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La cámara lúcida: Nota sobre la fotografía

3.91  ·  Rating Details ·  26,502 Ratings  ·  361 Reviews
Este libro no es un tratado sobre la fotografía como arte, ni mucho menos un historia sobre el tema. Barthes rehuye los senderos mas trillados y se lanza a una especie de desciframiento del signo expresivo, del objeto artístico. En este caso, toma como punto de partida unas cuantas fotografías, con el fin de descubrir y, a partir de ahí, deducir. El final de esta excursión ...more
Paperback, 208 pages
Published April 28th 2003 by Ediciones Paidós Iberica (first published 1980)
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Aug 21, 2013 David rated it it was amazing  ·  review of another edition
For Barthes, every photograph, rather than being a representation, is an expression of loss. The photograph, like all art which precedes it, attempts to eternalize its subject, to imbue it with life-forever, to blend the beautiful with the infinite; but it fails, it reminds us only of mortality (death is the mother of beauty). Try though it may, and despite its resemblance to life, the photo can never extend a life which is lost, or a life which is passing.
I had understood that henceforth I mu
May 08, 2016 Michael rated it really liked it  ·  review of another edition
This was the last book written by the renowned French master of linguistic semiotics and literary criticism before he died in 1980. It is a short (120 page) exploration of the unique qualities of photography compared to other forms of representation. The book was a rewarding book for me to think about photography in unfamiliar ways. I ended up making friends with the paradoxical concept that photographs do their magic by authentically capturing “what has been” while at the same time demonstratin ...more
Dec 03, 2015 Zanna rated it really liked it  ·  review of another edition
I'd never thought much about Barthes method until I read Sara Ahmed's book Queer Phenomenology in which she draws attention to the labour that enables Husserl to sit and think at his table; the work of childcare and table clearing performed, probably, by women. Ahmed has inspired me to ask what Barthes is doing here, and Barthes has helpfully told me; he is forthright; perhaps that is why I find his writing appealing; I am engaged by honesty and directness. He looks at photographs; he thinks abo ...more
Mar 07, 2007 Alejandro rated it it was amazing  ·  review of another edition
Recommends it for: everyone
while to many this book is another of barthes extended fragmentary ramblings on modern media, this is actually a touching novella about a solitary man's recognition of his own humanity upon the death of his mother. he so longs for transcendence, redemption, and eternal life and he prays it might come through the archives and the text. and yet he sadly worries it might not. and that his intellectual musings have somehow missed the point. if you ever wondered what in search of lost time was really ...more
Jul 10, 2008 Ryan rated it liked it  ·  review of another edition
Shelves: theory
Along with Susan Sontag's On Photography, Camera Lucida is one of the earliest and still most frequently cited analyses of the medium. This might seem strange considering how personal and 'literary' it is, but, whether for or against, academics continue to use this little book to make all sorts of exaggerated claims about visual culture.

As he acknowledges, Barthes' take on photography is determined by a phenomenological reduction. "...I decided to take myself as a mediator for all Photography. S
Hanieh Fajrak
Nov 27, 2015 Hanieh Fajrak rated it it was amazing  ·  review of another edition
This is THE PHOTOGRAPHY ! This is THE real art. The photograph is literally an emanation of the referent. From a real body, which was there, proceed radiations which ultimately touch me, who am here; the duration of the transmission is insignificant; the photograph of the missing being, as Sontag says, will touch me like the delayed rays of a star.
I have found my soul on Photography. Thats it.
Ahmad Sharabiani
La chambre claire: Note sur la photographie=Camera Lucida: Reflections on Photography, Roland Barthes
موضوع: عکاسی هنری
عنوان: اتاق روشن: تامالاتی درباره عکاسی؛ رولان بارت؛ مترجم: فرشید آدرنگ؛ تهران، ماه ریز، 1379؛ 175 ص، مصور؛ شابک: 9647049404؛

عنوان: اتاق روشن: اندیشه هایی درباره ی عکاسی؛ رولان بارت؛ مترجم: نیلوفر معترف؛ تهران، چشمه، 1380؛ 144 ص، مصور؛ شابک: 9643620077؛

Aug 02, 2010 David rated it it was amazing  ·  review of another edition
I spent this afternoon looking through old black & white photos from the fifties taken by my father, of the extended family. My cousins, now dead or old, as they were when young, at birthday, Easter and Christmas parties, and my mother as an attractive young woman with her life before her. Of myself in one group photo, aged 1 year, somewhat annoyed at sliding off my cousin Janet’s 8-year-old knee as I try to read my book, believe it or not!

