Conversely, without adventure, no photograph” (19). “The principle of adventure allows me to make Photography exist.“For me, the Photographer’s organ is not his eye (which terrifies me) but his finger…” (15).“In front of the lens, I am at the same time: the one I think I am, the one I want others to think I am, the one the photographer thinks I am, and the one he makes use of to exhibit his art…I invariably suffer from a sensation of inauthenticity, sometimes of imposture… / the Photograph (the one I intend) represents that very subtle moment when, to tell the truth, I am neither subject nor object but a subject who feels he is becoming an object…” (13-14).Referring to the invisible photograph and what we see as the original referent.
“The Photograph belongs to that class of laminated objects whose two leaves cannot be separated without destroying them both…” (6).Keywords: photography, studium, punctum, operator, spectrum, spectator, duality, unary And, by explaining his own interpretations of photographs, draws a collection of conclusions including that photographs capture “what has been.” He comments on the different elements of a photograph that are concerned when spectors view a particular photograph. Summary: Barthes argues that photography involves three core roles: the operator (photographer), the spectrum (the photographed), and the spector (the viewer). Translated by Richard Howard, New York, Hill and Wang, 1980, pp. Camera Lucida: Reflections on Photography.
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