time defeated as the
aesthetic discussion of photography is dominated by the concept of time