Abstract

Photographic discourse between doxa and paradoxe appearing in 1839 as a technical process of representation of the image, in the amateur and enlightenment middle, Photography will produce a popular speech that will be exclusive for almost three decades: the photographic image is beautiful more perfect it is as an imitation of the reality. Clear and with formal information about time and space. This popular speech includes a short historical information about some authors of technical inventions that improved fixation and circulation image. In the last quarter of that century, as a sensibleness against Industrial making, amateur photographs define an artistic and creative sight supported with a photographic theory, the Pictorialism, that overvalues the creative subject coinciding with new forms of Thought and Art. When Pictorialism is exhausted after the 1st G. War, a new sight which includes the ability of the new camera to mimic cinema effects, the subjective sight will no longer abandon the photographic practice while the photographic literature multiplies itself with the interest of philosophers, thinkers, film makers, psychologists and psychiatrists since the developing of the mass society. In the last quarter of the XX century, with post-modern inspiration, it appears as an international pattern a new History of Photography treated as History of Art, with styles and authors, that still remains. The objective of this work is to distinguish popular and scholarly photographic reading from its origins to the technological revolution that provokes a real crisis through the analysis of its greatest analysts. Taking into consideration our time, a period of numeric change, facing the new computational technology, that work with algoritms, image reading must change, but photographs and analysts repeat analog concept and strategies.