Archive for the ‘Memory & Photography’ Category

Kember, Sarah J. ‘The Virtual Life of Photography’, Photographies, 1:2, 2008, pp.175 – 203 After more than 150 years, we still do not know what photography is. The reason for this, I suggest, is indeed due to the deployment of a restricted range of disciplinary and conceptual frameworks – but only in part. Memory constitutes […]

Judgement Day


Agamben, Giorgio. ‘Judgement Day’ Profanations translated by Jeff Fort (New York: Zone Books, 2010) 23-27 p.23 What quality fascinates and entrances me in the photographs I love? I believe it is this: for me, photography in some way captures the Last Judgement; it represents the world as it appears on the last day. the Day […]

Belting, Hans. ‘The Transparency of the Medium’ An Anthropology of Images trans. by Thomas Dunlop (Oxford: Princeton University Press, 2011) 144-168 p.144 The photographic image is usually understood as either an object trouvé. a thing that the camera find in the world, or else as the product of a camera. In other words, a photograph is […]

Palmer, Daniel. ‘Emotional Archives: Online Photo Sharing and the Cultivation of the Self’, Photographies, 3:2, 155 – 171 The nature of these digital snapshots has already attracted considerable attention. For instance, there is widespread agreement among researchers that such images are both more intimate and mundane than earlier forms of personal photography (Gye; Murray). Indeed, […]

Wells, Liz. ‘Sense of Location: Topography, Journey, Memory’ (London: I.B.Taurus, 2011) 261-302 p.261 [describing Jem Southam’s ‘River Hayle January 2000’] However, naturalised, this is a landscape that has been subject to extensive human intervention – the markers are there for our information, whether we are physically present, or viewers of photographs which operate in observational […]

Elkins, James. ‘Selenite, Ice, Salt’ What Photography Is (Oxon: Routledge, 2011) 15-44   p.17 [On a photograph Elkins finds of a selenite window] Seen through the window, the world would look like ill-fitted pieces of mosaic crushed together, pressed and refracted by the translucent material into a nearly indecipherable pattern. The window’s inclusions, its grit and spalling […]

Mayer-Schonberger, Viktor. ‘The Role of Remembering and the Importance of Forgetting’ Delete: The Virtue of Forgetting in the Digital Age (Princeton, Oxford: Princeton University Press, 2009) 16-49 p.17 Contrary to popular belief that we only use a small fraction of our brain’s power, the entire network of neurons and synapses is active in healthy human beings. But […]

Langford, Martha. ‘Speaking the Album: An Application of the Oral-Photographic Framework’ Locating Memory: Photographic Acts ed. by Annette Kuhn and Kirsten Emiko McAllister (Oxford: Berghahn Books, 2006) 223-246 p.223 […] attention to the photographic album since the mid-1960s can be said to constitute in itself a model ‘thought community’, an idea of album sustained by […]



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 […]

Price, Mary. ‘The End, Secular Aura’ The Photograph: A Strange, Confined Space (Stanford, CA: Stanford University Press, 1994) 173-177 p.173 Each of the metaphors used, whether the term is aura, mask, or language, illuminates the idea of the photograph. Benjamin, Proust, Musil, and Barthes, as well as Keats with his negative capability, are all saying, in individual poetic […]

Price, Mary. ‘Proust, Lowell, Barthes, Musil’ The Photograph: A Strange, Confined Space (Stanford, CA: Stanford University Press, 1994) 150-172 p.150 Benjamin’s touchstone is Proust, the first great imaginative writer to make extensive use of the wonder and the magic of photography. pp.151-157 [discussion and analysis of Proust’s grandmother’s transformation] p.154 Proust’s metaphor suggests that the photograph […]



Price, Mary. ‘Metaphor’ The Photograph: A Strange, Confined Space (Stanford, CA: Stanford University Press, 1994) 134-149 pp.134-135 Before photography, according to Ivins [William M, Ivins, Jr.], the syntactical analysis of a picture preceded the handmade reproduction, which became a symbolic representation of its original. references for reproduction are the woodcut, etching, or lithograph that reproduce a […]

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 […]



Lomax, Yve. ‘Sometime(s)’ Writing the Image (London: I.B.Tauris, 2000) 77-87 p.78 Is there any one thing that makes photography whole? Does photography have an essence? For me it isn’t a matter of setting out to find the very interior of photography and despairing when I never reach that centre; it is not a matter of authenticating, in […]



Cadava, Eduardo. ‘Lightning’ Words of Light: Theses on the Photography of History (Chichester: Princeton University Press, 1997) 21-26 p.21 Linked to the flashes of memory, the suddenness of the perception of similarity, the irruption of events or images, and even the passage into night, Benjamin’s vocabulary of lightning helps register what comes to pass in the opening […]



Cadava, Eduardo. ‘Mortification’ Words of Light: Theses on the Photography of History (Chichester: Princeton University Press, 1997) 7-11 p.7 The incunabula of photography – its beginnings, its childhood, but also its burial place, its funereal plot its relation to printing and inscription flashes the truth of the photo. This truth says, if it can say […]

Smith, Shawn Michelle. ‘Race and Reproduction in Camera Lucida’ Photography:Theoretical Snapshots ed. by Long, J.J., Nobel, Andrea, and Welch, Edward (Oxon: Routledge, 2009) pp.98-111 p.98 A close reading of [Camera Lucida] discovers that many of Barthes’s most important and influential insights are informed by complicated, and sometimes vexing, personal-political inclinations. Indeed, Barthes’s very conception of photography is […]

Campany, David. ‘Safety in Numbness: Some remarks on problems of ‘Late Photography’’ Where is the Photograph? ed. by David Green (Brighton; Kent: Photoforum; Photoworks, 2003) 123-132 p.123 [In the news report of Joel Meyerowitz’s large format photographing of the aftermath of 9/11] There was a suggestion that photography, rather than television might be the better […]

In this interview with Joachim Schmid by Lens Culture, he suggests that he remembers events and places he has travelled, through the photographs he finds in those places. The project has a personal level as well […] its also my personal diary, I usually travel without a camera… so I don’t take any travel snapshots. When […]

The Family Gaze


Haldrop, Michael; Larsen, Jonas. ‘The Family Gaze’ Tourist Studies 3 (London: Sage Publications, 2003) pp.23-46 p.24 Despite the fact that taking photographs is perhaps the emblematic tourist practice and that tourist studies have been dominated by a visual paradigm of gazing, remarkably little sustained research has explored the general connections between tourism and popular tourist […]