Section 33: An important thought right at the start: “looking at photograph, I inevitably include in my scrutiny the thought of that instant, however brief, in which a real thing happened to be motionless in front of the eye.” (78) In cinema, that "pose" is swept away. Where Barthes speaks earlier of the pose as disguising the authentic or true, here he suggests the pose contains the authentic or true.
Interestingly, he seems to have found differences between cinema and photography suddenly. Film shows the actor in two "poses": the real one (Barthes calls this "this-has-been") and the role that is being played.
Finally, he mentions that photography is proof of the truth. (79)
Section 34: Who invented photography? Not painters, but chemists. A beautiful passage follows: "The photograph is literally an emanation of the referent. From a real body, which was there, proceed radiations which ultimately touch me, who am here." (80)
Photographs are alive (the photographic process itself is alchemic(al?), and vital). This is curious, as Barthes also suggests that photographs show the dead (and die themselves). He decides here that he detests colour photographs, as it is (for Barthes) simply cosmetic a "superadded light." (81)
Section 35: Photography attests to what has existed. But then Barthes makes an astonishing observation: photography resurrects. (82) But then he suggests that photography affects him as he observes it: "why is it that I am alive here and now?" (84)
Section 36: "What has been": maybe death is not the primary signified of the photograph after all. Photography "is authentication itself." (87) These are interesting comments to consider when thinking about digital photography (in fact, pages 87-88 seem key in a discussion of how digital photography is fundamentally different from traditional photography, how it puts traditional photography into crisis). He finished the section with this: "the power of authentication exceeds the power of representation." (89)
Section 37: He returns yet again to the Winter Garden photograph - he calls it "my Photograph." (90) I must quote Barthes at length here:
The Photograph is violent: not because it shows violent things, but because on each occasion it fills the sight by force, and because in it nothing can be refused or transformed (that we can sometimes call it mild does not contradict its violence: many say that sugar is mild, but to me sugar is violent, and I call it so). (91)
Section 38: Suddenly Photography equals death again; the photograph itself is mortal, susceptible to the effects of humidity and so forth. In the past, memory was eternal, but not so for the photograph. Camera Lucida, the book, is referred to here as a trace of teh "astonishment of 'that-has-been.'" (94) Is he talking about the Winter Garden photograph here? Note: sad words at the end of this section, about the passage of time and the tenuousness of "proofs" of love, etc.
Section 39: He identifies a second "punctum" that exists in (all?) photographs: Time (and its passage, I assume). Of his mother's photograph: "she is going to die." (96)
Section 40: Here, Barthes suggests that the act of observing photographs is one done alone (Cinema is embarrassing alone). What does Barthes mean when he suggests that the amateur is the one who stands for the professional in photography, who stands closer to the defining character of photography (he suggests that the amateur is not the "immature state of the artist in photography")? (98-99)
This is the penultimate section of the book. The end of this particular volume is in sight, and so, thoughts about its whole are welcome.