所建立的联系是一个历史、文化、技术和歧视的过程，其中有具体的化学和光学装置的设置。这些对于与欲望和经验的组织一起工作，以及产生一个独特的现实是至关重要的。这个程序似乎很熟悉。对于Tagg来说，任何照片的价值和意义完全取决于它与其他照片的关系，更多的社会和强大的实践(Tagg, 2003)。有一个单眼的反射光的收集，静态镜头专门构造。它设置在被查看对象之外的特定空间。由于其结构的原因，物体在相机上被矩形平面投射出扭曲、裁剪和聚焦的图像。这并不是针对眼睛的模型，而是针对两个不同维度空间表征的具体理论问题(Becker, 2015)。在这个特殊的过程中，多色光作为一种化学的颗粒状变色固定在半透明的支架上。通过比较的方法，最终得到的是一张正面印刷的纸。
Photography’s Varying Status as a Technology with Invested Power Relations
All photographs are the outcome of significant and specific distortions. This renders its relation with any previous reality that involved major issues, and raised doubt on the level of determination. This determines the social practices and material apparatus in which there is occurrence of photography (Becker, 2015). The nature of any photograph is indexical. This means there is a causative link among the sign and the pre- photographic referent, being highly irreversible and complex. These tend to be guaranteeing nothing apart from the degree of meaning.
Relationship: Critical Discussion
The link made is a historical, cultural, technical and discriminatory process within which there is setting of specific chemical and optical devices. These are crucial for working with the organization of desire and experience, and producing a unique reality. The procedure appears to be sufficiently familiar. For Tagg, the values and meaning of any photograph is determined completely by its relation with the others, more social and powerful practices (Tagg, 2003). There is collection of reflected light by a monocular, static lens constructed specifically. This is set at a specific space out of the objects being viewed. The image of the objects projected in distorted, cropped and focused by the rectangle flat place across the camera owing its structure. This is not specific with the model of the eye, but for specifically theorizing issues in representation of space across two different dimensions (Becker, 2015). Across this particular process, there is then fixing of the multi-coloured light as a chemical, granular discolouration over a translucent support. By the method of comparison, this ends up yielding a positively printed paper.
Interpretations of Photography
The past 50 years have provided that the guardian of truth is the demise of objectivity. While the perception of photography is that it helps in showing what is present, there is a need for awareness regarding the fact that there is construction of every image. No longer, objectivity appears to be securing the sense of photography. There is an involvement of several moments of mediation in order to transform an ambiguous reality infinitely as a fixed commodity. In addition, the construction of these image help in the construction of events (Barthes, 1982). An event can not only be considered as what took place, but instead the overall narration, and in such scenarios, images act as main instruments for narrating. However, if photography cannot be considered objective, and it does not end up corresponding with one- on- one reality, there should be some responsibility towards truth.