I’ve often thought this – that when you look into a
أَحمَد إبرَاهِيم
إسقاط تأملات الفوتوغرافيا على القائد، الرئيس، المشير، السيسي...

"قد يحدث أن أكون مُراقباً دون أن أدري، ولكني في أحيان كثيرة وبمشيئتي يتم تصويري على دراية مني.
بيد أني متى أشعر أنني مُراقَب من قبل العدسة، حتى يتغير كلّ شئ، أتشكّل منشغلاً باتخاذ وضعاً أمام الكاميرا ، أصنع لنفسي في الحال جسدا آخر،

أتحول سلفاً إلى صورة ،و أشعر أن الصورة توجِد جسدي وتُميته، وفقاً ﻹرادتها الخاصة، تجعلني طيباً ...

أو حتى بسيمائي الغاضبة والمخوفة في بلاهة كهاهنا...

هل سوف أولد من شخص ثقيل الظل أم من شخص لطيف؟ لو استطعت
Jan 13, 2016 Roya rated it it was amazing  ·  review of another edition
I could give it tens of thousands of stars, and still it wouldn't be enough.
Sep 14, 2015 Miguel rated it it was amazing  ·  review of another edition
Shelves: favorites

André Kertész - O Cãozinho , Paris - 1928

A Câmara Clara , livro de elaboração teórica e crítica, compromete-se a escandir o génio da Fotografia.
Roland Barthes aceita a completitude e o carácter constitutivo, verificativo e probatório de uma foto. Porém, o melindre e a subtileza que lhe são indissociáveis são os verdadeiros potenciadores deste ensaio, em que os noemas apostos à Fotografia reforçam a latência da paixão de um fotógrafo iniciático.
Walid Elalfy
Feb 03, 2013 Walid Elalfy rated it it was amazing  ·  review of another edition

هو "انا " الذى لا يتطابق ابدا مع صورتى , لان الصوره هى التى تبدو ثقيله ,ساكنه, عنيده وهو "انا" الذى ابدو خفيفا منقسما ,مشتتا ,كعفريت العلبه ,لا ابقى ساكنا ,بل مهتاجا فى انائى
Feb 15, 2009 M. rated it it was amazing  ·  review of another edition
Shelves: 2009, theory
This is the first book of Barthe's that I've read as a whole that has fully resonated with me (though to be fair, it's only the second book-as-a-whole of his that I've read (the other being The Pleasure of the Text, which I feel a somewhat urgent necessity to re-read): I have mostly just jumped around with essays with him), but I really wish I could have read it [and understood it the way I understood it now:] earlier on in my undergraduate career. I feel like, had I penetrated what the book is ...more
This is a curious little book, and it really is a little book – only 119 pages. It is curious because it is two books. The first is a kind of philosophical discussion on the nature of photography. He says many very interesting things here – interesting in a philosophical kind of way. He starts with the basics and works his way up from there. For example, he says we can have three relationships to photographs: we can take them (he doesn’t take them so he has virtually nothing to say about this), ...more
Jon Anzalone
Dec 29, 2011 Jon Anzalone rated it did not like it  ·  review of another edition
Patronizing and solipsistic as a discussion of photography. Barthes spends ample time assigning Latin names to elements of what is, essentially, irony, identifies their interaction as either clever or lame, and then abandons them. Other elements of photography are not considered, and instead he marvels at the possibility that the subject of an old photo may still be alive. He so much as admits he knows not much about photography, and goes on to talk at great length about himself instead.

I've be
Aug 17, 2016 صان rated it liked it  ·  review of another edition
خیلی سخت نوشته شده ولی گاهن ک فهمیده میشه مفاهیم خیلی جذابی توشه!
أحمد زبيدة
قرأت هذا الكتاب مرتين .. مرة باللغة العربية وهذه المرة بالفرنسية، الكاتب ليس مصور فوتوغرافي ولكنه من محبيه، وهو واضع أسس النقد السيميولوجي، تناول الصورة الفوتوغرافية من الجانب الحسي كمتأمل لها وباحث في علاماتها ودلالاتها ومدلولاتها، هذا الكتاب أنار أمامي الطريق نحو الفوتوغرافيا المفاهيمية وفهمت من خلاله لا العلاقة بين المصور والصورة دائمة الذكر وإنما العلاقة بين الصورة ومشاهد الصورة كعلاقة خاصة غير متكررة بين المشاهد والآخر حيث يسبحون في بحر التأويل اللامتناهي والذي تقودهم فيه تجاربهم الشخصية وا ...more
Farzaneh Doosti
Dec 11, 2007 Farzaneh Doosti rated it it was amazing  ·  review of another edition
Recommends it for: علاقه مندان نقد هنر
جالب بود
در این کتاب بارت صریحن موضع گیری های پساساخت گرایانه شو رو می کنه

