为了减少现象学的保证，在所有的阶段中，变化、选择、有目的的干预和机会效应都至关重要地确保了意义的产生，无论何种劳动分工受制于过程和应用技能(Becker, 2015)。这不能被认为是先验实相的改变，但相反，有一个具体的和新的实相的生产。照片最终在特定的交易中变得有意义，同时产生了真正的影响。然而，这些都不能被认为是摄影前的真实。照片不能被认为是一种神奇的发散。它们是物质化生产的设备，用于根据特定的环境，通过特定的力量，或多或少地为特定的目的而工作。也没有一个中立的基础，照片被提供为自己说话的能力，有一些潜在的，本质的真实意义(Batchen, 1999)。因此，这里没有炼金术的要求，而是一个历史的背景，超越了这个背景，摄影就失去了空洞的存在本质，没有适当的欲望的传递。
The choices made by a specific photographer can be considered as one factor for the determination of interpersonal narrative. There is creation of power relations and interaction by the angle of camera, perspective and the choice of lens (Barthes, 1982). As a significant example, looking at the subject upward with camera set at a low angle, provides power of subject on the viewer. On the other hand, close- ups are crucial for allowing an imagination based intimate relationship between the viewer and the subject. Medium shots tends to be enacting a social relationship, while depictions of long angle are considered as impersonal.
For reducing down the guarantee of phenomenology, at all of the stages, variations, choices, purposeful interventions and chance effects crucially ensure production of meaning, no matter what labour divisions are subjected to the process and the applied skills (Becker, 2015). This cannot be considered as prior reality inflected, but instead, there is production of a specific and new reality. The photograph ends up becoming meaningful in specific transactions, while having real effects. However, these cannot be considered as the pre- photographic reality in reference of truth. Photograph cannot be considered as a magical emanation. They are materialistically produced apparatus set for working as per certain contexts, through particular forces, for purposes that are more or less defined. There is also no neutral base in which the photograph is provided with the ability of speaking for itself, where there is emitting of some underlying, essential true meaning (Batchen, 1999). Therefore, there is not a requirement of alchemy, but a historical context beyond which the photography has empty existential essence without the delivery of appropriate desires.
There cannot be extraction of a specific existential absolute from the perceptual, psychological, cultural and unconscious processes and codes, consisting of the meaning and experience of the world. There can neither be separation of reality nor of experience from the psychological practices and structures, representations and languages within which there is some articulation to be disrupted (Finn, 2009). More than ever, it is the outcome of producing the subject through and in representation for giving rise to some phantasm or more. There is no choice but for working with theessay代写价格 reality present in material item and paper print.