Archive for the ‘Camera culture’ Category

Jean-Claude Gautrand, Publicités Kodak: 1910-1939 (Paris: Contre-jour, 1983). p.2 The advertised image is no less ephemeral than the newspaper, the magazine or the poster that conveys it. The need to continually  repeat the commercial message, to reassess its visual impact and to avoid visual boredom leads to making a series of images that follow one another, […]


Elspeth H. Brown, ‘Photography and Commercial Illustration’ The Corporate Eye: Photography and the Rationalization of American Commercial Culture, 1884 – 1929, Studies in Industry and Society (Baltimore, Md.: Johns Hopkins Univ. Press, 2005). 159-216 p.160 Advertising matured as a profession in response to a new problem for American business: how to stimulate demand among consumers for […]


Van Lier, Henri. Philosophy of Photography, Lieven Gevaert Series, 6, New ed. (Leuven: Univ. Press, 2007) Part Two: Photographic Initiatives: I. The Initiative of Industrial Technology, pp.54-58 p.54 […] the different technical combinations inflecting the photographic processes of each epoch are divided amongst the classical masters of the history of photography, each one of them pushing […]


Väliaho, Pasi. ‘Simulation, Automata, Cinema: A Critique of Gestures’, Theory & Event, 8:2 (2005) pp.1-39 [accessed: https://muse.jhu.edu/journals/theory_and_event/v008/8.2valiaho.html] p.36 The experimental, bare life that the hysterical body crystallizes in its distorted gestures, spasmodic jerks and abnormal physiognomy is rendered visible and known — and perhaps even brought into existence — by modern technological media.


Berger, John. ‘Understanding a photograph’ Classic Essays on Photography ed. by Alan Trachtenberg (New Haven: Leete’s Island Books, 1980) 291-294 p.291 Certainly the vast majority of people do not consider photography an art, even whilst they practise, enjoy, use and value it. It now seems clear that photography deserves to be considered as though it were […]


Flusser, Vilem. ‘The Photograph as Post-Industrial Object: An Essay on the Ontological Standing of Photographs’ Leonardo, 19:4, 329-332, 1986 p.329 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, […]


Dahlgren, Anna. ‘Dated Photographs: The Personal Photo Album as Visual and Textual Medium’, Photography & Culture, 3:2, 175-194 p.176 Unlike personal photo albums made after 1900, text is scarce in general in personal carte-de-visite albums and, especially, indications of when the images were taken are very rare. This characteristic seems to suggest a different view of […]


Buse, Peter. ‘Surely Fades Away’, Photographies, 1:2, 221 – 238 [discussion of Robert Adams & Polaroid] However, far from being some sort of special case or exception to the rule, Polaroid’s relationship with Adams simply crystallizes a problematic of value that runs right through the history of instant photography: its simultaneous association with both high […]


Snapshots

03Jan12

Batchen, Geoffrey. ‘Snapshots’, Photographies, 1:2, 121 – 142, 2008. […] it could be said that snapshots are to the history of photography as photography is to the history of art; each represents a significant threat to the stability of its host discipline. [Batchen describes three vernacular photographs] It’s been said that Americans alone take about […]


Coleman, A.D. ‘The Hand With Five Fingers: or, Photography Made Uneasy’ The Digital Evolution (London: Nazraeli Press, 1998) 81-85 p.82 Up until 1888 – that is, for the first half-century of the medium’s existence – anyone who wanted to make photographs had to practice photography. p.83 George Eastman changed all that, permanently, when he introduced the first […]


Berger, John. ‘Uses of Photography’ About Looking (London: Bloomsbury, 2009) 52-67 [An essay for Susan Sontag, in reponse to On Photography] p.52 The speed with which the possible uses of photography were seized upon is surely an indication of photography’s profound, central applicability to industrial capitalism. It was not, however until the 20th century and the period […]


The photograph

25Oct11

Flusser, Vilem. ‘The Photograph’ Towards a Philosophy of Photography (London: Reaktion Books, 2000) 41-48 p.41-42 There cannot be black-and-white states of things in the world because black-and-white cases are borderline, ‘ideal cases’: black is the total absence of all oscillations contained in light, white is the total presence of all the elements of oscillation. p.42 ‘Black’ and […]


Flusser, Vilem. ‘The Gesture of Photography’ Towards a Philosophy of Photography (London: Reaktion Books, 2000) 33-40 p.33 The acts of resistance on the part of culture, the cultural conditionality of things, can be seem in the act of photography, and this can, in theory, be read off from photographs themselves. In theory, cultural conditions seem, […]