Upon getting feedback from the work that I began to shoot in the style of Steve Pyke, it was brought up that my method of shooting reminisced the theory of stadium and punctum, noticeably by Roland Barthes in his book entitled 'Camera lucida'. Specially chapters; 10, p25-26, 11, p27 and 19, p43-46.
In Chapter 10 entitled; STUDIUM and PUNCTUM, Barthes begins by explaining that this theory has the basis of two elements, the punctum of which is the extent and the studium, of which is the aspect that inflicts the viewer. This is shown in the quote, "-these two elements whose co-presence established-" p25. (Barthes, 2000)
Barthes explains stadium as "-extent it has the extension of a field, which I perceive quite familiarly as a consequence of my knowledge, my culture; this field can be more or less stylized,-" p25. (Barthes, 2000) Barthes goes on to say "-it always refers to a classical body of information: rebellion, Nicaragua, and all the signs of both: wretched un-uniformed soldiers, ruined streets, corpses, grief, the sun, and the heavyilidded Indian eyes." p25-26. (Barthes, 2000)
This quote explores how the viewers interpretation and emotional effect caused may depend on their own personal connotations regarding the photos subject matter. An example of this would be, for example if someone who has served or knows someone who has served, such as a family member, would feel differently to an image depicting war, the effects of war on serving soldiers or portraits of veterans.
Furthermore, Barthes states,
"Thousands of photographs consist of this field, and in these photographs I can, of course, take a kind of general interest, one that is even stirred sometimes, but in regard to them my emotion requires the rational intermediary of an ethical and political culture. What I feel about these photographs derives from an average affect, almost from a certain training." p26.(Barthes, 2000)
This quote from Barthes suggests how when images are developed with the theories of stadium, either it be intentional or not, will automatically have an opinion on an image. When observing the image more in depth, the audience may connect the contents of the image or the method of which it was documented with an emotional aspect or morally inflicted outcome.
References:
Barthes, R. (2000). Camera Lucida. vintage.