Benjamin, W. (1936), The Work of Art in the Age of Mechanical Reproduction.

When using reproduction we lose the authneticity of the original. The original is more valuable in terms of historical context and authenticity. When a mechanical reproduction is made it loses it’s history and social context. However, when looking at photography what we see with the naked eye cannot be captured, it is seen and then lost. By capturing the moment we are allowed to analyse in detail each detail.

‘Evidently a different nature opens itself to the camera than opens to the naked eye – if only because an unconsciously penetrated space is substituted for a space consciously explored by man. Even if one has a general knowledge of the way people walk, one knows nothing of a person’s posture during the fractional second of a stride. The act of reaching for a lighter or a spoon is familiar routine, yet we hardly know what really goes on between hand and metal, not to mention how this fluctuates with our moods. Here the camera intervenes with the resources of its lowerings and liftings, its interruptions and isolations, it extensions and accelerations,its enlargements and reductions. The camera introduces us to unconscious optics as does psychoanalysis to unconscious impulses.’ (Benjamin, 1936).

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