Catherine W. Barnes, ‘Photography from a Woman’s Standpoint’, Anthony’s Photographic Bulletin, vol. 21, no. 2 (January 25, 1890), pp.39-42
Palmquist, P.E., 1989. Camera Fiends & Kodak Girls: 50 selections by and about women in photography, 1840-1930. Midmarch Arts Press, New York.
I have been asked to say something to-night on photography viewed from a woman’s standpoint. Having trained myself to look at it simply as a worker, you must pardon me if I, occasionally, in the interest of the subject, step off my own special platform.
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Spence, J., Solomon, J. (Eds.), n.d. What can a woman do with a camera? photography for women.
Joan Solomon, ‘Introduction’, pp.9-14:
Women are used decoratively, often to advertise photographic products. When they are shown as users of equipment, the images are of slender hands with immaculately manicured nails delicately holding a very simple camera, the implication being that even a woman can manage this.
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Donna Haraway, ‘The Promises of Monsters: A Regenerative Politics for Inappropriate/d Others’, pp.63-124, in:
Haraway, D.J., 2004. The Haraway reader. Routledge, New York.
This essay’s theory is modest. Not a systematic overview, it is a little siting device in a long line of such craft tools. Such sighting devices have been known to reposition worlds for their devotees-and for their opponents. Optical instruments are subject-shifters. Goddess knows, the subject is being changed relentlessly in the late twentieth century.
I have high stakes in reclaiming vision from the technopornographers, those theorists of minds, bodies, and planets who insist effectively – i.e., in practice-that sight is the sense made to realize the fantasies of the phallocrats. I think sight can be remade for the activists and advocates engaged in fitting political filters to see the world in the hues of red, green, and ultraviolet, i.e., from the perspectives of a still possible socialism, feminist and anti-racist environmentalism, and science for the people.
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Daniel Palmer, ‘Redundant Photographs: Cameras, Software and Human Obsolescence’, pp.47-65, in:
Rubenstein, D., Golding, J., Fisher, A., 2013. On the verge of photography: imaging beyond representation. Article Press, Birmingham, UK.
The history of photography is also a history of automation.
Needless to say, the primary aim of automation is to reduce human labour time (related to a secondary aim of removing human error). Indeed, certain kinds of cameras today – such as those designed to identify car number plates – need no regular human operator at all.
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Jay Bolter and Richard Grusin, ‘Digital Photography’, pp.104-112, in:
Bolter, J.D., Grusin, R., 2003. Remediation: understanding new media. MIT Press, Cambridge, Mass.
Many remediations are reciprocal in the sense that they invite us to imagine each medium as trying to remediate the other. In such cases, deciding which medium is remediating and which is remediated is a matter of interpretation, for it comes down to which medium is regarded as more important for a certain purpose.
Computer photorealism is trying to achieve precisely what digital photography is trying to prevent: the overcoming and replacement of the earlier technology of photography.
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Zahid R Chaudhary, ‘Sensation and Photography’, pp.1-35, in:
Chaudhary, Z.R., 2012. Afterimage of empire: photography in nineteenth-century India. University of Minnesota Press, Minneapolis; London.
How might we reorient our understandings of colonial representations if we shift our focus to that interface between bodies and world that is the precondition for making meaning?
In Afterimage of Empire I argue that, following the well-traveled routes of global capital, photography arrives in India not only as a technology of the colonial state but also as an instrument that extends and transforms sight for photographers and the body politic, British and Indian alike.
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Birk, L., Foley, S., 2013. Afghan box camera. Dewi Lewis Publishing, Stockport, England.
Gulbert would recite prayers and verses and blow on the camera, and then take out the photographs announcing, “A MIRACLE!”
In Afghanistan in the 1950s a simple hand-made wooden camera known as the kamra-e-faoree began to be used widely in the country for the first time.
Further afield in industrialised Europe and North America, patented relations had already appeared in the 1910s; whilst the photograph process the camera used was first introduced by William Henry Fox-Talbot in 1840s England.
In contrast […] to photography as a thing of the elite, the kamra-e-faoree brought photography to the common man and quite literally, to the street.
Only a narrow pavement slot was required to fit a camera, a chair and a cloth backdrop. The chair in which the customer posed for the portrait could also serve the photographer as a perch on which to rest or even sleep in quieter times. The camera lid provided a handy platform on which to place a pair of scissors and box of photo paper as well as hold a mug of tea and a saucer of sweets.
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John Tagg, ‘The One-Eyed Man and the One-Armed Man: Camera, Culture, and the State’, pp.1-49, in:
Tagg, J., 2009. The disciplinary frame: photographic truths and the capture of meaning. University of Minnesota Press, Minneapolis.
This carefully constructed room has an old name. It is a camera. A room, but a room with a purpose: the training of light, graphing it—quite literally, photo-graphing, subjecting light to the punctual rule of the room’s inbuilt geometrical law.
The camera is, then, a place to isolate and discipline light, like a room in Jeremy Bentham’s Panopticon. And, like that room in the Panopticon, the cell of the camera has its utility both as a training machine and as a device for producing and preserving text.
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Joel Snyder & Neil Walsh Allen, ‘Photography, Vision, and Representation’, pp.143-169 in:
Critical Inquiry, Vol.2, Autumn 1975.
Is there anything peculiarly “photographic” about photography – something which sets it apart from all other ways of making pictures?
[…] 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.
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Eve Forrest, ‘Exploring everyday photographic routines through the habit of noticing’, pp.193-208, in:
Gómez Cruz, E., Lehmuskallio, A. (Eds.), 2016. Digital photography and everyday life: empirical studies on material visual practices. Routledge, London ; New York.
Looking around me, I could see little that I thought was worth photographing. However, one of the photographers beside me suddenly stopped still, then, crouched down. I observed them at work as they moved around: making micro adjustments to their feet, fingers, shoulders and head movements, getting their body in the best position to take the picture.
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