‘Camera Lucida’ by Roland Barthes | Summary and Explanations

Camera Lucida elements: Operator, spectator, spectrum

For the author, who also wrote the Rhetoric of the Image, photography can be studied from 3 very different angles: the operator, the spectator and the spectrum. The operator is the photographer himself, the one who takes the photo: the ” to do “. The spectator is the one who looks at the photo in an exhibition, in newspapers, in albums: the ” to look at “. The spectrum is the one that is photographed, the subject, the target, the referent: the “undergo”. Roland Barthes himself admits it, he is not a photographer, so he cannot place himself from the point of view of an operator, and will concentrate in his book on studying the points of view of the spectator and the spectrum.

Camera Lucida main keywords: Studium, punctum

With the photo of the soldiers and nuns in Nicaragua, Barthes realizes that it is the duality between two elements that makes him appreciate this or that photo: it is the photo as an adventure. These two contradictory elements are, The studium and The punctum. The studium: it corresponds to an expanse, similar to a field and refers to a classical information. The interest in a photo that has only the studium comes from a moral and political culture, it is an average affect, a general investment only. If the studium is not crossed by something else (we will see the punctum), it generates a very widespread type of photography: the unary photography (only one sequence is generated by the base). These photographs are then banal, naive, without intentions. In this type of photography we find the photos of reports (which shock, which shout but do not hurt), and the pornographic photos (which present only one thing: sex).

The punctum, the most important in a photograph (when it exists), breaks the studium from the scene like an arrow, a sting, a wound, a punctuation. It is chance in a photograph that points at us, bruises us, grips us. The punctum is a detail, a supplement that can fill the whole photo with meaning, that has a force of expansion). We receive it in the face when we read the photo, no need for analysis. However, it can turn out to be late (long after looking at the photo): in order to see a photograph properly, you have to close your eyes. Barthes explains here the difference between pornographic and erotic photos thanks to this punctum that creates a story, a life around the referent.

There are no rules of connection between these two elements, only a co-presence. The reading of the studium is wise, lazy, soft, while that of the punctum is short and active. The studium is always coded while the punctum is not.

The essence of photography in the Camera Lucida

In most of the photos of his mother, Barthes does not recognize her, does not find her. Except on the one of the winter garden, there he finds, in the natural position of the 5 year old girl, the personality of her mother. The photograph becomes as safe as the memory. Yet he did not know his mother at that time, and does not recognize any details.

Photography brings out what we usually don’t see (genetic traits). It reveals the similarities but also the differences between members of the same family.

When we judge a resembling photo, we certainly get closer to the truth, but it is a resemblance to an imprecise identity (see imaginary). For Barthes a photo resembles anyone except the person it represents. One must only rely on the “look” of the person photographed because it coincides with the subject and represents much more truth than resemblance. The air comes from the gaze (holding one’s emotions inside).

The noème of photography according to Roland Barthes is simple: “it-has-been” (ça-a-été)

The photograph is false in perception but true in time and causes a certain madness linked to the feelings one feels for it: more pity than love.

Barthes’s famous “it-has-been” synthesizes in a phenomenological mantra a very banal experience: the recognition from a photographic image of the past reality of a thing or an event.

The noème of photography is simple: “it-has-been”, in French “ça-a-été”.

Photography is false in perception but true in time and provokes a certain madness linked to the feelings we feel for it: more pity than love.

Barthes’s famous “ça-a-été” synthesizes in a phenomenological mantra a very banal experience: the recognition from a photographic image of the past reality of a thing or an event.

“..in photography, I can never deny that the thing has been there. There is a double joint position: of reality and of the past. And since this constraint exists only for it, it must be held, by reduction, for the very essence, the noème of Photography. What I intend in a photograph (let’s not yet talk about cinema) is neither Art nor Communication, it is Reference, which is the founding order of Photography.
The name of the noème of photography will therefore be: “It’s been” (in French « ça-a-été) what I see was there, in that place that stretches between infinity and the subject (operator or spectator); it was there, and yet immediately separated; it was absolutely, irrefutably present, and yet already deferred. »

Camera Lucida Summary

If you’ve been curious about Roland Barthes’ “Camera Lucida” but haven’t found the time to dive into its depths, we’ve got something that might just be your cup of tea.

We have put together a series of bite-sized summaries for each chapter of this iconic book. Think of it as your personal roadmap to the heart of Barthes’ exploration of photography. It’s like having the CliffsNotes version of the book, only more fun and less cliff-y.

