The articulation and re-articulation of space in the photographic paradigm [article]

Timothy Howard Thomas, University, The Australian National, University, The Australian National
Studio practice: Definitions of photography whilst they include ideas oflight, optics and chemistry or digital sensors also emphasise a link to real objects in real spaces. Henry Fox Talbot published the results of his successful experiment in fixing images from a camera obscura as The Pencil of Nature (1844 -1846), suggesting that nature was drawing itself without human intervention. It is this physical link with the real that is the basis of photographic truth claims. The photograph is used
more » ... evidence that these things were in that space. More recently Patrick Maynard leverages this link with real things and describes photography as an Engine of Visualisation, adding how we use photographs to a definition of photography However computer 3D modeling software makes virtual spaces available and allows us to place virtual objects in those spaces. Virtual light can illuminate and a virtual camera can frame the object in the virtual space. Calculating the interaction of light, object and camera allows for a picture derived from the virtual space. It is hard not to think of these pictures as photographs yet doing so has implications for our understanding of photography. This studio-based study investigates the photographic paradigm by making photographs of virtual objects in a virtualenvironment and adds to a broader understanding of photography as practice independent of actual subjects and actual light. Dissertation Component: Study to test the proposition that a temporally discrete object such as a work of art may contain a story. When we look at a pictorial work of art we are presented with a composition that contains a number of spatial relationships. There is thespace bounded by the edges of the work that include the distribution of theart's compositional elements. This framed space is nested within the viewing space that is the space of the viewer as they look at the work of art. There is also picture space that is created in the picture that we use to organise the compositional elements on a depth axis. It is [...]
doi:10.25911/5d5fc8f81a67e fatcat:3raw4glfaradhjord7q54lkqoy