Let your motto become "What would happen if...?" Infrared light offers photographers another artistic avenue to explore. You don't need years of experience or expensive equipment. Just grab an IR filter or a converted digital camera, and you're ready to enter the fascinating world of infrared photography. The unique effects you can create with IR photography are limited only by your imagination. In these pages, you'll discover the practical information about file formats and composition as well (...) as plenty of creative inspiration. Discover whether your camera can detect infrared light and compare different IR filters Learn how to see in IR and master IR composition Play with effects — extended exposures, shooting through glass, zooming, and painting with light Explore HDR and Photomerge options Open more creative possibilities with Photoshop. (shrink)

This paper discusses facets of 19th-century scientific photography as a visual culture. The example of spectral research and documentation is particularly well suited, because prismatically diffracted light from the sun or from luminous gases was one of the most frequently examined phenomena of that century. The results were significant not only for physics but also for analytical chemistry and astrophysics. The spectrum also served as an ideal test object for checking the effectiveness of a wide array of photochemically sensitizable (...) surfaces to the various color regions. Scientific photography became the most important experimental technique in the infrared and ultraviolet. H. A. Rowland's spectrum charts are discussed as an example of the transition from comprehensiveness in documentation to fetishism. The discussion of the Lippmann process, one of the first methods of color photography, addresses the associated training of the eye. Issues of authenticity and the much averred „mechanical objectivity” are raised with regard to retouching. The overriding theme of visual science cultures leads furthermore to unanticipated interdependencies with other scientific fields, such as geography, and draws the importance of practitioners into the foreground. (shrink)

Herculaneum papyri found during the discovery of the Villa dei Papiri in the XVIII century are our only knowledge about Greek philosophical schools. Unfortunately, the original manuscripts are in a precarious state of conservation and the currently available editions of them have largely been made obsolete by the latest technological progress. The aim of the Advanced Grant ERC project ‘Greekschools’ is to provide a new protocol based on optical methods to increase the text reading and thus allow for a new (...) critical edition of the whole treatise of Philodemus’ "Arrangement of the Philosophers". A multi-disciplinary approach is adopted and non-invasive techniques to Herculaneum papyri investigations such as Macro X-Ray Fluorescence Imaging (MA-XRF), Shortwave-Infrared Hyperspectral Imaging (SWIR), high resolution digital microscopy and Technical Photography were applied to read the text hidden on the verso, detect, classify, and replace overlapping layers and read the text concealed inside them. In this work some first preliminary results will be reported. (shrink)

In the bygone days of U-2 spy planes and Sputnik, the only ethical issues attached to satellites seemed to involve military secrecy and national boundaries. Now, with high-powered lenses, infrared senso ry devices, ubiquitous sateIEites, and instan,t high-resolution image transmission, the communication ethics issues-like the powers of global observation-have greatly magnified. Possibly, conventional warfare has become obsolete because television networks have access to a worldwide satellite images that show troops, fleets, and fighter squadrons forming prior to attack. Civilian privacy (...) has changed drastically as well because backyard sunbathers, naturalists, couples, speeding vehicles, and naked paramours seen through bedroom windows can all be identified, photographed, and publicized without their awareness or permission. Because the power, range, fuequency, and commercialism of such space photography will increase, ethicists must survey the surveillance. Vendors in many countries now routinely sell space imagery to news outlets. This means there are at least two types of communication ethics to consider: (a) In journalism ethics, editors and producers must decide whether they will publish many types of invasive photographs, some of which may also deal with military secrecy; and (b) in new media ethics, decisions about who employs, duplicates, regulates, as well as who sells and buys satellite imagery, must be monitored and debated. (shrink)

The Aerial Photo Sourcebook is an illustrated reference for the novice. It has a complete bibliography of over 800 books and articles for those looking for more details on aerial photography. Collins provides the most comprehensive listing available of federal government sources, state and regional sources, and commercial sources and collections. All contact information is included. The sourcebook begins with an overview of the field and with basic instruction in photographic interpretation. The fundamentals section explores the variety of aerial (...) photography: color infrared, black and white, and color. It also explains the difference between oblique and vertical views. Collins discusses formats, tools, and map skills in clear, non-technical terms. She summarizes the traditional roles of aerial photography, as well as the new customers that aerial photography will serve in the future. A bibliography of more than 800 items from over 40 subject areas is included. The bibliography consists primarily of English or English-translated works related to aerial photography in the United States, augmented by a few international perspectives are included.The bibliography lists information and research in aerial photography in the fields of agriculture, balloon and kite photography, geology, history, intelligence, mapping and cartography, aerial photo interpretation, remote sensing, transportation, soil studies, urban problems, wetlands, and more. The Aerial Photo Sourcebook offers numerous ideas for using aerial photography to solve a wide range of problems, to enhance presentations, and to facilitate research. (shrink)

