Use of Light in Photography
Why these two properties? The directionality of light determines the all-important quality of *shadows*, the *contrast*, and the *textures* in the landscape. Shadows, in turn, are what create depth, shape, and dimension in the scene and may also confer a provocative mood and emotion to the photograph.
Instead of the photograph offering meaning through memoriam or remembrance — as an image that traces linear time from past to present to future — Silverman’s photography is trapped between similarity with the real world and ontological difference to it. Profoundly, the photograph is an ‘authorless and untranscendable thing’ that structures Being. She quotes Walt Whitman’s Leaves of Grass (1902) in order to expand her definition of this “in-between” state of photography, and thus makes a second allusion to things literary. Silverman’s Whitman-like photography is ‘spherical’, ‘grown’, ‘ungrown’, ‘gaseous’, ‘watery’; tied between being all lives and all deaths; all civilisations and all languages — both human and computational — across all time.
Many photographers who specialize in taking portraits prefer the control that they have when they use reflected and diffused lighting instead of sunlight.
Silverman, K. The Miracle of Analogy or The History of Photography, Part 1. Stanford: Stanford University Press, 2015.