In the western myth of the origin of the image, as told by Pliny the Elder, the daughter of Butades de Sicião, the potter, draws the silhouette of the young man with whom she had fallen in love using a lamp. The lover is leaving. A winter sun freezes the lover and the diffuse rays of the lamp cast the shadow that the potter’s daughter erases on the wall that plays the screen. The drawing coincides in the dashed threshold that separates what is given to see and what is overshadowed by the young man’s profile. The result is a mask that then Butades models in clay and bakes in the oven.
In the accidental myth of the end of the image, as told by Pliny, the most recent, the daughter of Barnabé de Oeiras, the photographer, photographs the face of the young woman for whom he had fallen in love using a Polaroid camera. The young lady is leaving and will take the train to Lisbon. A winter sun freezes the train and the diffuse rays of the flash project the shadow that the photographer’s daughter then slowly sees appear in the instantaneous emulsion. The drawing coincides in the dashed threshold that separates what is given to be seen and what is overshadowed by the young woman’s profile. The result is an image that Barnabas then digitizes and prints on A4 glossy paper.