In her last blog post, Soloff vividly explains the general limitations and detriments of photography by referring to Trethewey\u2019s, \u201cBellocq\u2019s Ophelia.\u201d She mentions that photography can only paint a single moment, instead of surrounding details, and that photography cannot portray pictures and emotions accurately. Although these observations are indeed detrimental, there are also some benefits to these limitations that apply to Ophelia\u2019s situation. Ophelia uses these restrictions of photography to control her appearance and identity even in the conditions of subjection in which she finds herself. She also empowers herself with this control of appearance as an apprentice photographer.<\/p>\n
The level of Ophelia\u2019s control is first observed in her relationship with Constance and her mother. When Ophelia writes to Constance about the \u201clewdness<\/span>\u201d of her photographic experience at the police station, she immediately decides to send \u201cthis picture of her good<\/span> work<\/span>\/,\u201d one \u201cmodest portrait for [her] mother.\u201d She makes it clear to Constance and her mother that they \u201cwill not see those [lewd] photographs,\u201d because the photographs expose the accurate truth about Ophelia\u2019s life experiences (Trethewey 29). By sending a \u201cmodest portrait,\u201d and hiding the lewd photograph, Ophelia chooses to mask the reality of suffering from the external view of Constance or her mother. The modest portrait provides an inaccurate description of her conditions, but is beneficial to Ophelia because she can choose the appearances that she wants people to see. In essence, she is in control of how she is represented in each photograph, even though she is auctioned like a slave to white men.<\/p>\n In addition, Ophelia mentions that she \u201cknows how not to be exposed,\u201d when in front of the camera because this knowledge retains her sense of power (Trethewey 42). Knowing how to avoid exposure influences the appearance of her posture and makes her invulnerable to the judgments of men who look at her. Her true identity as a mulatto is hidden from the portraits, but she controls herself so that she is acknowledged as the white woman she thinks she is. This obscured appearance of the photographs helps her benefit personally because she is portraying how she views herself to the outside.<\/p>\n Ophelia also benefits from the control she gains as a photographer herself. In her diary titled \u201cDisclosure,\u201d she enjoys the \u201cpower\/ [she] finds in transforming what is real—a room\/ flushed with light, calculated disarray\u201d (Trethewey 44). The room that is referenced is disorganized in reality, but becomes an object of wonder because of Ophelia\u2019s influence and power to transform an ordinary room to an object of significance. When she is behind the camera as a photographer, she has control over what specimens to include within the frame of her lens. She also has the power to portray the picture in whatever manner she desires. This freedom of desire benefits her because she controls the appearance of the picture and she enjoys it.<\/p>\n Although photography inaccurately portrays Ophelia\u2019s appearance and true identity, she is able to gain some control over her life through her choices and knowledge. This incorrect portrayal of appearance and identity serves as a benefit to her because she is satisfied and content by them.<\/p>\n","protected":false},"excerpt":{"rendered":" In her last blog post, Soloff vividly explains the general limitations and detriments of photography by referring to Trethewey\u2019s, \u201cBellocq\u2019s Ophelia.\u201d She mentions that photography can only paint a single moment, instead of surrounding details, and that photography cannot portray pictures and emotions accurately. Although these observations are indeed detrimental, there are also some benefits<\/p>\n