Abstract
In the last twenty years, one of the most discussed theoretical issues in photography theory is certainly that concerning the relation between analogical photography and digital photography: are these art forms different, or is the latter just a technological upgrade of the former? Usually, in order to respond to this question, theorists turn their attention to the role assumed by the subjects (how users consider photography? Did they change the way to use it?) or to the device (is the “index” still intact, or does the digital conversion interrupt the process?). In this article, I will try to demonstrate that the question is wrong, and is based on a weak assumption; after a brief review of the debate on philosophy of photography, and on the so called post-photography, I will claim that the medial impact employed by the device on the subject (i.e. in this case the aesthetic function of the photographic picture) is caused by the prosthetic function arising from the medial regulation between individual and surrounding environment.
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