It is a fascination notion. Maybe the most spectacular of them all. Speculative.
Ronald Barthes calls it photogenia and it is the fourth of his connotation procedures. But he does not really give you anything more than a clue as to what is to be understood by photogenia. He cleverly escapes the question by stating that “it will suffice to define photogenia in terms of informational structure. In photogenia the connoted message is the image itself, “embellishes” (which is to say in general sublimated) by techniques of lighting, exposure and printing.”/23.
“The theory of photogenia”, he states, “has already been developed (by Edgar Morin in Le Cinéma ou l’homme imaginaire) and this is not the place to take up again the subject of the general signification of that procedure”./23
Thank you Mr. Barthes. Thank you for this extensive explanation.
That is where he leaves his readers, in nowhere land.
What, however, after all is important is the clue that he gives you: in photogenia the connoted message is the image itself. I need to dive into the sources if I want a grip on this idea. And that is just what I will do. Therefore, I will come back with an update on photogenia. Pretty soon.
In the meantime you can work with me in solving the mystery of photogenia. Here is a sentence from an article by Jean Epstein called “On Certain Characteristics of Photogénie”. It goes like this: “What is photogénie? I would describe as photogenic any aspects of things, being, or souls whose moral character is enhanced by filmic reproduction”.
Yes, Epstein talks about filmic reproduction, but we will talk about photography. I’ll be back soon.
Relates posts in this section: Introduction; Trick Effects; Pose; Objects; Photogenia; Aestheticism; and Syntax.
Library Thing: Image, Music, Text, Fontana Press, London 1977.
As you probably know by now these post are written for the blog: Street Photographer’s Toolbox. The blog is under development but not public yet. Stay tuned. Have a very good day . Thanks for reading.