Download Camera Lucida: Reflections on Photography by Roland Barthes PDF

By Roland Barthes

This own, wide-ranging, and contemplative volume--and the final publication Barthes published--finds the writer utilising his influential perceptiveness and associative perception to the topic of images. To this finish, a number of black-and-white images (by the likes of Avedon, Clifford, Hine, Mapplethorpe, Nadar, Van Der Zee, and so on) are reprinted in the course of the text.


"This is a smart book--flawed, very unlikely, infuriating, and relocating . . . yet he has complete during this notable booklet whatever finer than mere polemic. En path to his final painful discovery, Barthes takes the reader on an exquisitely rendered, lyrical trip into the guts of his personal lifestyles and the medium he got here to like, a medium that flirts continuously with the 'intractable reality' of the human condition."--Douglas Davis, Newsweek

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It were born from the Canvas (this is true, technically, but only in part; for the painters' ca·mera obSCltra is only one of the causes of Photography; the essential one t perhaps, was the chemical discovery). ~g_~ap~, however realistic, from a painting. "Pictorial ism" is only an exaggeration of what the Photograph thinks of itself. - " - , ____ • ........... P . _ . . . _ · . . . . ' . . ~_~' •• _ .... " . _ . p~in#ng that Ph~t~g- _ raphy touches art, but by Theater. Niepce and Daguerre ...

Jess. Yet the punctum shows no preference for morality or good taste: the punctum can be ill-bred. William Klein has photographed children of Little Italy in New York II UJ 1 /43 The strapped pUmpI TAMES VAN DBR ZBE. FAMILY PORTRAIT. 1926 (1954); all very touching, amusing, but what I stubbornly see are one child's bad teeth. Kertesz, in I926, took young Tzara's portrait (with a monocle); but what I notice, by that additional vision which is in a sense the gift, the grace of the punctum, is Tzara's hand resting on the door frame: a large hand whose nails are anything but more or less .

And above all, imitating Orpheus, he must not turn back to look at what he is leading-what he is giving to me! -- 47/ til 1'ecognize, with my whole bodYI the st1'aggling villages I passed through on my long-ago t1'flvels in Hungary and 7{umania , . ," A. KERTESZ: iHB VIOLINIST'S TUNE. ABONY. J II "..... ' I 1- _ I A detail overwhelms the entirety of my reading; it is an intense mutation of my interest, a fulguration. " 'This something has triggered me, has provoked a tiny shock, a satMi, the passage of a vo~ (it is of no importance that its referent is insignificant).

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