Mirros & Windows
“Photography might be a window to distant worlds, a mirror of inner truths.
Through the lens, explore the outer realms, while reflecting on the depths of self-discovery”
As a window, photography unveils realms beyond our immediate reach, offering glimpses into distant landscapes, cultures, and emotions. As a mirror, it mirrors the photographer's innermost thoughts, feelings, and perceptions, serving as a reflection of their unique perspective on the world (SZARKOWSKI, 1978). This dual nature of photography not only invites us to peer into the depths of external realities but also beckons us to introspectively examine the essence of our own existence.
Several cases discussed in this topic offer insightful perspectives, particularly Susan Sontag's critique of photography in "On Photography" (Sontag, 1977), which has prompted deeper reflections on the themes I intend to explore in the future. Sontag (1997) argues that while photography can capture moments of reality, it is prone to distortion or oversimplification, lacking context and continuity, potentially leading to misunderstandings or misinterpretations. Moreover, photography fosters passive viewing habits in audiences, diminishing their critical thinking and proactive exploration abilities.
However, upon further consideration of Susan Sontag's critique of photography, I start to reevaluate my perspective in light of Susan Sontag's critique. While photography may indeed cultivate passive viewing habits, it can also serve as a catalyst for audience reflection and exploration. Photography is a tool, and its impact depends on the intent of the photographer and the interpretation of the audience. In this regard, does Sontag's critique exhibit bias? Her viewpoint reflects skepticism toward photography as an educational and communicative tool, highlighting its limitations and potential pitfalls in conveying and understanding complex realities (Sontag, 1977). Additionally, her critique extends to issues such as objectification, consumption, lack of depth, and ethical concerns.
Given that the themes I will be exploring in my MA photography course are closely linked to education, another comment of hers has captured my attention. She notes that photography objectifies subjects, turning them into consumable commodities, with audiences focusing more on the aesthetics and emotional impact of the photograph, while overlooking the underlying stories or issues (Sontag, 1977). In my view, this phenomenon persists not only in her era but also in the present context. Thus, it becomes one of the issues I aim to address in my photography research topic at later stage.
In conclusion, despite the potential for photography to foster passive viewing habits and diminish critical thinking, we cannot ignore its massive potential in education and inspiration. The key lies in the photographer's intent and presentation of the work, as well as in how the audience interprets and responds. Photography can serve as both a passive consumer product and a powerful tool for stimulating thought and action. Furthermore, as a passive consumer product, it has had a broad and profound economic impact, driving positive momentum and vitality from individuals to industries in the global economic value chain.
"How I Interpret the 'Mirror' and 'Window' Analogy"
The 'window' aspect tends to represent the portrayal of the real world; this 'reality' may not necessarily align entirely with our perceptions or what we see with our naked eyes, but rather, it is the reality observed through the lens of the photographer by the audience.
The 'mirror' emphasises the photographer's self-expression and reflection of their feelings, values, identity, and more through their creations.
Which analogy do I identify more closely with?
As someone who creates images, I tend to connect more with the "mirror". This is because in the process of creation, I often aim to express my own thoughts and feelings through my work, rather than simply showing what's out there. But this does not discount the importance of the "window" analogy, as when showing the external world, a photographer's personal viewpoint naturally comes into play.
Other metaphors I can think of.
It can be the dynamic between a brush and canvas, serves as the connection between a bridge and a cityscape, or unfolds as the interplay between clues and realities
Reference list
SONTAG, S. (1977). On Photography. New York: Farrar, Straus & Giroux.
SZARKOWSKI, John (1978). Press release for Mirrors and Windows: American Photography since 1960, July 1978, New York: MoMA.