Transformation of images in the context of constructing photographic reality

The article is devoted to the analysis of image morphology in photography. The figurative structure is considered as three-part: an optical image (image), an aesthetic image (impression) and an artistic image (understanding). The author argues the need for an artistic image in order for photography to become art. Excessive desire for spectacular visual forms, which are achieved through the technical tools of the photographer and thanks to computer processing, is criticized. Affecting expressive means of photography are not an unconditional value, they can create an aesthetically attractive product, but leave the photographic reality without meaning and meaningful depth. The study touches upon the problem of a new visual aesthetics that has come into our world thanks to computer technology and the almost complete automation of the process of obtaining a photographic image. In modern conditions of information-machine civilization, a person only feeds on the illusion of creativity, while, however, entrusting digital technologies with all the main stages of image creation. A mechanistic, albeit often perfect, optical image in the minds of mass culture bearers is perceived as self-sufficient and does not require artistic and philosophical understanding. The creative search of the photographer is hampered by patterns, standards and clichés, which are naturally inherent in photography as a kind of technical and cultural activity.