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對感光膠片及像紙的沖洗和印制的調節，只涉及技術上的層面，並不能影響或改動當初攝影者收錄遇上感觸他的影象在觀景框選取及在感光膠片上曝光 的決定，所以影象和攝影師（影象收集者）的關係是直接而純粹的。客體影象的篩選，基於主體自身的獨立判斷；因此，作為最後作品的影象，實為主體性的具體呈現。另一方面，因為客體與主體的關糸係， 直接而純粹，主體不一定要有先設的命題，作為收集影象的條件，這意味著剝除客體慣常的意義（功利及既定的符徵），藉著對媒體本身的充分掌握，及形式的自我確立，一個超越的客體於是旦生。在這個過程中，主體擔任了中介的角色，亦即是説，作為具體呈現的作品，也同時反影了客體的某些方面，其意義也獲得了更新。

Adjustments to the processing and printing of photosensitive film and paper only involve technical aspects, and cannot affect or change the photographer's original decision to select the viewing frame and expose on the photosensitive film when collecting the images that touch him. , so the relationship between images and photographers (image collectors) is direct and pure. The selection of object images is based on the subject's own independent judgment; therefore, the image as the final work is actually a concrete presentation of subjectivity. On the other hand, because the relationship between the object and the subject is direct and pure, the subject does not necessarily have to have a pre-set proposition as a condition for collecting images, which means stripping the object of its usual meaning (utility and established symbols). ), through the full mastery of the medium itself and the self-establishment of form, a transcendent object is born. In this process, the subject plays the role of intermediary, that is to say, as a concrete presentation of the work, it also reflects certain aspects of the object, and its meaning is also updated.