These summaries will give you a taste of the main concepts and ideas that Barthes discusses, from the unique nature of photography to the emotional impact of photographs, and from the philosophical aspects of photography to its technical elements.

Whether you’re a seasoned photographer, an aspiring one, or just someone who loves to ponder the mysteries of life, these summaries will give you a fresh perspective on photography and its role in our lives.

So, if you’re strapped for time or just want a quick refresher before you dive into the full text, this is the perfect place to start. It’s like getting the essence of “Camera Lucida” served up on a silver platter. Bon appétit!

Part One

1. Specialty of the Photograph: Barthes kicks things off by delving into what makes photography so unique. It’s not just about capturing a moment, but also about freezing a slice of reality, a snapshot of life that’s as real as it gets.
2. The Photograph Unclassifiable: Here, Barthes grapples with the challenge of pigeonholing photography. It’s a bit of a chameleon, straddling the worlds of art and science, and refusing to be neatly boxed into one category.
3. Emotion as Departure: This chapter is all about the feels. Photographs aren’t just visual images; they’re emotional time machines that can whisk us back to moments of joy, sorrow, love, and everything in between.
4. OPERATOR, SPECTRUM and SPECTATOR: Barthes introduces us to the holy trinity of photography: the photographer (the storyteller), the subject (the story), and the viewer (the audience). Each plays a crucial role in the photographic process.
5. He Who Is Photographed: Ever wondered what it’s like to be on the other side of the lens? Barthes explores the experience of being photographed and how it can alter our perception of ourselves.
6. The SPECTATOR: Chaos of Tastes: Beauty is in the eye of the beholder, and nowhere is this more evident than in photography. Barthes delves into the subjective nature of viewing photographs and how personal tastes can influence our interpretation.
7. Photography as Adventure: Grab your camera and buckle up for an adventure! Barthes portrays photography as a thrilling journey filled with unexpected discoveries and moments of wonder.
8. A Casual Phenomenology: Barthes gets a bit philosophical here, exploring how photographs can capture the very essence of a moment or subject. It’s not just about what you see, but what you feel.
9. Duality: Life is full of contradictions, and so is photography. Barthes discusses the dual nature of photographs, which can simultaneously depict reality and the photographer’s interpretation of it.
10. STUDIUM and PUNCTUM: Barthes introduces two key concepts here. Studium refers to the cultural, political, and social interpretation of a photograph, while punctum represents the personal, emotional response that a photograph can provoke.
11. Studium: This chapter delves deeper into the concept of studium. It’s about the bigger picture, the context in which a photograph exists and the broader meanings it conveys.
12. To Inform: Photographs are storytellers. They can convey a wealth of information, offering insights into people, places, cultures, and moments in time.
13. To Paint: Here, Barthes explores the artistic side of photography. Just like painters, photographers make creative decisions about composition, lighting, and perspective to create their masterpieces.
14. To Surprise: Expect the unexpected! Barthes discusses how photographs can capture surprising moments and details, adding an element of wonder and intrigue.
15. To Signify: Every picture tells a story, but what does it really mean? Barthes explores how photographs can convey a variety of meanings, both intentional and unintentional.
16. To Waken Desire: Photographs have the power to evoke longing and desire. They can make us yearn for different times, places, experiences, and even people.
17. The Unary Photograph: Barthes discusses unary photographs, which convey a clear, singular meaning. They’re like visual statements that leave little room for ambiguity.
18. Co-presence of the STUDIUM and the PUNCTUM: This chapter explores the delicate dance between studium and punctum. They’re two sides of the same coin, coexisting and interacting within a single photograph.
19. PUNCTUM: Partial Feature: Barthes delves deeper into the concept of punctum, discussing how it can be linked to a specific feature or detail in a photograph. It’s the little things that catch your eye and tug at your heartstrings.
20. Involuntary Feature: Punctum can be a bit of a wild card. It’s often provoked by unexpected or unintentional features in a photograph, adding an element of surprise and spontaneity.
21. Satori: Ever had a lightbulb moment when looking at a photograph? Barthes discusses the concept of satori (sudden enlightenment) in relation to photography, suggesting that photographs can provoke profound realizations and insights.
22. After-the-Fact and Silence: Photographs are like silent movies. They capture moments from the past without sound, creating a sense of retrospection and silence.
23. Blind Field: Every photograph has a blind field, the parts of the scene that are outside the frame and thus invisible to the viewer. It’s a reminder that every photograph only tells a part of the story.
24. Palinode: Ever changed your mind about something? Barthes discusses the concept of palinode (retraction), suggesting that photographs can contradict or challenge our previous perceptions or beliefs.