Quantum field theories containing massless particles are divergent not just in the ultraviolet but also in the infrared. Infrared divergences are typically regarded as less conceptually problematic than ultraviolet divergences because there is a cancellation mechanism that renders measurable physical observables such as decay rates and cross-sections infrared finite. In this article, I scrutinize the restriction to measurable physical observables that is required to arrive at infrared finite results. I argue that the restriction does not necessitate (...) a retreat to operationalism about the meaning of the theory, but it does call attention to underappreciated features of the infrared regime. (shrink)

This is a critical survey of writing on the philosophy of photography.

Unlike the numerous texts devoted to the subject of Film Theory, this collection contains essays specifically about the art form of Still Photography and the ...

An ongoing challenge facing emotion researchers is finding appropriate measurement tools. Many of our theories focus on emotion in the context of dynamic interaction, yet many of our most relied-upon measures either interrupt or alter interaction. New research suggests that infrared thermography may be useful as a nonintrusive way to measure emotion. Here we discuss the viability of thermography for studying emotion response and advancing emotion theory.

The everyday practice of photography by millions of amateur photographers - the family snapshots, the holiday prints, the wedding portraits - may seem to be a spontaneous and highly personal activity. But Bourdieu and his associates show that few cultural activities are more structured and systematic than the social uses of this ordinary art. This perceptive and wide-ranging analysis of the practice of photography brings out the logic implicit in this cultural field. The norms which define the occasions (...) and the objects of photography serve to display the socially differentiated functions of, and attitudes towards, the photographic image and act. For some social groups, photography is primarily a means of preserving the present and reproducing the euphoric moments of collective celebration, whereas for other groups it is the occasion of an aesthetic judgement, in which photos are endowed with the dignity of works of art. (shrink)

The coupled Dyson-Schwinger equations for the gluon and ghost propagators in QCD are shown to have solutions that correspond to a unique running coupling that has a nite infrared xed point and the expected logarithmic decrease in the ultraviolet. The infrared coupling is large enough to support chiral symmetry breaking and quarks are not con ned, but they cannot be isolated.

According to Roger Scruton, it is not possible for photographs to be representational art. Most responses to Scruton’s scepticism are versions of the claim that Scruton disregards the extent to which intentionality features in photography; but these cannot force him to give up his notion of the ideal photograph. My approach is to argue that Scruton has misconstrued the role of causation in his discussion of photography. I claim that although Scruton insists that the ideal photograph is defined (...) by its ‘merely causal’ provenance, in fact he fails to take the causal provenance of photographs seriously enough. To replace Scruton’s notion of the ideal photograph, I offer a substantive account of the causal provenance of photographs, centred on the distinctive role of ‘the photographic event’. I conclude that, with a proper understanding of the photographic process, we have good reason to re-open the question of photography as a representational art. (shrink)

We present an exactly soluble electron trajectory that permits an analysis of the soft (deep infrared) radiation emitted, the existence of which has been experimentally observed during beta decay via lowest order inner bremsstrahlung. Our treatment also predicts the time evolution and temperature of the emission, and possibly the spectrum, by analogy with the closely related phenomenon of the dynamic Casimir effect.

I often imagine how good it would be to have a pair of those infrared binoculars -- the ones always used by the hero in movies to see what's ordinarily hidden by darkness. Similar is the alien's vision of warmth in _Predator_. In this film the commandos, led by Arnold Schwarzenegger, cannot escape the prying eyes that see the warmth of their bodies (no matter how much guerrilla is in their warfare).

