[A digital snapshot] is meant primarily as a means of communication, and the images being sent are almost as ephemeral as speech, so rarely are they printed and made physical.
Most importantly, postmodernism comes down on the side of photography and power, not photography as power. As a consequence, photography continues to be conceived as an inconsequential vehicle or passage for real powers that always originate elsewhere.
The main difference seems to be that, whereas photography still claims some sort of objectivity, digital imaging is an overtly fictional process. As a practice that is known to be capable of nothing but fabrication, digitization abandons even the rhetoric of truth that has been such an important part of photography's cultural success.
Over the past two decades, the boundary between photography and other media like painting, sculpture, or performance has become increasingly porous. It would seem that each medium has absorbed the other, leaving the photographic residing everywhere, but nowhere in particular.
Everyone concedes that photography is now a medium of exchange as much as a mode of documentation. . . . photographing has become the visual equivalent of cellphone chatter.
All of us tend to look at photographs as if we are simply gazing through a two-dimensional window onto some outside world. This is almost a perceptual necessity; in order to see what the photograph is of, we must first repress our consciousness of what the photograph is.
Human experience comes suspended in the sickly-sweet amniotic fluid of commercial photography. And a world normally animated by abrasive differences is blithely reduced to a single, homogeneous National Geographic way of seeing.
Toni Kukoc
Pete Sessions
Katy B
Julian Lennon
Michael Stean
Gertrude Bacon
Ted Nugent
Angus MacLean
Poul Anderson
Walter Scott
Emil Ruder
Kevin Sorenson
