Archive for the ‘Photography's Materiality’ Category


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 […]


Takvan, Monica. ‘Perception and Knowledge – In Connection to the Eye and the Senses’, Photography & Culture, 3:3, 321-330 Research in Progress p.321 Perception is often connected to knowledge and information gained through the eyes, and when saying we understand something, the term “I see” is often used. Is seeing the equivalent of understanding? And is perceiving the same as […]


Schwartz, Joan M; Ryan, James R. ‘Photography and the Geographical Imagination’ Picturing Place: Photography and the Geographical Imagination ed. by Joan M. Schwartz and James R. Ryan (London: I.B.Taurus, 2003) 1-18 p.1 More than one hundred and fifty years later – despite ongoing and unresolved debates over the status of photography as a fine art and over […]


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 […]


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 […]


Flusser, Vilém. “The Distribution of Photographs” pp.49-56 in Towards a Philosophy of Photography (London: Reaktion Books, 2005) p.49 Nature as a whole is a system in which information disintegrates progressively according to the second law of thermodynamics. Human beings struggle against this natural entropy not only by receiving information but also storing and passing it on – […]


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 […]


Making Meaning

10Oct11

Willumson, Glenn. ‘Making Meaning: Displaced materiality in the library and art museum’ Photographs Objects Histories: On the materiality of images ed. by Elizabeth Edwards and Janice Hart (London: Routledge, 2004) 62-80 p.62 Although they are initially treasured for their ability to reproduce a person, an event or a location, the passage of time is not […]


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


Edwards, Elizabeth. ‘Photographs as Objects of Memory’ Material Memories ed. by Marius Kwint, Christopher Breward, Jeremy Aynsley, (Oxford: Berg, 1999) 221-236 p.222 [Edwards shall] shift the methodological focus away from content alone, arguing that it is not merely the image qua image that is the focus of contemplation, evocation and memory, but that its material […]


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 […]


Sassoon, Joanna. ‘Photographic Materiality in the Age of Digital Reproduction’ Photographs Objects Histories: On the materiality of images ed. by Elizabeth Edwards and Janice Hart (London: Routledge, 2004) 186-202 p.186 The invention of digital technology represents the first revolutionary change for photographic methods since Talbot’s invention of the calotype, which introduced the negative/positive process and […]


Batchen, Geoffrey. ‘Vernacular Photographies’ Each wild idea: writing, photography, history (Cambridge, Mass.; London: MIT, 2002) 56-80 p.57 [Batchen describes] what has always been excluded from photography’s history: ordinary photographs  […] the photographs that preoccupy the home and the heart but rarely the museum or the academy. [Batchen describes reasons why vernacular photographs were written out of […]


Volpe, Andrea L., ‘Archival Meaning: Materiality, Digitization, and the Nineteenth-century Photograph’ AfterImage, 36 no.6 May/June 2009. 11-14 p.11 By focusing on the photograph as object and the terms on which digitization is changing access to photographs as archival objects, these exhibits prompt a rethinking of the history of nineteenth-century photography as a history of what […]


‘Photographs as Objects’ Elizabeth Edwards and Janice Hart in Photographs Objects Histories: On the Materiality of Images, edited by Elizabeth Edwards and Janice Hart, Routledge, London, 2004. 1-15 p.1 [Edwards and Hart note that in Camera Lucida what Barthes] describes first is not the image of two children but a material object. It is a […]



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