\nFoto\u011fraf di\u011fer geleneksel g\u00f6r\u00fcnt\u00fclerin aksine, sentez’den \u00e7ok se\u00e7im’e (selection) dayal\u0131 bir g\u00f6r\u00fcnt\u00fc \u00fcretme bi\u00e7imidir. Foto\u011fraf\u00e7\u0131 g\u00f6r\u00fcnt\u00fcs\u00fcn\u00fc varolan’dan se\u00e7erek olu\u015fturur. Bu t\u00fcr temel bir s\u0131n\u0131flama, foto\u011frafin \u00e7er\u00e7evesi ile olu\u015fturulur. \u00c7er\u00e7evenin i\u00e7ine nelerin dahil edildi\u011fi, g\u00f6r\u00fcnt\u00fcn\u00fcn anlam\u0131n\u0131 direk olarak belirleyen unsurlard\u0131r. Ba\u015fka bir deyi\u015fle, \u00e7er\u00e7evenin i\u00e7indeki \u00f6\u011feler de\u011fi\u015ftik\u00e7e g\u00f6r\u00fcnt\u00fcn\u00fcn anlam\u0131 da de\u011fi\u015fmektedir. G\u00f6r\u00fcnt\u00fc \u00e7er\u00e7evesi i\u00e7ine dahil edilen \u00f6\u011feler aras\u0131nda kendiliginden bir ili\u015fki kurulur. \u00c7o\u011funlukla bu ili\u015fki s\u00f6zkonusu \u00f6\u011felerin ger\u00e7eklik i\u00e7indeki ba\u011flamlar\u0131n\u0131n olu\u015fturdu\u011fu ili\u015fkilerden farkl\u0131 olarak ortaya \u00e7\u0131kar. Foto\u011fraf\u00e7\u0131 e\u011fer kalabal\u0131k i\u00e7inden yalnizca iki ki\u015fiyi g\u00f6r\u00fcnt\u00fc \u00e7er\u00e7evesi i\u00e7ine dahil ederse, art\u0131k bu ki\u015filer aras\u0131nda ger\u00e7ekte varolmayan ancak, \u00f6\u011felerin yeni ba\u011flam\u0131 a\u00e7\u0131s\u0131ndan ge\u00e7erli olabilecek bir ili\u015fki ba\u015flam\u0131\u015f olur. John Hillard’in \u00fcnl\u00fc Cause of Death<\/i> serisi, \u00e7er\u00e7eveleme olgusu ve g\u00f6r\u00fcnt\u00fcn\u00fcn anlam\u0131 aras\u0131ndaki ili\u015fkiye uygun bir \u00f6rnektir.\n<\/p>\n
\nGer\u00e7ekli\u011fin i\u00e7inde ortaya \u00e7\u0131kan ‘anlam’lar \u00e7ok boyutlu ili\u015fkilerin \u00fcr\u00fcnleridirler. Daha \u00e7ok olay ve nesnelerin yaln\u0131zca g\u00f6r\u00fcn\u00fcmlerinde sakl\u0131 oldu\u011fu d\u00fc\u015f\u00fcn\u00fclen bu yap\u0131lar, g\u00f6r\u00fcn\u00fcmlerin \u00e7ok \u00f6tesinde farkl\u0131 ili\u015fki boyutlar\u0131nda ortaya \u00e7\u0131karlar. S\u00f6zkonusu g\u00f6r\u00fcn\u00fcmlerin i\u00e7inde geli\u015fti\u011fi tarihsel ba\u011flam – (temporal\/historical \u00e7ontext) – anlam\u0131n temel belirleyici unsurlar\u0131ndand\u0131r. Ger\u00e7eklik i\u00e7indeki anlam yap\u0131lar\u0131n\u0131n temel olarak k\u00fclt\u00fcrel ve ideolojik kodlamaya tabi oldu\u011fu s\u00f6ylenebilir.\n<\/p>\n
\nFoto\u011fraf g\u00f6r\u00fcnt\u00fcsu ger\u00e7ekli\u011fin i\u00e7inden yaln\u0131zca bir b\u00f6l\u00fcm\u00fcn\u00fc kendisine konu olarak al\u0131r. Bu \u00e7ekim an\u0131ndaki “\u00e7er\u00e7eveleme” davran\u0131\u015f\u0131yla ger\u00e7ekle\u015fir. Ger\u00e7eklik foto\u011fraf g\u00f6r\u00fcnt\u00fcs\u00fcnden her zaman daha fazlad\u0131r (larger). Kendi i\u00e7inde anlam a\u00e7\u0131s\u0131ndan tutarl\u0131 bir b\u00fct\u00fcnd\u00fcr. Foto\u011fraf g\u00f6r\u00fcnt\u00fcsu bu ger\u00e7eklik yap\u0131s\u0131na dahil de\u011fildir ve kendili\u011finden \u00e7er\u00e7evelenmeye haz\u0131r beklememektedir. \u00c7o\u011fu zaman konunun herhangi bir bi\u00e7imde \u00e7er\u00e7evelenmesi ile ilgili olarak foto\u011frafi \u00e7ekenin kar\u015f\u0131s\u0131na \u00e7ok fazla say\u0131da se\u00e7enek \u00e7\u0131kar. Ancak daha sonra olu\u015fan kendi yap\u0131s\u0131yla s\u00f6zkonusu ger\u00e7ekli\u011fe katk\u0131da bulunabilir, onun i\u00e7inde yer alabilir. Bir foto\u011frafin kendi g\u00f6rsel s\u0131n\u0131rlar\u0131n\u0131 \u00e7izen foto\u011frafik \u00e7er\u00e7evenin \u00f6nemi, ba\u015fka bir foto\u011frafin foto\u011frafi \u00e7ekildi\u011finde daha belirginlik kazan\u0131r. Bu durumda herhangi bir foto\u011frafin konusunun iki boyutlu ba\u015fka bir foto\u011fraf m\u0131, yahut da ger\u00e7ekli\u011fin kendisi mi oldu\u011fu sorusu e\u011fer aksini kan\u0131tlayacak bir g\u00f6rsel ipucu yoksa daima cevaps\u0131z kal\u0131r. Ancak \u00e7o\u011fu kez foto\u011frafin g\u00f6sterdikleri a\u00e7\u0131s\u0131ndan da b\u00f6yle bir sorunun sorulmas\u0131n\u0131n bir \u00f6nemi yoktur. B\u00f6ylelikle \u2018foto\u011frafin foto\u011frafi\u2019 (photograph of a photograph) i\u015faret etti\u011fi ger\u00e7eklikle ister istemez ayn\u0131 d\u00fczleme gelir.\n<\/p>\n
\nGer\u00e7eklik, foto\u011frafa konu edilen b\u00f6l\u00fcm d\u0131\u015f\u0131nda da anlaml\u0131 bir s\u00fcreklilik g\u00f6sterir. Bu s\u00fcreklilik yaln\u0131zca ak\u0131p giden fiziksel zamanla ilgili de\u011fildir, ayn\u0131 zamanda mekansal ve anlam a\u00e7\u0131s\u0131ndan da ge\u00e7erli olan bir s\u00fcrekliliktir. Foto\u011frafi \u00e7eken kimse bu sureklilik i\u00e7inden bir b\u00f6l\u00fcm\u00fc g\u00f6r\u00fcnt\u00fcs\u00fcne konu olarak se\u00e7er. Bu anlamda her foto\u011fraf g\u00f6r\u00fcnt\u00fcs\u00fcn\u00fcn belli s\u0131n\u0131rlar\u0131 vard\u0131r. Foto\u011frafik g\u00f6r\u00fcnt\u00fc \u00e7er\u00e7evesinin s\u0131n\u0131rlar\u0131 bir anlama kavusacak baz\u0131 \u00f6\u011feleri, ya\u015fanan s\u0131radan ger\u00e7eklikten ay\u0131rd\u0131\u011f\u0131 i\u00e7in \u00f6nemlidir. Deneysel film ya\u00f6netmeni Hollis Frampton taraf\u0131ndan \u2018karma\u015f\u0131k bir kesme eylemi” olarak da nitelenen bu foto\u011fraflama davran\u0131\u015f\u0131yla elde edilen par\u00e7an\u0131n \u00f6zellikleri b\u00fct\u00fcn i\u00e7inde korunmu\u015f oldu\u011fundan da farkl\u0131 bir yap\u0131ya d\u00f6n\u00fc\u015f\u00fcr.\n<\/p>\n
\nFoto\u011fraf \u00e7eken kimsenin b\u00fct\u00fcn teknik s\u00fcre\u00e7 boyunca belki de verdi\u011fi en \u00f6nemli karar bu a\u015famada ortaya \u00e7\u0131kar. Bu karar ayn\u0131 zamanda bir i\u015fleten olarak foto\u011fraf\u00e7\u0131n\u0131n ayg\u0131tla birlikte ve ayg\u0131ta kar\u015f\u0131 giri\u015fmi\u015f oldu\u011fu m\u00fccadelenin en somutla\u015ft\u0131\u011f\u0131 noktad\u0131r. \u00c7er\u00e7eveleme karar\u0131 bir \u00f6l\u00e7\u00fcde foto\u011frafin teknik s\u00fcrecinin sonuna kadar varl\u0131\u011f\u0131n\u0131 korur. Di\u011fer a\u015famalarda farkl\u0131 ili\u015fkileri, farkl\u0131 anlamlar\u0131 sonu\u00e7laya\u00e7ak de\u011fisik g\u00f6r\u00fcnt\u00fc d\u00fczenlemelerine gidilebilse dahi, bu t\u00fcr eylemler hep verilen ilk \u00e7er\u00e7eveleme karar\u0131n\u0131n s\u0131n\u0131rlar\u0131 i\u00e7inde ger\u00e7ekle\u015fmek zorundad\u0131r.
