Michel Tournier’s short story Veronica’s Shrouds is focused on the relationship between the photographer (Veronica) to her subject (Hector); the relation that becomes a space for  realization of Veronica’s obsession with getting, shooting and finally exhibiting the real  photograph - “the photograph itself”. The photographer’s subject is reduced to a sheer  means for achieving of this primal photographic obsession - to get to the real itself. And  resolving this obsession shows how far the Capa’s logic of getting closer can be  stretched. If we get too close to reality - it disappears; all we are left with, is its shroud -  the photographic reality. At the end Hector, the photographer’s subject is literary diluted   in the photographic developer fluid.

Because of the authorship restrictions entire article is only available in printed edition of Fotografija magazine.