It seems odd to say that photography is not a mode of representation. For a photograph has in common with a painting the property by which the painting represents the world, the property of sharing, in some sense, the appearance of its subject. Indeed, it is sometimes thought that since a photograph more effectively shares the appearance of its subject than a typical painting, photography is a better mode of representation. Photography might even be thought of as (...) having replaced painting as a mode of visual representation. Painters have felt that if the aim of painting is really to reproduce the appearances of things, then painting must give way to whatever means are available to reproduce an appearance more accurately. It has therefore been said that painting aims to record the appearances of things only so as to capture the experience of observing them and that the accurate copying of appearances will normally be at variance with this aim. Here we have the seeds of expressionism and the origin of the view that painting is somehow purer when it is abstract and closer to its essence as an art. Roger Scruton is the author of Art and Imagination, The Aesthetics of Architecture, The Meaning of Conservatism, From Descartes to Wittgenstein, and The Politics of Culture and Other Essays. (shrink)

Hardly any ontological result of modern science is more firmly established than the fact that infrared radiation differs from light only in wavelength; this is part of the modern conception of the continuous spectrum of electromagnetic radiation reaching from radio waves to gamma radiation. Yet, like many such evident truths, the light-infrared unity was an extremely difficult thing to establish. We examine the competing arguments in favour of the unified and pluralistic theories of radiation, as put forward in (...) the first half of the nineteenth century by three of the most important early pioneers of the study of radiation: Herschel, Melloni and Draper. In this part of the paper, we conclude that there were no compelling reasons of observational adequacy to prefer the unified theory to the pluralistic theory. Keywords: Macedonio Melloni; John William Draper; William Herschel; Infrared; Observation; Theory-choice. (shrink)

What is photography? Is it primarily a source of knowledge about the world or an art? Many have said the former, because it records the world automatically, others the latter because it embodies human subjectivity. Can it photography be both or must we choose? In On Photography: A Philosophical Inquiry Diarmuid Costello examines these fascinating questions and more. In so doing he introduces some of the fundamental topics and debates about the nature of photography, with the (...) help of photographic images from Paul Strand, Lee Friedlander, James Welling, Jeff Wall, and Gerhard Richter, among others. Tracing the roots of thinking about photography from its discovery, through Nineteenth Century debates about its standing as art, to Twentieth Century Modernism and post-War cultural criticism, Costello identifies the emergence of a powerful "orthodox" view of photography. The features that make photographs compelling documents are precisely those that put pressure on its standing as art; though they provide a wealth of empirical information, they cannot have the unifying vision we look for in art. He draws on the reflections of photographers and theorists, including Paul Strand, Edward Weston, Laszlo Moholy-Nagy, Siegfried Kracauer, Andre Bazin and Stanley Cavell to illustrate this fundamental tension. The view comes to fruition in the work of Roger Scruton and Kendall Walton. Whether pure photography is capable of representing fictions, or always presents a transparent window onto the real world becomes the key question. Recently, the orthodox view has come under increasing pressure from a new generation of philosophers who reject the contrast between machine and hand made images that underwrites it. He concludes by examining photographic agency in a digital age. Written in a clear and engaging style, On Photography: A Philosophical Inquiry is essential reading for anyone interested in the philosophy of photography, aesthetics, art, and visual studies. (shrink)

What is photography? Is it primarily a source of knowledge about the world or an art? Many have said the former, because it records the world automatically, others the latter because it embodies human subjectivity. Can it photography be both or must we choose? In _On Photography: A Philosophical Inquiry_ Diarmuid Costello examines these fascinating questions and more. In so doing he introduces some of the fundamental topics and debates about the nature of photography, with the (...) help of photographic images from Paul Strand, Lee Friedlander, James Welling, Jeff Wall, and Gerhard Richter, among others. Tracing the roots of thinking about photography from its discovery, through nineteenth-century debates about its standing as art, to twentieth-century Modernism and post-War cultural criticism, Costello identifies the emergence of a powerful "orthodox" view of photography. The features that make photographs compelling documents are precisely those that put pressure on its standing as art; though they provide a wealth of empirical information, they cannot have the unifying vision we look for in art. He draws on the reflections of photographers and theorists, including Paul Strand, Edward Weston, Laszlo Moholy-Nagy, Siegfried Kracauer, Andre Bazin and Stanley Cavell to illustrate this fundamental tension. The view comes to fruition in the work of Roger Scruton and Kendall Walton. Whether pure photography is capable of representing fictions, or always presents a transparent window onto the real world becomes the key question. Recently, the orthodox view has come under increasing pressure from a new generation of philosophers who reject the contrast between machine and hand made images that underwrites it. He concludes by examining photographic agency in a digital age. Written in a clear and engaging style, _On Photography: A Philosophical Inquiry_ is essential reading for anyone interested in the philosophy of photography, aesthetics, art, and visual studies. (shrink)