اینجا بارت کسیه که کاملا به حواشی می پردازه و می خواد بگه عکس اون مفهوم سنتی ش نیست و در یک تصویر ممکنه ناخن بلند ابژه عکس خیلی تاثیرگذارتر باشه بر ببننده تا مثلن صورت او یا چیزی که نیت تشدید و توجه عکاس بوده - بحثی که بیشتر وارد حوزه ی پدیدارشناسی نقد خواننده مدار و پساساخت گرایی میشه و از بارت يه تصوير دوست داشتني ميسازه، تصويري كه به قول خودش بتونه تو روزهاي سوء شهرت به كارش بياد

اين اولين كتابي بود كه ازش نت برداري دقيق
Mana H

بارت در کتاب "اتاق روشن" از عکسهایی حرف می زند که به هیجانش آورده اند یا زخمش زده اند -که او این خاصیت زخم زننده را پنهان در چیزی می داند که پونکتومش می خواند- و در روند پدیدارشناسی عکسهای مهم زندگی اش، می رسد به عکس باغ زمستانی که کودکی مادرش را در خود دارد –بارت کتاب را یکی دو سالی پس از مرگ مادر نوشت- بارت در کتاب، تصویر تمام عکسهایی را که درباره شان حرفی می زند، یا ذکری می رود ازشان، منتشر کرده است، با تاریخ و جزئیات. –مضحک اینکه در چاپ جدیدی از ترجمه فارسی که من دارم، کیفیت عکسها اینقدر بد
Nov 20, 2014 João rated it really liked it  ·  review of another edition
Encontrei este livro na seção de fotografia de uma livraria. Interessado, folheei as primeiras páginas e pareceu-me que se tratava de uma reflexão sobre o que separaria a fotografia das outras artes ou, mesmo, se a fotografia mereceria ser tratada como uma. Após a leitura, deslumbrado, devo confessar, concluo que a livraria se enganou, e este livro deveria estar na seção de filosofia.

Como muito bem diz o meu amigo Miguel Botelho "sempre que um homem olha para si próprio, o que nós vemos é o mun
Melika Khoshnezhad
من هیچ دانشی درباره ی عکاسی نداشتم ولی همیشه دلم میخواست یه چیزایی ازش سر در بیارم در حالی که وارد بحث های تکنیکی و ایناش نشم. بیشتر دلم میخواست درباره ی خودش بفهمم. درباره ی معنی اش. و این کتاب خب یه جورایی دقیقن همون چیزی بود که من می خواستم و از خوندنش خیلی لذت بردم. مخصوصن بخش دومش که درباره ی مادرش و عکس کودکی مادرش بود. در حالی که خیلی غم انگیز بود ولی خیلی هم لذت بخش بود.
Jan 14, 2012 Aya rated it it was amazing  ·  review of another edition
Shelves: favorites, 2012-reads
"الفوتوغرافيا في الحقيقة انقلابية، ليس عندما تُفزع وتكدر أو حتى توصم بالعار، ولكن حين تُفكر"

رغم بعض عيوب الترجمة والحواشي أعطيه 5، الكتاب في ذاته رؤية نقدية فنية رائعة، لوحة كبيرة تغوص في تفاصيل الصورة
Spyros Passas
Sep 21, 2016 Spyros Passas rated it it was amazing  ·  review of another edition
Barthes final book is an agonising, almost painful, quest to identify the nature (the eidos in the author's words) of photography. Barthes initially attempts to tear apart photography into its emotional elements, looking through the prism of his own desire for pleasure and examining photographs by the notions of studium (the general, enthusiastic likeness but without special acuity) and punctum (the element that disturbs the studium, an accident that pricks and bruises).

Identifying that this hed
Jul 29, 2016 Rizowana rated it really liked it  ·  review of another edition
Reading this book got me thinking about photography in general and I began thinking of my own love for the activity - this science, this art, call it what you will. The very roots of the word photography have a fantastical touch to it; its very etymology captures the essence of its nature, which according to Barthes is elusive: writing in light. How glowingly wonderful and soft! When you take a picture, whether it manifests itself as a physical copy in your hands or as a digital collection of pi ...more
мини тяло
Тук Барт е значително по-сдържан от „Фрагменти на любовния дискурс“ – разбираемо, възрастта, темата. Обаче имаше моменти, които ме грабнаха в книгата, та ми се ще да си отбележа някои от тях.

