Conclusion . . . ?
In Michael Antonioni's Blowup (1966), a fashion photographer discovers that a photographic negative contains "more than meets the eye" (Mitchell 6), leading to an impenetrable mystery. David Hemmings notices a number of disturbing details in a picture he has taken--"a face half-concealed in the foliage, a hand holding a gun, and a body on the ground" (Mitchell 6)--and obsessively enlarges the desired features, searching for an elusive "truth." In contrast, the digital image contains a fixed quantity of information, and a closer look will only highlight the individual pixels. This relationship between the analog and the digital serves as an apt metaphor for the contemporary condition. Meyer's work, in particular, challenges the nineteenth century conception of the image as a means of conveying truth (in a transcendental sense); and points to a revised notion, one in which human participation is integral.
To a degree, then, the advent of digital technology may help to heighten awareness of social constructions, bringing contradictions to the surface, instead of obscuring them. The content of an image is important, but equally important is the frame which surrounds it, defining the point of view.