Thierry Miandrault’s Monthly Cogitations
When I receive emails since letters are no longer fashionable or when I meet photographers, the conversation quickly turns to them. Not solely to boast about their personal achievements in terms of communication, but also to discuss their purchases of state-of-the-art equipment or the subject of their latest brilliant shots. In short and this is not unique to photographers the focus revolves around the author and/or their activities. Now, the evolution of communication on so-called social media prioritizes the active role of the author over the falsely passive role of their work.
You have all noticed it: the common public no longer goes to an exhibition to immerse themselves in and engage with photographic images; but rather, to hear a “mediator” recount the author’s latest romantic exploits published online. The Holy Grail appears when the artist is present, in the flesh, (not for much longer, as the intelligent hologram is on its way) to explain in minute detail the traits of their genius. If you wish to exhibit, dear colleagues, your photographs are no longer enough; your presence will be required at the exhibition venue. Fanatics and other apostles must be able to brush against your tunic or inhale the sweat of your photographic exploits.
What a strange world this is, where the essential often reduced to an excerpt from the artwork becomes merely an accessory to knowledge, culture, and evolution. Have we become so naive as to forget that the ego is mortal and that its aura can only endure through artworks? Moreover, today, this observation is exacerbated by the race for immediacy, for hasty gratification, and for the “after me, the deluge.” Our heritage is evaporating for fleeting gains!
Let us return, just a little, with our feet firmly on the ground. Time is a formidable selector in its choices of what it carries into perpetuity, with very uncertain prospects for posterity.
For two centuries, many talented, even original, photographers have fallen into total oblivion. Yet, particularly during this anniversary period, sublime photographic images are reappearing. They are pulled from family drawers, attic trunks, or museum collections that were not always intended for photography. Sometimes, it is possible to find the author’s name, their face in a self-portrait, and that is truly wonderful. Nevertheless, it is really the image itself that will spark a dialogue, that will draw us into its invisible essence within the photograph. This photographic work carries and intensifies emotions; it distills the magic embedded in this refined image. This photograph reveals to us what the artist can no longer articulate.
The object of our creation, our work, our passion, our expression is fixed, at a precise moment, in the photographic image that emerges through a chemical process or appears on a screen. Why speak at length about oneself or write endless justifications, when faced with an image that speaks infinitely louder?
Just as technological advancements blur the lines between what is important and what is intrusive in the realm of communication, they also complicate the process of creating a photographic image. This will shape how it is perceived in the future.
Taking a photograph is, above all, a complex and precise choice, regardless of the subject intended or revealed in the final result. After the moment often very brief of choice comes the time for execution, which begins with taking the shot and ends with a presentation. Then comes the moment of truth in the confrontation with others’ perceptions. A digression seems necessary to clarify that the evaluative gaze of onlookers is absolutely not defined by either time or space. A photographic image may well be highly praised upon its immediate publication in a magazine, only to be shunned at an exhibition the following year. The immediate rejection of a fashion image can become a source of inspiration for artists half a century later.
Two key elements are essential for creating a photographic image worthy of the name. The first is a perfect mastery of the technologies to be used within the specific context of the project. The second is a thorough understanding of the criteria for how the image will be received by the audience for which it is intended.
Regarding the first point, it is the photographer’s expertise in navigating the essential steps required to bring their initial project to fruition. The final result will, by definition, be limited by the quality of the least successful step in the production chain. It is therefore essential to be competent and vigilant at every stage of the artwork’s creation. Approximation has no place here, and there is no shame in revisiting a step in the overall process. In a world driven by speed, work done well may seem anachronistic; but let us not forget that haste produces a masterpiece only by accident. Everyone who goes through this process also knows that excellence exists only within the context of overall coherence with the intended vision. The sequence of technologies requires a coherent selection of them and an orderly progression of the process. This is the personal investment required to produce a beautiful photographic image.
The second point notes that “beautiful” does not imply “good.” We sometimes see beautiful photographs, but that does not necessarily mean they are good. To be good, an image must convey meaning, and to do so, it must resonate with the public for whom the image is intended. The photographer must have anticipated the codes of reception of their human targets. This concerns objective codes (reading direction, color perception, graphic interpretation, etc.) and subjective codes (cultural background, educational level, moral references, etc.).
It is the sum of all these parameters both technical and psychological that will define the artwork. The trouble arises from the volatility of all these parameters, which are constantly evolving alongside technological “progress” and the “changes” in our societies. It should be noted that the recent rapid pace of these changes does little to facilitate the work of creators.
Amid the general hubbub, the collective consciousness sometimes needs a reminder of what is essential. Glory fades quickly if we do not leave the tangible traces as legacy. The inanity of our fickle actions will find its way into the digital trash bin; the sensuality of our photographic images will await the curiosity of tomorrow’s archaeology.
Thierry Maindrault, May 08, 2026
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