Brain-computer interfaces (BCIs) are being investigated as an access pathway to communication for individuals with physical disabilities, as the technology obviates the need for voluntary motor control. However, to date, minimal research has investigated the use of BCIs for children. Traditional BCI communication paradigms may be suboptimal given that children with physical disabilities may face delays in cognitive development and acquisition of literacy skills. Instead, in this study we explored emotional state as an alternative access pathway to communication. We developed (...) a pediatric BCI to identify positive and negative emotional states from changes in hemodynamic activity of the prefrontal cortex (PFC). To train and test the BCI, 10 neurotypical children aged 8–14 underwent a series of emotion-induction trials over four experimental sessions (one offline, three online) while their brain activity was measured with functional near-infrared spectroscopy (fNIRS). Visual neurofeedback was used to assist participants in regulating their emotional states and modulating their hemodynamic activity in response to the affective stimuli. Child-specific linear discriminant classifiers were trained on cumulatively available data from previous sessions and adaptively updated throughout each session. Average online valence classification exceeded chance across participants by the last two online sessions (with 7 and 8 of the 10 participants performing better than chance, respectively, in Sessions 3 and 4). There was a small significant positive correlation with online BCI performance and age, suggesting older participants were more successful at regulating their emotional state and/or brain activity. Variability was seen across participants in regards to BCI performance, hemodynamic response, and discriminatory features and channels. Retrospective offline analyses yielded accuracies comparable to those reported in adult affective BCI studies using fNIRS. Affective fNIRS-BCIs appear to be feasible for school-aged children, but to further gauge the practical potential of this type of BCI, replication with more training sessions, larger sample sizes, and end-users with disabilities is necessary. (shrink)

Functional near-infrared spectroscopy has attracted increasing attention in the field of brain–computer interfaces owing to their advantages such as non-invasiveness, user safety, affordability, and portability. However, fNIRS signals are highly subject-specific and have low test-retest reliability. Therefore, individual calibration sessions need to be employed before each use of fNIRS-based BCI to achieve a sufficiently high performance for practical BCI applications. In this study, we propose a novel deep convolutional neural network -based approach for implementing a subject-independent fNIRS-based BCI. A (...) total of 18 participants performed the fNIRS-based BCI experiments, where the main goal of the experiments was to distinguish a mental arithmetic task from an idle state task. Leave-one-subject-out cross-validation was employed to evaluate the average classification accuracy of the proposed subject-independent fNIRS-based BCI. As a result, the average classification accuracy of the proposed method was reported to be 71.20 ± 8.74%, which was higher than the threshold accuracy for effective BCI communication as well as that obtained using conventional shrinkage linear discriminant analysis. To achieve a classification accuracy comparable to that of the proposed subject-independent fNIRS-based BCI, 24 training trials were necessary for the traditional subject-dependent fNIRS-based BCI. It is expected that our CNN-based approach would reduce the necessity of long-term individual calibration sessions, thereby enhancing the practicality of fNIRS-based BCIs significantly. (shrink)

Not too long after photography’s grand debut in 1839, physician and inventor Oliver Wendell Holmes described the new technology as a “mirror with a memory.” What might this phrase mean for the question of African Americans and their relationship to the vicissitudes of photography and the vagaries of memory in particular? Through readings of works of art and social activism that make use of lynching photographs, this essay considers ways in which photography has functioned as a technology (...) of memory for African Americans, what the essay calls critical black memory, and proffers a mode of historical interpretation that both plays upon and questions photography’s documentary capacity.The essay makes two claims specifically. First, the mechanical reproduction of lynching by way of the photograph has been central to the recounting and reconstitution of black political cultures throughout the Jim Crow and post-Civil Rights era. From the usage of lynching photography in pamphlets by early twentieth-century anti-lynching activists, to posters created by mid-century civil rights organizations, to their deployment in contemporary art and popular culture, this archive has been a constitutive element of black visuality more broadly. Second, African American engagements with photography as a “site of memory” suggest a mode of historical interpretation in which African Americans simultaneously critique the “truth-claims” of photography while they mobilize the medium’s documentary capacity to intervene in the classification and subjugation of black life. (shrink)

