O véu, a bruma, a tela e a face - o negativo do documental na fotografia de imprensa

Abstract

Although firstly destined at promoting visual homologation to information and values expressed by the verbal text, the press photograph can acquire a sort of autonomy that is capable of amplifying the reading possibilities. An image selection, both for the manifest thematic and for the arrangement of discursive and plastic devices, conditions interpretative paths that seem to validate certainties or that incite reflection, establishing with the reader distinct interaction regimes. For that, the image is embodied with marks that approximate or distance it from its presupposed photographical "essence".