Archive for the ‘Personal Responses to Images’ 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 […]


McCauley, Anne. ‘Overexposure: Thoughts on the Triumph of Photography’, The Meaning of Photography ed. by Robin Kelsey and Blake Stimson (Williamstown, MA: Sterling and Francine Clark Institute, 2005) 159-162 p.159 [discusses photography’s acceptance into art institutions] p.160 Museums became infotainment for people who wanted to walk rather than sit in front of screens when escaping from their […]


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 […]


Writing

22Feb12

Elkins, James. ‘Writing’ What Photography Is (Oxon: Routledge, 2011) 1-14  p.5 No, what bothers me, at least at first, is that the uncomfortable intimacy of the voice, and its discomfiting affections, are supported by a certainty I cannot understand: a certainty, almost a conviction, that the author’s frame of mind is not an impediment to […]


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 […]


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 […]


Danger

28Nov11

Cadava, Eduardo. ‘Danger’ Words of Light: Theses on the Photography of History (Chichester: Princeton University Press, 1997) 47-59 p.47 It is because the question of reproducibility extends far beyond the realm of art that it raises the possibility of the democratization of death. Not only does technical reproducibility change our relation to death, but the incursion of the […]


Friday, Jonathan. ‘Stillness Becoming: Reflections on Bazin, Barthes and Photographic Stillness’ Stillness and Time: Photography and the Moving Image ed. by David Green and Joanna Lowry (Brighton: Photoforum; Photoworks, 2006) 39-54 p.39 Long before the invention of cinema, for example, photography was associated with stillness in a way that other pictorial media were not. The […]


Re-visions

22Oct11

Lomax, Yve. ‘Re-visions’ Writing the Image (London: I.B.Tauris, 2000) 15-27 p.16 How can I speak of just one history. And anyway, who has the singular authority to say, with all certainty, that there is one story which is, legitimately, the authentic one. I find that one is already many: re-visions in the plural. Re-visions: a […]


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 […]


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

17Feb11

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 […]


Prosser, Jay. “Buddha Barthes: What Barthes Saw in Photography ( That He Didn’t in Literature)” pp.91-103 in Photography Degree Zero ed. by Geoffrey Batchen (London: The MIT Press, 2009) p.91 Roland Barthes’s last book is on photography and it is about the limit of words. Beginning with the dropped out words of one Buddhist lama recalled […]


Edwards, Elizabeth ‘Thinking photography beyond the visual?’ Photography: Theoretical Snapshots ed. by Long, J.J., Noble, Andrea, and Welch, Edward (Oxon: Routledge, 2009) pp.31-48 p.31 [Edwards wants] to consider ways in which we might extend our understanding of photography beyond the visual itself and thus extend our theory of photography beyond the dominant semiotic, linguistic and […]


Cadava, Eduardo., Cortés-Rocca, Paola. ‘Notes on Love and Photography’ Photography Degree Zero ed. by Geoffrey Batchen. (London; Cambridge, MA: The MIT Press, 2009) 105-139 p.11o Undoing every contemplative act that would presume a difference between “itself” and the image on which it focuses, Camera Lucida puts the category of an observer – as the neutral […]


June Clark

21Feb10

Amazing work using and manipulating found photographs. “June was born and brought up in Harlem, New York City. She emigrated to Canada in 1968, became a Canadian citizen and currently lives and works in Toronto.” Date made: 1989 Materials: photo etching (with text) Text reads: Grandma said, “when you pick your husband, think of what […]


Blog website that attempts to reunite owners and their photographs http://ifoundyourcamera.blogspot.com/#


p.3 Barthes ‘wanted to learn at all costs what Photography was “in itself,” by what essential feature it was to be distinguished from the community of images. p.4 What the Photograph reproduces to infinity has occurred only once: the Photograph mechanically repeats what could never be repeated existentially. p.5 The Photograph is never anything but […]


Kuhn, Annette., Family secrets: acts of memory and imagination (London: Verso, 2002) p.154 It is but the shortest step from this to acknowledging that photographs may ‘speak’ silence, absence, and contradiction as much as, indeed more than, presence, truth or authenticity; and that while in the production of memory photographs might often repress this knowledge, they […]