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For this weeks discussion we will be looking at the artists introduced in chapter 11 and considering them within the concept of the “optical unconscious.” Chapter 11 introduces several modernist photographers including, Margret Bourke-White, Edward Weston, Ansel Adams, and Imogen Cunningham. In the secondary reading you are introduced to several key concepts from Walter Benjamin’s “A Little History of Photography.” For this weeks discussion I want you to consider an image from two of the four artists mentioned above. Filter your images through the additional reading on Theories of photography with particular emphasis on “optical unconscious” which is described as “revealing associations and presences not immediately available to the conscious mind.” Make sure you take the time to fully understand the short reading. It is only 3 pages but the concepts and meanings are dense. To fully explore this subject your response should be at least a paragraph or two. Your initial response should be long enough to fully answer the question. It is unlikely that this will happen in a sentence or two, this week it is likely to take at least two paragraphs. Reply to at least two classmates’ posts. Your response to your classmate’s discussion should be around 50 words (each) and add to the discussion (i.e. reflecting on their response, asking questions, etc.).
First classmate Alannah: In exploring the concept of the “optical unconscious” from Walter Benjamin’s “A Little History of Photography”, we can see how two photographers, Ansel Adams, and Imogen Cunningham, use their work to reveal deeper, often hidden layers of meaning that aren’t immediately visible to the conscious eye. Take Ansel Adams’s “Mt. Williamson from Manzanar, California” (1944), for example. On the surface, it’s a striking landscape photo of the Sierra Nevada. The mountains, bathed in light, seem peaceful and majestic. But when you look closer, especially in the context of the time it was taken, during the internment of Japanese Americans in camps like Manzanar, the image feels like it holds something more. It’s as if the landscape is holding onto secrets about history and displacement. The way Adams captures the contrasts of light and shadow, using his Zone System, adds depth to the image, making it not just a photograph of nature, but a quiet, almost haunting reminder of the tension between human suffering and the permanence of the land. Adams’s careful attention to tonal detail uncovers something beneath the surface, something the viewer might not notice right away. It’s in those subtle shadows and highlights that we begin to see the layers of what history has left behind.
Imogen Cunningham’s “Calla” (circa 1925) takes a more intimate approach, but still taps into the “optical unconscious.” The calla lily, photographed with sharp focus and soft light, appears almost otherworldly, transforming from a simple flower into something more sensual and human-like. Cunningham’s photograph doesn’t just show a plant; it suggests a story about the body, about femininity, and about the emotional qualities we subconsciously associate with form. The curves of the flower feel like a metaphor for the human body, especially the female body. This photograph isn’t just about what’s in front of the lens; it’s about what the viewer feels or imagines when seeing it. In Cunningham’s hands, a seemingly straightforward plant turns into a symbol of beauty, sexuality, and vulnerability—ideas that might not be immediately obvious to the eye but emerge from our emotional responses to what we see.
Both Adams and Cunningham, in their own ways, demonstrate Benjamin’s idea of the “optical unconscious.” They invite us to see beyond what’s just in front of us, to notice the unspoken connections and emotions that their photographs bring to the surface. Their work doesn’t just record the world; it uncovers hidden meanings and associations that allow us to experience a deeper, more emotional understanding of what’s really there.
Second classmate Hannah: The term “optical unconscious” reflects his interest in how new media technologies, particularly film and photography, reveal aspects of the world that are otherwise hidden or unnoticed by the naked eye. A key aspect of the “optical unconscious” idea by Walter Benjamin is the hidden layers of reality. Benjamin argued that photography and film uncover visual details that escape human perception due to their delicate nature. Just as psychoanalysis reveals the unconscious mind, photographic technology exposes an “optical unconscious,” or a layer of visual reality that isn’t accessible without technological intervention. Another key aspect of the idea is the expansion of perception. Photography and film challenge and expand our understanding of reality by showing what the human eye cannot see. For instance, extreme close-ups or zoomed-out aerial views reveal new dimensions of objects, structures, or landscapes that redefine their meaning. One of the last important fundamentals is the connection to modernity. The optical unconscious is emblematic of modernity itself, where technological advancements constantly transform how we experience and interpret the world. Benjamin saw this as a double-edged sword because it opened up new possibilities for understanding and change, it also included risks of distance and detachment. The optical unconscious is a profound contribution to discussions about media theory, perception, and modernity. I believe that it anticipates debates about the role of technology in shaping the human experience, such as how smartphones, surveillance cameras, and AI tools can continue to reveal or hide the layers of reality.
A photographer listed above who does a great job of achieving the optical unconscious is Ansel Adams. One image of his that resonates with Walter Benjamin’s ideas is “Monolith, The Face of Half Dome (1927).” While this image primarily captures the face of Half Dome, Adams’ use of light and shadow shows us the textures and fine details of the rock surface. The dramatic contrast between light and shadow and the way Adams isolates the sheer face of the cliff allows viewers to focus on the interplay of form, texture, and light, revealing the grandeur and intricacy of the rock in ways that might be imperceptible in person. Ansel Adams’ photography can be seen as uncovering a visual layer of the world that resonates with the concept of the “optical unconscious.” Another photographer who aligns with Benjamin’s ideas is Margaret Bourke-White. Her image, “Buchenwald Concentration Camp Survivors” (1945) is an important example of the optical unconscious. Her images from liberated concentration camps document the haunting faces and starving survivors, revealing the depth of human suffering and resilience. These photographs expose the hidden horrors of war, showing the physical and emotional toll in ways words cannot convey. Her social documentary work brings to light the conditions of marginalized groups and industrial workers, revealing societal dynamics that are often overlooked.
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