В мрежата често срещам едно изказване: „Ако искаш да знаеш какво се страхува да изгуби човек, наблюдавай какво снима.“ Да де, обаче аз никога не съм била съгласна с това, защото ако беше вярно, щях да снимам хората, които обичам, най-много, а снимам предимно откъси от книги и парчета от града, в който живея
Marwa Assem Salama
إنهم " يكرّسون أنفسهم للقبض على الراهن، ولا يعرفون أنهم عُملاء للموت." ،يقول الفيلسوف رولان...آه.. كحانوتية اللحظات ترى المصورين إذن!! ..حيث تقنيّة الضوء هنا هي مراسم الكفن ..قبل أن تُحنّط لحظةٌ ما أو مشهد في توابيت من الزمن الراكد للأبد..هكذا أجاريه بالفلسفة، ثم أعاند: ولكني لا أريد أن أراهم كذلك!.."المصوّر مثل البهلوان- يضيف رولان- لابد أن يتحدى القوانين المحتملة أو حتى الممكنة إلى أقصى حد."..لما يبدو حتى وصفاً لطيفاً كهذا عن مخيلتيّ شديد البعد؟!..ألا يبدون لك كهواة الصيد؟ ..أعينٌ تجوب المكان، ...more
Nov 14, 2014 hayatem rated it it was amazing  ·  review of another edition
Shelves: أخرى
كتاب جميل يقدم من خلاله رولان بارت الفتوغرافيا برؤية فلسفية فمنولوجية خاصة. بمعنى أدق صورة ذاتية في التصور والفكر .

مساعي بارت في الفتوغرافيا كانت في سبيل الخروج والوصول الى استنتاجات غير التي تكون متبوعة او مشروحة بمنظور اجتماعي، وذلك بغرض مقاومة اي نظام مختزل!
ومن منطلق خبرة الذات المشاهدة، وخبرة الموضوع المشاهد، علاقة الدال الفوتوغرافي ،
سيمياء الصورة الفوتوغرافية، والنظر وراء الصورة الكلية ومحاولة القبض على ذلك الشيء الخفي والغير ظاهر.

( البوكنتوم) وهو مصطلح اخترعه بارت، ويطلقه على التفصيلة
Nathanael Booth
This book is not a view of photography as an art-form, but Barthes’ attempt to understand exactly why certain photographs snagged him, tugged at his soul. He distinguishes between studium, that quality that makes the photograph of passing interest, and punctum, the telling detail (a pair of shoes, the texture of a dirt road) that causes the photograph to seem to say more than it does. He suggests that it is so because the punctum gives hints of a fragment of time captured. Indeed, for Barthes th ...more
Caitlin Park
Apr 07, 2013 Caitlin Park rated it it was amazing  ·  review of another edition
Roland Barthes’ "Camera Lucida: Reflections on Photography" is a collection of thoughts regarding the experience of viewing the photograph. The famous French literary theorist and philosopher wrote Camera Lucida in 1980 shortly after the death of his mother. He discovered the true value of photography after finding the ‘perfect’ photograph of her, a single frame capturing her entire essence that brought her back to life. Barthes’ Reflections unfold in forty eight investigative chapters, ultimate ...more
May 15, 2016 L. rated it really liked it  ·  review of another edition
Każdy, kto interesuje się fotografią choć troszeczkę, powinien przeczytać tę książkę. (Nie znoszę zdań zaczynających się od każdy, kto.) Pierwsza część zrobiła na mnie ogromne wrażenie i właściwie całkowicie zmieniła sposób w jaki robię i oglądam zdjęcia. Druga część jest rzewna, nieco marudna; chętnie wycięłabym z niej kilka fragmentów, ale wiem, że nie mogę, bo to matka Barthesa przecież.
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Visual arts: Roland Barthes - Camera Lucida: Reflections on Photography 1 9 Jul 03, 2014 09:05AM  
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Roland Gérard Barthes was a French literary theorist, philosopher, linguist, critic, and semiotician. Barthes' ideas explored a diverse range of fields and he influenced the development of schools of theory including structuralism, semiotics, social theory, design theory, anthropology and post-structuralism.
More about Roland Barthes...

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“Ultimately — or at the limit — in order to see a photograph well, it is best to look away or close your eyes. 'The necessary condition for an image is sight,'Janouch told Kafka; and Kafka smiled and replied: 'We photograph things in order to drive them out of our minds. My stories are a way of shutting my eyes.” 106 likes
“What the Photograph reproduces to infinity has occurred only once: the Photograph mechanically repeats what could never be repeated existentially.” 94 likes
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