Part Two

1. ‘One evening … ‘: This chapter discusses the temporal aspect of photography, how it can capture a specific moment in time.
2. History as Separation: This chapter discusses the relationship between photography and history, suggesting that photographs can create a sense of separation from the past.
3. To Recognize: This chapter discusses the recognition aspect of photographs, how they can help us identify and remember people, places, and events.
4. The Winter Garden Photograph: This chapter discusses a specific photograph taken in a winter garden, using it as an example to explore the personal and emotional impact of photographs.
5. The Little Girl: This chapter discusses a photograph of a little girl, exploring the emotional reactions it provokes.
6. Ariadne: This chapter discusses a photograph of Ariadne, a character from Greek mythology, exploring the symbolic and mythological aspects of photography.
7. The Family, the Mother: This chapter discusses photographs of families and mothers, exploring their emotional impact and cultural significance.
8. ”THAT-HAS-BEEN”: This chapter discusses the concept of “that-has-been”, the idea that photographs provide a direct connection to past moments and events.
9. The Pose: This chapter discusses the concept of posing in photography, exploring how it can affect the authenticity and perception of the photograph.
10. The Luminous Rays, Color: This chapter discusses the technical aspects of photography, such as light and color, and how they can affect the appearance and perception of the photograph.
11. Amazement: This chapter discusses the sense of amazement that photographs can provoke, exploring the power of photography to capture and convey the extraordinary.
12. Authentication: This chapter discusses the concept of authentication in photography, exploring how photographs can serve as proof or evidence.
13. Stasis: This chapter discusses the concept of stasis in photography, the idea that photographs freeze a moment in time, creating a sense of stillness and permanence.
14. Flat Death: This chapter discusses the concept of “flat death” in photography, the idea that photographs can create a sense of mortality and impermanence.
15. Time as PUNCTUM: This chapter discusses the relationship between time and punctum, suggesting that the temporal aspect of a photograph can provoke a personal, emotional reaction.
16. Private/ Public: This chapter discusses the private and public aspects of photography, exploring how photographs can convey personal experiences and emotions while also reflecting broader social and cultural contexts.
17. To Scrutinize: This chapter discusses the act of scrutinizing photographs, exploring how close examination can reveal hidden details and meanings.
18. Resemblance: This chapter discusses the concept of resemblance in photography, exploring how photographs can capture the likeness of their subjects.
19. Lineage: This chapter discusses the concept of lineage in photography, exploring how photographs can convey a sense of heritage and continuity.
20. CAMERA LUCIDA: This chapter discusses the concept of the camera lucida, a device used in drawing and photography, exploring its symbolic and practical significance.
21. The “Air”: This chapter discusses the concept of “air” in photography, the intangible quality that gives a photograph its unique character and atmosphere.
22. The Look: This chapter discusses the concept of “the look” in photography, exploring how the gaze of the subject can affect the perception and interpretation of the photograph.
23. Madness, Pity: This chapter discusses the emotional reactions that photographs can provoke, such as madness and pity, exploring the psychological impact of photography.
24. The Photograph Tamed: This chapter discusses the concept of “taming” the photograph, exploring how the wild, unpredictable nature of photography can be controlled and manipulated.

Curated links on Camera Lucida, Roland Barthes, 1980

Full Text, Roland Barthes “Camera Lucida”, 1980.

Annotation by Kasia Houlihan.

Interesting article, Camera Lucida declined to “the field”

Curated videos on Camera Lucida, Roland Barthes

Curated Papers about the Camera Lucida from Roland Barthes

Roland Barthes in The camera lucida, the infidel semiologist, Leda Tenório da Motta:

https://www.academia.edu/58061759/Roland_Barthes_in_The_camera_lucida_the_infidel_semiologist

Short Reflection on Roland Barthes’ “Camera Lucida”:

https://www.academia.edu/29834238/Short_Reflection_on_Roland_Barthes_Camera_Lucida_

Photography Degree Zero: Reflections on Roland Barthes’s Camera Lucida, Andreas Neophytou:

https://www.academia.edu/19971442/Photography_Degree_Zero_Reflections_on_Roland_Barthess_Camera_Lucida

Anders Kriar, Camera Lucida, Corpus:

https://www.academia.edu/42951883/Anders_Kris%C3%A1r_Camera_Lucida_Corpus

Overcome by Photography: Camera Lucida in an International Frame, Avram Alpert

https://www.tandfonline.com/doi/full/10.1080/09528821003799486