The involvement of a \u2018mechanical operation\u2019 or automation exists in much greater extent in the field of photography due to its unique characteristic of involving a mechanical device (camera). The interplay of this and a human operator allows the opportunities for accidents and unexpected human errors, which may bring unpleasant or surprising results. George Brecht in Chance Imagery (1966)<\/i> had defined the word to mean the cause or system of causes, responsible for a given effect which is unknown or unlooked.<\/span>3<\/sup><\/span> mainly from either \u2018consciously unknown causes\u2019 or \u2018mechanical operation where human control is omitted.\u2019<\/span>4<\/sup><\/span><\/h6>\n

In photography, chance plays a bigger role than other visual medium like painting or literature.<\/span>3<\/sup><\/span> Within photography, the use of it also creates a different meaning for individual genres. For example, the use of chance in fashion photography is less likely to generate the serendipitous effect that it occurs in street photography. Hence, a closer look at how it plays within the field of photography is necessary in order not to dismiss its role in creation of images and understand how the medium propelled the use of chance. <\/span><\/h6>\n

As photography moved into the category of art, the question of intention becomes crucial in the works that were presented and the use of chance seems juvenile in this process of creating art.\u00a0 <\/span>In \u2018Towards a Philosophy of photography\u2019, Vil\u00e9m Flusser advocates the message that\u00a0 <\/span>photographers should have control of their cameras and the need to have clear intention of what they want to do with the camera. He mentioned the importance of the role of photographer and emphasises that human should not be run by machines. \u2018The camera does the will of photographer but the photographer has to will what the camera can do\u2019<\/span>5<\/sup><\/span> affirms that the photographer should ultimately be in control and on top of the hierarchy above the apparatus.<\/span><\/h6>\n

A divine intervention, a random occurrence or an unaccountable accident – these negative concepts of chance sets a limit to any thought of intention from the artist, an undeniable source of creation in any artworks. Yet, artists and photographers have not shy from using chance in their works of art, both consciously and inadvertently. The remaining of the paper, we will look at how the use of chance is unavoidable to the study and practice of the medium and hence, reevaluate how one can approach and understand photography for its uniqueness in the art world. The question is – how can we interpret the meaning of the work in a medium that is susceptible to chance? To what extent can we let the image speaks for itself and ignore the involvement of the photographer or should we embrace the results that exist from the technicality of the camera? And, does the later diminishes the role of the photographer over the former?<\/span><\/h6>\n

Contact<\/a> for full essay<\/h6>\n

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[vc_row][vc_column width=”1\/5″][\/vc_column][vc_column width=”2\/5″][vc_column_text] Paradox of Chance (2023) The involvement of a mechanical device is a unique and fundamental characteristic of photography. The result of this interplay between the device and a human operator is easily dependent on chance due to this mechanical operation and automation. While Vil\u00e9m Flusser advocates \u2018freedom\u2019 of photography by eliminating chance,…<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":4340,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"class_list":["post-4146","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/weeteng.space\/wp-json\/wp\/v2\/pages\/4146","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/weeteng.space\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/weeteng.space\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/weeteng.space\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/weeteng.space\/wp-json\/wp\/v2\/comments?post=4146"}],"version-history":[{"count":76,"href":"https:\/\/weeteng.space\/wp-json\/wp\/v2\/pages\/4146\/revisions"}],"predecessor-version":[{"id":5040,"href":"https:\/\/weeteng.space\/wp-json\/wp\/v2\/pages\/4146\/revisions\/5040"}],"up":[{"embeddable":true,"href":"https:\/\/weeteng.space\/wp-json\/wp\/v2\/pages\/4340"}],"wp:attachment":[{"href":"https:\/\/weeteng.space\/wp-json\/wp\/v2\/media?parent=4146"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}