\nFoto\u011frafik g\u00f6r\u00fcnt\u00fc \u00e7er\u00e7evesi, geleneksel g\u00f6r\u00fcnt\u00fclerin ve di\u011fer teknik g\u00f6r\u00fcnt\u00fclerin (sinema, video vb.) sahip olduklar\u0131na oranla \u00f6nemli yap\u0131sal farkl\u0131l\u0131klar g\u00f6sterir. Geleneksel g\u00f6r\u00fcnt\u00fcler sozkonusu oldu\u011funda, \u00e7er\u00e7evenin yaln\u0131zca i\u00e7’i \u00f6nem kazan\u0131r. G\u00f6r\u00fcnt\u00fcnun kendisi bu s\u0131n\u0131rlar i\u00e7inde d\u00fc\u015f\u00fcn\u00fclm\u00fc\u015ft\u00fcr (conceived).\n<\/p>\n
\nBu t\u00fcr g\u00f6r\u00fcnt\u00fcler kendi \u00e7er\u00e7eve s\u0131n\u0131rlar\u0131 d\u0131\u015f\u0131ndaki uzant\u0131lar\u0131 ima etmezler. G\u00f6r\u00fcnt\u00fcn\u00fcn kendi \u00e7er\u00e7evesinin d\u0131\u015f\u0131na ta\u015fmas\u0131 da s\u00f6zkonusu de\u011fildir. Bu a\u00e7\u0131dan kendi i\u00e7lerinde b\u00fct\u00fcnl\u00fcklerini koruduklar\u0131, \u00e7er\u00e7eve s\u0131n\u0131rlar\u0131 d\u0131\u015f\u0131ndaki baz\u0131 olas\u0131l\u0131klar\u0131 sorgulayacak birtak\u0131m durumlar\u0131n do\u011fmas\u0131na gerek b\u0131rakmad\u0131klar\u0131 sonucuna da kolayl\u0131kla var\u0131labilir. G\u00f6r\u00fcnt\u00fc \u00f6\u011felerinin de bu ba\u011flam d\u0131\u015f\u0131nda varl\u0131klar\u0131n\u0131 herhangi bir bi\u00e7imde s\u00fcrd\u00fckleri s\u00f6ylenemez. S\u00f6zkonusu \u00e7er\u00e7eve s\u0131n\u0131rlar i\u00e7inde ve oras\u0131 i\u00e7in yarat\u0131l\u0131rlar. Bu s\u0131n\u0131r\u0131n d\u0131\u015f\u0131n\u0131 ima eden bir durumdan da s\u00f6zetmek m\u00fcmk\u00fcn de\u011fildir.\n<\/p>\n
\nTeknik g\u00f6r\u00fcnt\u00fclerin \u00e7er\u00e7evelenmesi s\u00f6zkonusu oldu\u011funda durum daha farkl\u0131d\u0131r. Teknik g\u00f6r\u00fcnt\u00fclerin \u00fcretilme bi\u00e7imi ve buna ba\u011fl\u0131 olarak, ger\u00e7eklikle olan yak\u0131n ili\u015fkileri konunun \u00e7ok \u00f6zel bir hal almas\u0131na neden olmaktad\u0131r. \u0130ster geleneksel g\u00f6r\u00fcnt\u00fcler, isterse teknik g\u00f6r\u00fcnt\u00fcler s\u00f6zkonusu olsun, \u00e7er\u00e7evelemenin her zaman belli bir niyet dogrultusunda olu\u015fturuldu\u011funu s\u00f6ylemek yanl\u0131\u015f olmayacakt\u0131r. Teknik g\u00f6r\u00fcnt\u00fcler ayg\u0131t tarafindan “se\u00e7im” (selection – \u00f6zellikle foto\u011fraf s\u00f6zkonusu oldu\u011funda) yoluyla \u00fcretilirler. Bu t\u00fcr g\u00f6r\u00fcnt\u00fclerin, g\u00f6r\u00fcnt\u00fcye kaynakl\u0131k eden ger\u00e7ekli\u011fe g\u00f6re konumlar\u0131n\u0131n ne oldu\u011funun ara\u015ft\u0131r\u0131lmas\u0131 da do\u011fald\u0131r. \u00c7er\u00e7eve i\u00e7ine dahil edilenler her zaman “fazla olan” (larger) dan se\u00e7ilirler. G\u00f6r\u00fcnt\u00fcler izlendi\u011finde de yap\u0131lan bu se\u00e7im ve gerisindeki niyet \u00e7oklukla bilin\u00e7 d\u00fczeyinde de\u011ferlendirilir. \u00c7er\u00e7evenin i\u00e7indekiler beraberinde nelerin ve ni\u00e7in d\u0131\u015farda b\u0131rak\u0131ld\u0131klar\u0131 sorusunu da kendili\u011finden g\u00fcndeme getirir. Sinema bu konudaki ger\u00e7ek niyetini gizlemekte daha ba\u015far\u0131l\u0131d\u0131r.\n<\/p>\n
