Depositary of a range of virtual functions, the photography is a technical means that is updated continuously and pluralistically in the sociocultural scope. This is the central idea of ​​André Rouillé's book, which clearly disassociates itself from the ontological definition of photography (for example, that of André Bazin and Roland Barthes), instead describing it as a "becoming" manifested in a multiplicity of functions And forms over almost two centuries.
Beyond history, the real aim of this book is to put "photography to the right": to think of it as a technique in continuous process of transformation, fluid and plural, inherently linked to economic and social praxis. Far from conceiving photography instrumentally as a "tool" to represent people, things and actions, Rouillé understands it as a productive and reproductive technique that operates dialectically in the heart of capitalist culture.
All societies have their image and that of late-capitalism is photography: understanding their repercussions as a technical form helps to understand how the logic of industrial and massive production is associated with the incessant formation of sociolcultural imaginaries.

Laura González Flores