Dubois, P., 2016. Trace-Image to Fiction-Image: The unfolding of Theories of Photography from the ’80s to the Present. October 158, 155–166. https://doi.org/10.1162/OCTO_a_00275
After the incredible impact of the posthumous publication of Roland Barthes’s Camera Lucida in 1980, we saw, throughout the decade, a great number of more or less theoretical books, of special issues of journals (as well as new journals), of French translations of important texts, and countless colloquia on this theme, all of which bear witness to the extraordinary moment of vitality of this period at the end of the Structuralist years, a period that opened onto essentialist, phenomenological, and even ontological questions.
It was, we could say, a period of invention of “photography as theoretical object.”
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Jabez Hughes, ‘Photography as Industrial Occupation for Women’, 1873, in:
Anthony’s Photographic Bulletin, vol. 4 (1873), pp.162-166; originally published in the London Photo. News.
and pp.29-36, in:
Palmquist, P.E., 1989. Camera Fiends & Kodak Girls: 50 selections by and about women in photography, 1840-1930. Midmarch Arts Press, New York.
A little army of of workers were sudden//ly called forth to put it in practice, and now that it has definitely taken its place as one of the art industries, the question may fittingly be asked, by those interested in spreading the domain of female labor, whether this art offers a fresh outlet for women’s energies – whether this supplies to them a new field of legitimate, honorable and remunerative labor.
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Evans, J.V., 2013. Seeing Subjectivity: Erotic Photography and the Optics of Desire. The American Historical Review 118, 430–462. https://doi.org/10.1093/ahr/118.2.430
Although intimacy, pleasure, and desire are fundamental elements of experience and personhood, they remain overlooked in most historical analyses. This is particularly true when it comes to erotic images.
Of course, getting at an embodied history of desire is no simple task, especially since the function and resonance of photographic sources is hardly self-evident.
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Vilém Flusser. ‘The Photograph as Post-Industrial Object: An Essay on the Ontological Standing of Photographs’ Leonardo, 19:4, 329-332, 1986
The Latin term ‘objectum’ and its Greek equivalent ‘problema’ mean ‘thrown against’, which implies that there is something against which the object is thrown: a ‘subject’. As subjects, we face a universe of objects, of problems, which are somehow hurled against us. This opposition is dynamic. The objects approach the subject, they come from the future into the subject’s presence.
The shock between subject and object occurs over the abyss of alienation which separates the two. The present tendency is to relegate this shock from human subjects to automatic apparatus. Automatic cameras may serve as an example.
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Warfield, K., 2017. MirrorCameraRoom: the gendered multi-(in)stabilities of the selfie. Feminist Media Studies 17, 77–92. https://doi.org/10.1080/14680777.2017.1261843
Mark Deuze (2012) suggests that in our increasingly mediated lives, perhaps we are the medium. Theorists of Internet and social media studies have tackled similar befuddling questions where we’ve become at once producers and consumers—pro-sumers (Alvin Toffler 1980)—or simultaneously producers and users—produsers (Karl Fahringer and Axel Bruns 2008). Studying audiences at this period in history is like “wrestling with a jellyfish” (Justin Lewis 2013) because, among other things, audiences could be both always and everywhere (Peter Vorderer and Matthias Kohring 2013) or everywhere and nowhere (Elizabeth Bird 2003).
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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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Junko Theresa Mikuriya, ‘Introduction’, pp.1-9, in:
Mikuriya, J.T., 2017. A history of light: the idea of photography. Bloomsbury Academic, London.
Its apparent instability belies its generosity; its hospitality is such that its boundaries are porous and mutable, inviting the encroachment of others. Hence photography is often considered to be overly reliant upon its surroundings; attempts to define and to theorise photography would reduce it to a set of cultural, social, political or technological productions, identifying its history solely as the development of the photographic camera, or the inevitable outcome of a changing aesthetic sensibility.
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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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Allan Sekula, ‘The Body and the Archive’, pp.3-64, in:
October, Vol. 39 (Winter, 1986). MIT Press.
The sheer range and volume of photographic practice offers ample evidence of the paradoxical status of photography within bourgeois culture. The simultaneous threat and promise of the new medium was recognized at a very early date, even before the daguerreotype process had proliferated.
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