In Photography and Japan, Karen Fraser argues that the diversity of styles, subjects, and functions of Japanese photography precludes easy categorization along nationalized lines. Instead, she shows that the development of photography within Japan is best understood by examining its close relationship with the country’s dramatic cultural, political, and social history. Photography and Japan covers 150 years of photography, a period in which Japan has experienced some of the most significant events in modern history and (...) made a remarkable transformation from an isolated, feudal country into an industrialized, modern world power—a transformation that included a striking rise and fall as an imperial power during the first half of the twentieth century and a miraculous economic recovery in the decades following the devastation of World War II. The history of photography has paralleled these events, becoming inextricably linked with notions of modernity and cultural change. Through thematic chapters that focus on photography’s role in negotiating cultural identity, war, and the documentation of urban life, Photography and Japan introduces many images that will be unfamiliar to Western viewers and provides a broadened context for those photos that are better known. (shrink)

In this paper I examine the ethics of street photography. I firstly discuss the close-up ‘in-your-face’ style street photography made famous by American photographer, Bruce Gilden. In close-up street photography, the proximity of the camera to the subject and the element of surprise work in tandem to produce a striking and evocative picture. Close-up street photography is shown to be ethically contentious on wellbeing-related and autonomy-related grounds. I next examine the more orthodox ‘respectable distance’ kind of (...) street photography. In orthodox street photography, the photographer positions the camera some distance away from a nonconsenting subject that may or may not be aware a picture is to be taken. The main ethical problem with this form of street photography relates to the subject’s vanity and sense of self. When street photographers produce and publish images without the consent of subjects, they express their own creative freedom at the expense of the subject’s right to editorial control. I discuss the scope and potentially demanding practical implications of a right to editorial control. To conclude, I offer a workable solution to the ethical dilemma facing street photographers and discuss the implications of smart phones and photo-sharing social media platforms. (shrink)

This paper explores auto-photography as a form of research practice in the area of identity and self-esteem research. It allows researchers to capture and articulate the ways identity guides human action and thought. It involves the generation and examination of the static images that participants themselves believe best represent them. Auto-photography is an important tool for building bridges with marginalized groups in the research process, since it offers researchers a way to let participants speak for themselves. Furthermore, by (...) using this method researchers can avoid exclusive reliance on survey questionnaires and other such research instruments that may be culturally biased. I present two research projects using auto-photography: one involving adolescent Latina girls and one involving Indian women. Based on the experience of these projects, I discuss auto-photography's importance in identity and self-esteem research. Finally, I discuss some of the benefits and challenges of working with this method. (shrink)

We continue our discussion of the competing arguments in favour of the unified theory and the pluralistic theory of radiation advanced by three nineteenth-century pioneers: Herschel, Melloni, and Draper. Our narrative is structured by a consideration of the epistemic criteria relevant to theory-choice; the epistemic focus highlights many little-known aspects of this relatively well-known episode. We argue that the acceptance of light-heat unity in this period cannot be credibly justified on the basis of common evaluative criteria such as simplicity and (...) standard notions of explanatory power. Whether the consensus was justified by some other criteria remains an open question.Keywords: Theory-choice; Epistemic values; Radiation; Simplicity; Explanatory power; Causal explanation. (shrink)

Is there anything peculiarly "photographic" about photography—something which sets it apart from all other ways of making pictures? If there is, how important is it to our understanding of photographs? Are photographs so unlike other sorts of pictures as to require unique methods of interpretation and standards of evaluation? These questions may sound artificial, made up especially for the purpose of theorizing. But they have in fact been asked and answered not only by critics and photographers but by laymen. (...) Furthermore, for most of this century the majority of critics and laymen alike have tended to answer these questions in the same way: that photographs and paintings differ in an important way and require different methods in interpretation precisely because photographs and paintings come into being in different ways. These answers are interesting because, even within the rather restricted classes of critics, photographers, and theorists, they are held in common by a wide variety of people who otherwise disagree strongly with each other—by people who think that photographs are inferior to paintings and people who believe they are superior; by people who think that photographs ought to be "objective" and those who believe they should be "subjective"; by those who believe that it is impossible for photographers to "create" anything and by those who believe that they should at least try. Joel Snyder teaches criticism and history of photography at the University of Chicago and is presently compiling a book of his own photographs. His contributions to Critical Inquiry include "Picturing Vision" and "Reflexions on Las Meninas: Paradox Lost", written with Ted Cohen in the Winter 1980 issue. Neil Walsh Allen produces educational audio-visual materials and has designed eight permanent exhibits on the history and applications of photography for the Smithsonian Institution. (shrink)