\nFoto\u011frafik \u00e7er\u00e7eve, foto\u011frafi \u00e7eken kimse tarafindan baz\u0131 \u00f6l\u00e7\u00fctlere ba\u011fl\u0131 olarak olu\u015fturulur. Ancak bu eylemin arkas\u0131ndaki niyetin varl\u0131\u011f\u0131 da yads\u0131namaz. \u00c7er\u00e7eveleme karar\u0131 foto\u011frafi \u00e7eken kimse tarafindan, foto\u011fraf makinas\u0131n\u0131n konumuna, g\u00f6r\u00fc\u015f a\u00e7\u0131s\u0131na ba\u011fl\u0131 olarak verilir. Bu da sonsuz say\u0131daki bile\u015fkeler i\u00e7inden baz\u0131lar\u0131n\u0131n se\u00e7imini gerektirir. Ayg\u0131t program dahilinde i\u015fletenin iradesinin en fazla belirginlestigi a\u015fama olarak da g\u00f6r\u00fclebilir. Foto\u011frafi \u00e7eken kimse i\u00e7inde bulundugu ger\u00e7eklikten bir b\u00f6l\u00fcm\u00fcn\u00fc bu \u00e7er\u00e7eve i\u00e7ine dahil eder. Bu \u00f6\u011feler \u00f6zg\u00fcn ba\u011flamlar\u0131ndan kopar\u0131larak, daha farkl\u0131 anlamlar do\u011furacak yeni bir ili\u015fki i\u00e7ine sokulurlar.
\nFakat foto\u011frafik g\u00f6r\u00fcnt\u00fc, \u00fcretim bi\u00e7imi ve dolay\u0131s\u0131yla ger\u00e7eklikle olan s\u0131k\u0131 ba\u011flar\u0131 nedeniyle her zaman \u00e7er\u00e7eve d\u0131\u015f\u0131nda b\u0131rakt\u0131klar\u0131n\u0131 neredeyse g\u00f6sterdikleriyle e\u015f d\u00fczlemde g\u00fcndeme getirir. Bir foto\u011fraftaki bina g\u00f6r\u00fcnt\u00fcs\u00fc hakk\u0131nda her zaman \u015fu sorular sorulabilir; foto\u011fraftaki binan\u0131n arkas\u0131nda ne vard\u0131r, binan\u0131n \u00f6n\u00fcnden devam eden sokak nereye \u00e7\u0131kmaktad\u0131r, yan\u0131nda hangi yap\u0131lar bulunmaktad\u0131r veya bu yap\u0131 nerededir vb. Bu sorular foto\u011frafin g\u00f6sterdiklerinden \u00e7ok \u00e7er\u00e7eve d\u0131\u015f\u0131nda b\u0131rakt\u0131klar\u0131 \/g\u00f6stermedikleriyle ilgilidir. Bu sorular geleneksel bir g\u00f6r\u00fcnt\u00fc i\u00e7in \u00e7o\u011funlukla ge\u00e7ersizdirler.\n<\/p>\n
\nSinemada “\u00e7er\u00e7eve” hareketlidir. \u00c7er\u00e7eve konu ile birlikte, yada mekan i\u00e7inde ayn\u0131 \u00e7ekim i\u00e7inde, hareket eder veya ard arda gelen \u00e7ekimler farkl\u0131 \u00e7er\u00e7eveler olustururlar. Bir \u00e7ekimde \u00e7er\u00e7eve d\u0131\u015f\u0131nda kalanlar\u0131, bir sonrakinde ba\u015fka a\u00e7\u0131lardan g\u00f6stererek olas\u0131 sorular\u0131m\u0131z\u0131n cevab\u0131n\u0131 verir. Herhangi bir eksiklik duygusunun ya\u015fanmas\u0131na olanak tan\u0131maz. Ve ko\u015fulsuz onun d\u00fczenledigi pencerelerden izlememiz gerekti\u011fini yumusak\u00e7a dayatir. (\u00f6r.:diki\u015f kuram\u0131 vb.). \u00c7er\u00e7eve d\u0131\u015f\u0131nda kalanlar\u0131n fark\u0131na var\u0131lmas\u0131 bu konuda bir tak\u0131m sorular\u0131n do\u011fmas\u0131 o g\u00f6r\u00fcnt\u00fcn\u00fcn