Abstract

In 1961, Lee Chin Eng jumpstarted the reef hobby, a hobby dedicated to the modeling of coral reefs in captivity, with an article in Tropical Fish Hobbyist. He illustrated the article with eight photographs; these images were meaningful to the hobbyists viewing them and they conveyed both information about the tank system and also claims about Lee's expertise. This paper examines three genres of photographs—landscapes, active, and passive portraiture—that appeared in Lee's article and how and why they have proliferated in the reef hobbyist community over the last sixty years. By tracing the history of these genres, we can better understand natural knowledge producers rely on photographs to exchange knowledge and cement community identity.