Ephemeral trace / permanent archive: the optics of manifested absence in the cultural space of the photographic portrait

Abstract

This article explores the metamorphoses of the portrait genre in photography, which has evolved from a primary technical phenomenon capturing external resemblance to a ubiquitous practice of identity construction and self-presentation. It focuses not only on formal aesthetics but also on the profound sociocultural shifts accompanying this transition. Based on the material examined, the study identifies key social aspects and stylistic principles that shape the rethinking of fundamental concepts: collective and individual memory, plastic identity, and cultural heritage. A series of illustrations, including Julia Margaret Cameron's mystical stagings, A. Karelin's reconstructions of Russian antiquity, and performances featuring multiple alter egos, such as Sidney Sherman, allow us to trace diverse approaches to self-expression. It is emphasized that technological advances, as well as the decreasing cost of photography, are changing the perception of the portrait as objective documentary evidence. Thanks to this, portrait photography ceases to be merely a "frozen moment," transforming into a complex cultural and social construct reflecting individual and societal transformations, a dialogue between personal narrative and global cultural codes. It becomes part of a complex semiotic field that refracts processes of individual self-identification and reflects macrosocial shifts.