The photographic transformation in the face of the convulsed was postmodern.

Abstract

This research aims to expose, from a postmodernist perspective, the way in which photography has positioned itself in various areas of human knowledge. In this course, photography has gone from a scientific proposal to a subjective experience, in which it has been transformed into a simulacrum image that expands its territory of action to all media. This mode of integration marks its incorporation and permanence in the 21st century on a more humane basis.

From a historical perspective, the existence of photography, in its almost 200 years, has not been easy at all, but, on the contrary, it has been linked to controversies about its origin and nature. And it is perhaps for 23 years (1996), that photography has added a change in its perspective; it has become broader, the production and reproduction systems of the photographic image have been transformed: we are referring to digital photography and its association with new technologies. These changes have once again convulsed the order and consolidation that photography had acquired until the emergence of the digital age.

As stated by Martin Lister (1995: 14), the photographic image in some of its variants –still image, cinematographic image and television photography– has been transformed into a wide field of ideas and speculations in which “ideas about a post-photographic era, a technological revolution and the appearance of hypermedia” are proposed. In this sense, there is no trace of originality in the "original" photograph and everything is the product of a combination of mechanization of production with the disappearance of the "author" in the post photographic image.