On some Paradoxes of the Subjective in Photography
Giacomo Daniele Fragapane

Compared to cinema and to classical forms of pictorial figuration, the ways in which the subject is represented within the pragmatic dimension of the photographic act are very particular. The starting point of this reflection is the important theoretical notion of a subjective point-of-view-shot which characterizes the cinematographic technique. The aim of this essay is to recognize the constitutive paradox of the photographic expression. In fact, the impossibility of a subjective point-of-view, in the strict sense, meets the necessarily subjective nature of any photographic object. Such impossibility is caused by the intrinsic, temporal and spatial potentiality that presides over the evolution of any photographic practice.