The Manifestation of Criticism of Photographerly Production from Subjective Truths’ Point of View

The criticism of photographs as material objects expands their indexicality. </span>Once considered as objects, </span>photographs connect with other senses thereby strengthening their bonds with the concrete material world. </span>This indexicality does not merely belong to the image, </span>and is also dependent of the materiality of the photograph. </span>In this sense what grants meaning to the photograph’</span>s materiality is in fact the bond between the photograph and the world turning them from merely materialist objects into emotional, </span>historical, </span>documentary …</span>etc. </span>objects, </span>occasionally causing pleasure whilst at other times bringing about awareness. </span>Leaving photographerly productions behind just because of material damages is a reminiscent of an old creature which is not abandoned as a lot of concepts are invested in it, </span>through which meanings are prioritised over matter yielding identity. </span>Among most important in the genre is portraiture, </span>as these works not only document the appearance of the subject, </span>but also occasionally cast light on their inherent, </span>internal features.</span></span></div>