Ha Muerto La Fotografía PDF

Jornades de Foment de la Investigaci
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Autors
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ABSTRACT
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2. JUSTIFICACIN DEL TEMA Y OBJETIVO CONCRETO DEL TRABAJO
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La fotografa ha sido entendida durante mucho tiempo como la manera en que la naturaleza se representaba a s misma. La fascinacin que produjo su descubrimiento apuntaba hacia esa ilusin de automatismo
QDWXUDO>@6HWUDWDGHFRSLDUODQDWXUDOH]DFRQODPi[LPDSUHFLVLyQ\GHOLGDGVLQGHSHQGHQFLDGHODV
habilidades de quien la realiza. La consecuencia aparente era la obtencin directa, sin paliativos, de la
verdad.
(Fontcuberta, 1997:26)
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Estoy sugiriendo que la produccin de cualquier fotografa implica siempre algn tipo de intervencin o
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tiempos de exposicin, concentraciones qumicas, gamas cromticas, etc.? En el acto de transformar el
mundo en imagen (la tridimensionalidad en bidimensionalidad) los fotgrafos no tienen ms remedio que
IDEULFDUODLPDJHQ3RUFRQVLJXLHQWHHVLQKHUHQWHDODYLGDIRWRJUiFDDOJ~QTXHRWURWLSRGHDUWLFLR(Q
este sentido, las fotografas no son ni ms ni menos ciertas con respecto a la apariencia de las cosas del
mundo que las imgenes digitales
(Batchen en Ribalta, 2004: 323)
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lo que solemos pensar, la fotografa miente siempre, miente por instinto, miente porque su naturaleza no
le permite hacer otra cosa. Pero lo importante no es esa mentira inevitable. Lo importante es cmo la usa
el fotgrafo, a qu intenciones sirve. Lo importante, en suma, es el control ejercido por el fotgrafo para
imponer una direccin tica a su mentira. El buen fotgrafo es el que miente bien la verdad.
(Fontcuberta, 1997:15)
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Pero en el lmite, la eleccin de una entre diversas posibilidades representa una pequea dosis de manipulacin: encuandrar es una manipulacin, enfocar es una manipulacin, seleccionar el momento del
disparo es una manipulacin La suma de todos estos pasos se concreta en una imagen resultante, una
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(Fontcuberta, 1997:125).
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Si lo que nos interesa es el contenido, no tenemos nada que reprochar a este razonamiento. Otra cosa sera cuestionar si la fotografa digital es todava fotografa. Si a la fotografa en movimiento la llamamos
cine, bien podra suceder que a la fotografa cuya estructura formativa ms ntima ha sido sustituida por
un soporte numrico la llamramos de otro modo, aunque de momento no se nos haya ocurrido el trmino
apropiado.
(Fontcuberta, 1997:146-147).
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BIBLIOGRAFA
BATCHEN, GEOFFREY(FWRSODVPD/DIRWRJUDItDHQODHUDGLJLWDOHQ

R IBALTA, JORGEHGEfecto real. Debates posmodernos sobre fotografa,
%DUFHORQD(GLWRULDO*XVWDYR*LOL
BENJAMIN, WALTER/DREUDGHDUWHHQODpSRFDGHVXUHSURGXFWLELOLGDGWpFQLFDHQ
BENJAMIN, WALTERSobre la fotografa9DOHQFLD3UHWH[WRV
FONCUBERTA, JOAN El beso de Judas. Fotografa y verdad%DUFHORQD(GLWRULDO*XVWDYR*LOL
MICHALS, DUANE)oto Follies. How Photography lost its virginity on the way to the bank,
/RQGUHV7KDPHV +XGVRQ/WG
MITCHELL, WILLIAM7KH5HFRQJXUHG(\H9LVXDO7UXWKLQWKH3RVW3KRWRJUDSKLF(UD,
&DPEULGJH0DVV0,73UHVV
MIRZOEFF, NICHOLAS$n introduction to visual culture/RQGUHV5RXWOHGJH
ROBINS1RVVHJXLUiFRQPRYLHQGRXQDIRWRJUDItD"HQ/,67(50$57,1HWDO
/DLPDJHQIRWRJUiFDHQODFXOWXUDGLJLWDO%DUFHORQD3DLGRV
SARTORI, G. Homovidens. La sociedad teledirigida0DGULG7DXUXV
21

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