The camera is for me a sketch pad, the instrument of intuition and spontaneity. To photograph is to hold your breath when our faculties converge to capture fleeting reality, at which point the captured image becomes a great physical and intellectual joy. To photograph is to recognize at the same time and in a fraction of a second event and the rigorous structure of the forms received with a look that express and signify the event. You put on the same line of the mind, eyes and heart. It is a way of life.
(by Henri Cartier-Bresson, Contrast, 2004) "
Each of us has a photo album and everyone has taken a picture , keeping it in your album or on your PC. As Marshall McLuhan argued (1967), the man sees the 900 photographs, but despite the massive presence of photography and photography in our lives, it is one of the less widely used and studied arts in psychology and in the path of self-knowledge, but it is no less potent than half of inner communication. According to psychoanalysis
the camera is an extension of the psychic or better than any of its organs of perception are established: the view. The tool-machine would, therefore, the power to connect those photographs with the outside world through a process of introjection, which would lead to set an object and the relationship with that object, the first targeted, then in step and then, after development, on a sheet of paper or on a medium through which we can always have a physical relationship with the image produced.
photographer to take pictures, must be able to get out of themselves and create a connection between his inner world, representations of the latter and its surroundings. In addition, he is the only one who will decide what to capture its reality, performing an act of re-production and re-creation. (Cacciari, 2001).
E 'therefore important to consider the dynamics of "inside-out", which makes the photographer, taking out parts of themselves and using it to communicate parts of themselves and establish their own experiences, as if the photo, in a sense was an "acting-out", through which the unconscious play of ideas into actions, rather than as memories or thoughts. Following this perspective, one realizes that each photo is subjective and, for this reason, it is interpreted differently by each observer, who, also challenged the image projecting their own feelings and emotions on the picture, too, by putting in place the same dynamic inside-out through the photographer, however, the photographic medium.
Photography, considering this perspective, appears as a metaphor and an extension of our cognitive process, since it can not return a gesture, an event, a behavior in its entirety, but it takes us back in and its symbolic meaning. In this way, through the photos is "symbolic of reality," making their own point of view of external reality.
But what happens in a person's mind when he decided to photograph? E What drives us to keep the pictures?
Continuing to refer to psychoanalysis, the act of photographing is closely linked to the processes of introjection and incorporation, obtaining satisfaction with the voracity eye to aggressive-libidinal impulses of the oral nature, linked to obsessive fantasies of conquest and incorporation of 'question. The artist would be able, through the photograph, to sublimate these infantile aggressive impulses, also inherent in the camera as a tool to "hunt" images. In English
photograph coincides with the verb shoot (shoot), so the photograph could be thought of as an extension and outsourcing I am a voracious and rapacious. Unconscious aggression but also the need to preserve our past, as our images give us the confirmation of our existence, our being "(Tinti, 2007).
The photograph also activates the mnemonic process and ensure our existence in the present.
Each photo places the individual at a time continuum that spans a past full of memories, that gives meaning to its present and allows him to project into the future. The photos make it possible to store and stop times of life, parts or aspects of the person and, as these non-verbal trigger deep feelings, sometimes, not yet processed.
Very important in this sense is the family album that gives the opportunity to tell their story within the family, giving important information on both the cultural background of belonging, on the internal dynamics of family, the visual information of photography enable us to understand the family system, their place within it and, most importantly, how do you tell the family and how, from this, there has been projected into the outside world.
Applying this exploratory power and knowledge of photography Judy Weiser (1993) and Linda Berman (1993) first used the "phototherapy," or the use of photographs within the therapeutic setting adjuvant as a tool in psychotherapy, as facilitating the exploration of their emotional world and family.
With phototherapy using personal photos and family for therapeutic communication, healing and care. Joe Spence, a pioneer of phototherapy defines literally "to use photography to take care of ourselves, always taking into account the possibility of active transformation" , that the parties understand and change themselves by exploring their own photographs.
The photographs in therapy can help patients become more aware of their physical identity and strengthen its self-esteem. According to Weiser
photos can also be used outside the setting of therapy and defines such use "photo therapy".
An example of the use of photography in this direction is the work done by Ayres Marques Pinto in different psychiatric community with his project "Photo-unconscious, through which the guests involved in a community mental health at various stages of the photographic process , pointing out that the photograph and putting then in the show, your photos have helped guests of the psychiatric community to get in touch with certain emotions and parts of themselves.
The photo and the photographer, then, allow to discover the dark side of the world, giving representability emotions, expanding the imagination and the dream and to think what is important to practice. Thinking in pictures and learn to listen photos (Riggs, 2008).
E ', indeed, important to understand the inner world and the emotions that inform those photographs through her photos, whereas all the other photos evoke different emotions that may coincide or not with the intention of the photographer and also each can perceive the same image in different ways, creating different meanings to the same photo, not listening and denaturation of its real emotional messages.
Bibliography
Berman, L. (1993), Phototherapy in clinical psychology , Edizioni Erickson.
Cacciari, M., (2001), The "Photograph" and the problem of representation in Marra, C., ideas of photography. The theoretical reflection from the sixties to the ogg, Mondadori
Cartier-Bresson, H., (2004), contrast TWO , Necklace FotoNote.
D'Elia, A., (1999), Photography as therapy. Through the pictures of Louis Ghirri , Maltemi Editions.
Marques Pinto, A., The face and voice of the time in http://voltodeltempo. altervista.org /
Marra, C., (2001), ideas of photography. The theoretical reflection from the sixties to today , Mondadori.
McLuhan, M., (1967), Understanding Media , The Assayer
Riggi, C., (2008), The exuberance of the shadow-Thoughts on photography and psychoanalysis , L and Clouds
Tinti, G., (2007) Photography as other real artificial Part I, II and II in www.exibart.com
Weiser, J., (1993), PhotoTherapy Techniques: Exploring the Secrets of Personal Snapshots and Family Albums , PhotoTherapy Press Centre
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