g\u00fcvenirli\u011fine, belli niyetler dogrultusunda se\u00e7im’e dayal\u0131 baz\u0131 kurgular\u0131n yap\u0131lm\u0131\u015f oldu\u011fu ger\u00e7e\u011fini de a\u00e7\u0131\u011fa \u00e7\u0131kar\u0131r. \u00d6zellikle sinemada bu t\u00fcr kayg\u0131lar\u0131n do\u011fmamasi gerekir. \u0130zleyicinin dayat\u0131lan “g\u00f6r\u00fc\u015f”\u00fc m\u00fcmk\u00fcn oldu\u011funca sorgulamas\u0131z kabul etmesi ve tecr\u00fcbesini de ona g\u00f6re d\u00fczenlemesi beklenir.\n<\/p>\n
\nDolay\u0131s\u0131yla eksiklik duygusu foto\u011frafik \u00e7er\u00e7evedeki gibi ya\u015fanmaz. \u0130zleyi\u00e7inin \u00e7er\u00e7eveleme i\u015flemi arkas\u0131ndaki niyetin fark\u0131na varmasina izin verilmez. Kamera hareketleri ve konumunun her \u00e7ekimde farkl\u0131la\u015fmas\u0131 bu g\u00fcvenirligi ve nesnelli\u011fi sa\u011flar.<\/p>\n","protected":false},"excerpt":{"rendered":"
Foto\u011fraf di\u011fer geleneksel g\u00f6r\u00fcnt\u00fclerin aksine, sentez’den \u00e7ok se\u00e7im’e (selection) dayal\u0131 bir g\u00f6r\u00fcnt\u00fc \u00fcretme bi\u00e7imidir. Foto\u011fraf\u00e7\u0131 g\u00f6r\u00fcnt\u00fcs\u00fcn\u00fc varolan’dan se\u00e7erek olu\u015fturur. Bu t\u00fcr temel bir s\u0131n\u0131flama, foto\u011frafin \u00e7er\u00e7evesi ile olu\u015fturulur. \u00c7er\u00e7evenin i\u00e7ine nelerin dahil edildi\u011fi, g\u00f6r\u00fcnt\u00fcn\u00fcn anlam\u0131n\u0131 direk olarak belirleyen unsurlard\u0131r. Ba\u015fka bir deyi\u015fle, \u00e7er\u00e7evenin i\u00e7indeki \u00f6\u011feler de\u011fi\u015ftik\u00e7e g\u00f6r\u00fcnt\u00fcn\u00fcn anlam\u0131 da de\u011fi\u015fmektedir. G\u00f6r\u00fcnt\u00fc \u00e7er\u00e7evesi i\u00e7ine dahil edilen […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[27],"tags":[],"class_list":["post-501","post","type-post","status-publish","format-standard","hentry","category-makale"],"_links":{"self":[{"href":"https:\/\/iderman.net\/index.php?rest_route=\/wp\/v2\/posts\/501","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/iderman.net\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/iderman.net\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/iderman.net\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/iderman.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=501"}],"version-history":[{"count":5,"href":"https:\/\/iderman.net\/index.php?rest_route=\/wp\/v2\/posts\/501\/revisions"}],"predecessor-version":[{"id":1142,"href":"https:\/\/iderman.net\/index.php?rest_route=\/wp\/v2\/posts\/501\/revisions\/1142"}],"wp:attachment":[{"href":"https:\/\/iderman.net\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=501"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/iderman.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=501"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/iderman.net\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=501"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}