It’s difficult to photograph the wind as it is invisible even if it can be heard whilst being in the bushland. The next study is a wind study:
Wind=movement or flux in the bushland. Objects, such as fragile leaves, are moving all the time. The bushland appears to be the same on the day to day walks, but it is actually in a constant state of flux and transformation.
What happens if we jettison the long-standing notion of the photograph as a physical index or exact representation and dispenses equally with questions of intentionality or authorship? Photography as a medium has a split personality between agency and automatism, between active depiction and passive recording.
What emerges is the idea that photography’s truth is disclosive, rather than positivism’s evidentiary. The latter is the classical understanding of photography: its indexicality says what was and so is the royal road to certainty—the means through which we know and judge the world.
Disclosive in contrast means that the medium as disclosure of that world: the world discloses itself to us. What it reveals is uninformed by human consciousness which is in contrast to those who insist on human agency and intention as the only valid shaper of meaning in the medium.