How do we know what an amoeba looks like? How can doctors see the details of our skeletons and internal organs? All of these things are made possible through the innovations of photography. The author provides a primer on the applications of photography to science as she explores the multiple facets of this complex relationship.

Media philosopher Vilém Flusser proposed a revolutionary new way of thinking about photography.

Photography Theory in Historical Perspective: Case Studies from Contemporary Art aims to contribute to the understanding of the multifaceted and complex character of the photographic medium by dealing with various case studies selected from ...

Dominic McIver Lopes’ Four Arts of Photography and Diarmuid Costello’s On Photography: A Philosophical Inquiry examine the state of the art in analytic philosophy of photography and present a new approach to the study of the medium. As opposed to the orthodox and prevalent view, which emphasizes its epistemic capacities, the new theory reconsiders the nature of photography, and redirects focus towards the aesthetic potential of the medium. This symposium comprises two papers that critically examine central (...) questions addressed in the two books, with responses by the two authors in defence of their respective positions. (shrink)

Even as art theory and analytic philosophy have failed to connect in their studies of photography, the two disciplines have joined in tying conceptions of the specific character of photography to ideas about automaticity and agency.1 In rough caricature, the philosopher reasons: “An item is a work of art only insofar as it is the product of agency, so a photograph is not an art work insofar it is not the product of artistic agency. After all, in Lady (...) Eastlake's colorful words, the ‘obedience of the machine’ in photography is no ‘picturesque agent.’”2 This much is accepted both by philosophers who go on to conclude that photography is not an art and also by those who defend the contrary.3 The reasoning on the side of theory and criticism often goes, again in caricature, as follows: “Art works sometimes result from a suppression of agency, and the distinctive ‘obedience of the machine’ in photography is no ‘picturesque agent,’ so the automatism of the photographic machine shapes the distinctive profile of photographic art.” The triadic assemblage of the medium, automatism, and agency is clearly more than a trope in writing on photography; it regulates and structures reasoning about photography, even as it sends that reasoning off in remarkably divergent directions in different disciplines. In the spirit of the nudge towards convergence that this special issue represents, this afterword develops some thoughts that are sparked by and that offer a friendly challenge to the preceding papers. In brief, the triad that controls thinking about photography across disciplines depends on some rather demanding conceptions of agency and automatism. As it turns out, less demanding conceptions of agency and automatism pave the way to a new and more modest conception of the specificity of photography as an art medium. If our common ground is what keeps us apart, perhaps we should find some new common ground? (shrink)

From as early as 1839, artists began exploring photography's enormous potential for storytelling and often went to great lengths to create pictures for the camera.

What is ubiquitous photography? The article addresses this question and argues that ubiquity signals something more than the proliferation and dispersal of photography into everyday life. Moving beyond the question of digitization and of new or digital media, the premise of the argument is that ubiquitous photography is inseparable from the claims and innovations associated with the wider field of ubiquitous computing. Here, photography and the photographic are realigned within the terms of the technoscience industries and (...) their quest to generate ambient intelligent environments, automated systems such as face recognition technology (FRT), animated artefacts and augmented reality (AR). Employing a feminist approach to technoscience, the article offers a gendered, genealogical and interventionist critique of photography’s ‘everywhere’ status. (shrink)

Firstly, this contribution proposes to address synthographies – images generated through Text-to-image technologies – by deepening the epistemological shift related to the possibility of transposing the image-creation process from the analogue arts to the notational ones (or, by drawing on Nelson Goodman's terminology, from the “autographic” to the “allographic” forms of art). Secondly, the paper highlights how synthographies can be considered partly autographic and partly allographic, since the linguistic prompts constitute only the notational aspect of the generated images. Furthermore, this (...) contribution argues that the recent critiques around such images, which referenced aspects related to the absence of authorial presence and mechanicality, characterised the history of photography since its beginning. Finally, the contribution explores how the possibility to create synthographies that are almost indistinguishable from photographies easily might further separate the interaction between the detective and the depictive functions to the advantage of the latter, erasing what remains of the visual reliability and documental value of images. (shrink)

A discussion of the pioneers of the first decades of photography, along with essays on early collectors and patents.

