In this section of the book Marien discusses ‘The Reality Effect’, within this she shares background on how society perceived the photograph. Firstly, Marien mentions that the photograph was believed to be what the average person would have seen in the same spot and at the same time as the photographer. Reflecting on this I can only disagree, we all absorb colour in different ways therefore the subject will vary in appearance. Furthermore, the photographer is telling the viewer what to look at as he/she choses the main focal point.
Further in this chapter she then talks about the manipulation of negatives, and states that it did not significantly affect the public’s belief of photographic truth. Again referring to my last comment, the photographer and the photograph is somewhat a dictatorship, the viewer only sees what the photographer makes visible. This statement gets me thinking about the advancement in current day technologies, it has become extremely easy to manipulate an image, we cannot be certain that modern images are a realistic representation of what was seen.
‘The Reality Effect’ then discusses how visual intensity and societal significance of the subject was taken as truth. This encourages to think about how photographers use cultural signifiers to manipulate or get the viewers attention. However, due to the complexity of cultures that can access the same photographs, the image will always have an element of ambiguity, as a photographic interpretation is dependant upon the viewer’s cultural background. She then mentions that conflict around the understanding of photography, again I feel this is due to the complexity of cultures and individuals viewing the image, there is no set interpretation.
This section of the book has encouraged me to find more symbolisers to use in my images, in order to obtain a wider audience. It has also showed me how as a photographer that we dictate our own truth, encouraging the viewer to see reality from our perspective. I am going to use this information to encourage me to construct stronger narratives, and to be more unorthodox within my pictures throughout ‘Image and Reality’.