4. Optics and Desire

In 1996 I was living in Brixton, south London, during a very hot summer. On July 12 Nelson Mandela came to visit and the crowds turned out to greet him in the thousands. I had been active in the anti-apartheid movement and gathered with some friends opposite the main sports hall where Mandela was due to arrive and address some local dignitaries. As Mandela and his entourage approached the steps of the hall the crowd was ecstatic. I had never seen such emotion and tears of joy.  Mandela stood before us. He waved, smiled and then disappeared with the throng around him into the hall. We had waited hours to see him, and in a very real sense many people there had waited decades to see him.  So actually setting eyes on the man was intense, to say the least. Read More »

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3. Backwards and Forwards

For many years I have been looking through the back issues of the 20th century’s illustrated press. Magazines, journals, newspapers. It is really impossible to write or teach the history of photography without doing this. The Sunday Times Magazine from March 24, 1968 carries, among other things, Don McCullin’s celebrated black and white images of soldiers in Vietnam – one throwing a grenade, another lying dead with his possessions spilling out.

Don McCullin, 'This is how it is', Sunday Times Magazine, March 28, 1968

Don McCullin, ‘This is how it is’, Sunday Times Magazine, March 28, 1968

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2. From one Photo to Another

We rarely make or see photographs singularly. They come in sets, suites, series, sequences, pairings, iterations, photo-essays, albums, typologies, archives and so on. Daily experience involves moving between one image and another. Editing, the selection and arrangement of images, provides perhaps the most vital bridge between photographs in the particular and photography in general, although more so for image-makers and publishers than for critics and theorists, it seems. I’m struck by how few writings there have been about the complexities of photo editing as it takes shape in mainstream media or in more resistant practices. Read More »

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1. Photography and Photographs

My first post will be quite long but I will make up for it with shorter subsequent posts. I’m hoping they will add up to an essay on a single theme: the relation between photography in general and photographs in particular, although this may change in response to comments and contributions as we go.

I begin with some thoughts about how Still Searching has developed since it launched last year, and what this might say about the ‘Online Discourse on Photography’, as it is subtitled. Back in January 2012 I was invited to be a co-blogger for the first two contributors, Bernd Stiegler and Aveek Sen. Since then I have watched with interest. The discussions have ranged far and wide but I note a polarization between thinking about ‘photography’, which most contributors seem to feel is too complex and contradictory to be a unified field (without quite giving up on the term all together) and considerations of ‘photographs’ (this or that image or specific project). Read More »

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Part 5 – The Production of Documents

“In history everything begins with the gesture of setting aside, of putting together, of transforming certain classified objects into ‘documents.’ This new cultural distribution is the first task. In reality it consists in producing such documents by dint of copying, transcribing, or photographing these objects, simultaneously changing their locus and their status.”[1]

In The Writing of History (1975), Michel de Certeau criticized the perception of documents and archives as dormant sources waiting to be collected and interpreted by historians. Read More »

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Part 4 – Another Threshold

Edouard Manet’s Portrait of Emile Zola, from 1868, currently on view at the Royal Academy in London in the Manet: Portraying Life exhibition is usually interpreted as a testimony of the friendship between the artist and a writer who was one of his strongest supporters in those years. The painting shows Zola seated sideways at his work table, surrounded by papers, objects, and pictures that point to this relationship, and, it has been noted, to Manet’s own tastes: a decorated screen on the left, a pamphlet bearing Manet’s name on the desk, and above, in the top right corner of the picture, a Japanese print and a lithograph of Velasquez partly concealed by a reproduction of Manet’s own Olympia. It is to these last three objects I would like to direct my attention, in order to think about a technological and aesthetic threshold a century-and-a-half back that may or may not serve as a model for the relationship between analogue and digital photography today. Read More »

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Part 3 – The Opacity of Photography

One of my students recently declared she believed there was nothing to learn from Flusser’s writings on photography. For her, digital technology expanded the possibilities of photography well beyond what Flusser described as the pre-defined program contained within the camera apparatus. The same went for the idea of the impenetrability of the “black box,” which seemed ludicrous in today’s context of widely shared technical astuteness and the infinite possibilities offered by photo-editing software. If Flusser’s work certainly appears dated in some ways, as Walead Beshty suggested in one of his posts on this blog, discussing the 1986 essay “The Photograph as Post-Industrial Object,” other texts, notably the lectures given in Arles in 1984 that were later re-worked into the book Towards a Philosophy of Photography, are still well worth reading. Read More »

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Part 2 – Welsh Water

One of the pictures that I always come back to when thinking about object photography is a black and white image by the artist Jean-Luc Moulène entitled Bi-Fixe, 7 September 2003. It shows two PET bottles of mineral water from Wales sold under the brand Ty Nant, which have been laid flat onto a medium-colored background and photographed directly from above so as to avoid distortion. Read More »

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