Myasnoye, Andrei A Tarkovsky.
Bernard Russell accepts the norms of science which are reduced to three distinct elements: the logical system, systematization and objectivity (Russell, 1940). By following these three criteria, we can see how much space photography takes in the research process. With mechanical recording of things, photographer is the witness of something that really happened, of something that inevitably exists. Physico-chemical process of photography gives it a legitimacy of objectivity. The process of shooting cannot produce a lie, even though, by using manipulative techniques photography is increasingly moving away from the realistic point of view. On the other hand, the subjectivity of photography, as a source of scientific research, is problematic as much as the subjectivity of any other method used for acquiring knowledge. Likewise, when the criteria of author are well known, subjectivity is not a scientific problem (Naumovic, 1988: 114). Photography is a special kind of artistic expression through which people represent a partial reality to themselves, and it is perceived through indirect representation (1998: 115).
The great genius of film art, Andrei Tarkovsky, in the Michal Leszczylowski documentary, said that the film is an emotional reality. For Tarkovsky, the film is a parallel, second reality.1 Film and photography are completely different media. The film offers a concatenation of a series of moving images. Moving images create the illusion of an action in a particular time and place. On the other hand, photography offers only one view of the “parallel reality”. On a single frame of the photograph a viewer can hold himself/herself as much as he/she desires. Looking at the “frozen” display of a piece of a reality, the observer creates a mental image of what could be out of the frame. He interprets, understands in his own way, identifies himself/herself with the situation, or declares it as a distant, impersonal. I understand the emotional reality about which Tarkovsky has spoken, in the very same way. Photography, therefore, cannot register the phenomena or objects that do not exist, and this is an accurate and objective reproduction of reality, and on the other hand, the circumstances under which it was taken, the environment and people can be “mounted” in such a way that it partially comes out from objectivity and neutrality and becomes the means by which society can express their desires and needs and peculiar interpretation of reality (Prosic-Dvoranic, 1982). John Grady says that the creator of photography is, above all, an observer. As observers, we recognize the event through the eyes of others, but by experiencing the scene on the photography as a direct experience. We share the experience of concernment and sympathy with the subject by just looking at the photography (Grady, 2008.)
Author Venesa Mušović
Translated by Sanja Rašević
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