The aim of this article is two-folded. First, I wish to situate Baudelaire in the midst of 19th-century media, bring attention to the way he explored the new media of his day, and suggest that he developed his own media aesthetics. Second, I wish to examine Baudelaire’s relation to photography more specifically, emphasizing his love of commonplaces and clichés. I begin by contextualizing Baudelaire’s notorious attack on photography in the Salon de 1859 and then examine three poems in (...) light of the photographic culture of Baudelaire’s day. Central here is the experiment on the notion of identity that was carried out with the spread of portrait photography: the notation of a unique identity was undermined, processes of multiplication were explored, and the poetic discourse of the “soul” was radically changed. (shrink)

This article takes as its starting point an exhibition of photographs of May '68 by photojournalist Bruno Barbey at the Hayward Gallery in London in 2008, in order to consider the role that photography has played in shaping the memory and the forgetting of May '68, 40 years on. The article examines the problematic of the documentation and display of protest photographs, focusing on how compositional decisions by the photographer have come to facilitate his photographs' subsequent institutional framing. On (...) this basis I argue that the predominant representational modes support hegemonic narratives of the events of May '68 and highlight questions regarding the current difficulty of attending to the representation of collective political action. (shrink)

In Photography and Anthropology, Christopher Pinney presents a provocative and readable account of the strikingly parallel histories of the two disciplines, as well as a polemical narrative and overview of the use of photography by anthropologists from the 1840s to the present. Walter Benjamin suggested that photography “make[s] the difference between technology and magic visible as a thoroughly historical variable,” and Pinney here explores photography as a divinatory practice that prompted anthropologists to capture the “primitive” lives (...) of those they studied. Early anthropology celebrated photography as a physical record, whose authority and permanence promised an escape from the lack of certainty in speech. But later anthropologists faulted photography for failing to capture movement and process. Anthropology as a practice of “being there” has thus found itself entwined in an intimate engagement with photography as metaphor for the collection of evidence. Through numerous examples from the annals of anthropological photography, Photography and Anthropology examines the history of anthropology’s enchantment with photography alongside the anthropological theory of photography and documentation. (shrink)

Georges Didi-Huberman's study is concerned with epistemological and ethical questions that arise from visual representations of the Shoah, while Michael Fried's is concerned with the ontological possibilities explored by contemporary art photography. The books have two things in common: an argument against postmodern skepticism, and an insistence that photography has become a field in which questions of history, truth, and authenticity are being explored with particular acuity. Rather than reject even the possibility that photographs have something to tell (...) us about the Shoah, Didi-Huberman shows that they can offer important insights into the difficulties and the possibilities of apprehending some aspects of the past.Fried shows that contemporary photographic work has taken on the ambitions of high modernism by accepting the challenge of “to-be-seenness.” Photography as a “historical practice” does not escape from the difficulties of evidence and of the “constructed” nature of historical understanding; photography functions neither as a pure trace of the past, nor as a mere invitation to spectacle. (shrink)

English summary: The authors invited eighteen artists and theorists to reflect on what is meant by contemporary photography and contemporary art. Historical issues or paradigmatic problems? The articulation of these eighteen points of view, sometimes radically different, can have a fruitful view on issues, concepts, assumptions, and current issues on the subject. French text. French description: Francois Soulages et Marc Tamisier ont invite dix-huit artistes et theoriciens a reflechir sur ce qu'ils entendent par photographie contemporaine et par art contemporain. (...) Questions historiques ou bien problemes paradigmatiques? L'articulation de ces dix-huit points de vue, parfois radicalement differents, permet d'avoir un panorama fecond sur les problematiques, concepts, presupposes et enjeux actuels sur le sujet. L'enjeu premier serait-il l'" art-contemporain " qui ne se reduirait pas alors a l'art qui serait contemporain. Que serait, alors, la " photographie-contemporaine " a l'ere du numerique? L'enjeu ultime est bien le/notre contemporain! (shrink)