The erotic photograph, on the contrary (and this is its very condition), does not make the sexual organs into a central object it may very well not show them at all it takes the spectator outside its frame, and it is there that I animate this photograph and that it animates me. Pornography ordinarily represents the sexual organs, making them into a motionless object (a fetish), flattered like an idol that does not leave its niche for me, there is no punctum in the pornographic image at most it amuses me (and even then, boredom follows quickly). The presence (the dynamics) of this blind field is, I believe, what distinguishes the erotic photograph from the pornographic photograph. A proof a contrario: Mapplethorpe shifts his close-ups of genitalia from the pornographic to the erotic by photographing the fabric of underwear at very close range: the photograph is no longer unary, since I am interested in the texture of the material. Like a shop window which shows only one illuminated piece of jewelry, it is completely constituted by the presentation of only one thing: sex: no secondary, untimely object ever manages to half conceal, delay, or distract. It is always a naive photograph, without intention and without calculation. OfJcVlCH/PY Uf PFJ& r rJUPU iff iitJrJ 2 2 TC h& Photo gf&ph XJ fields sijiubl& 4 0 Ii ffplJl< t\J TP MJ -LX C I'M, f p ppi p a 4 9 5 6 r6 7 Photography as Adventure 18 8 A Casual Phenomenology 20 9 Duality 23. Nothing more homogeneous than a pornographic photograph. Full text of 'Barthes Roland Camera Lucida Reflections On Photography' See other formats ROLAND BARTH ES am' Lucid Reflections on Phctograp TRANSLATED BY RICHARD HOWARD Part One T J. “Another unary photograph is the pornographic photograph (I am not saying the erotic photograph: the erotic is a pornographic that has been disturbed, fissured).
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