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The history of photography has produced a fascinating wealth of theoretical narratives. However, a surprising proportion of existing narratives relies on a rather problematic assumption: that it is possible and appropriate to equate photography and vision. In this article, I demonstrate that this questionable equation depends on certain physical ci...
Context in source publication
Context 1
... the photographs of shells and fossils made by Daguerre in France in comparison to the photographs of china and crystal articles by William Talbot in England. Both, I argue, although illustrating a particular cultural world and a clear purpose, attest more than anything else does to the technological constraints under which both photography pioneers worked (Figures 2 and 3). A similar comparison can be made between the photograph taken by Niépce of his home (the "first" photograph, according to some) and that of Talbot's country manor (the "first" building "to have drawn its own picture"; Talbot XV). ...
Citations
... Despite this, such systems have been used in controlled environments, limited by the research area, with limitations on the mass of the equipment and the costs of its implementation (Flores-Morales et al., 2016). Toister (2020) differentiates between two different types of experience: vision and viewing. He explains that vision can be defined as a situation where similar modes of perception are enabled for most events in the real world. ...
... On the other hand, at the time Muybridge's photographs were created, they received a cool response from artists, other photographers and certainly the public. The photos were claimed to be "unnatural" and even "unrealistic" (Toister, 2020). The aim of this research was to check observation skills on a sample of absolute beginners, through the assessment of human gait, and to find out how effective the kinematic viewing analysis is, or whether there is a need for an instrumented biomechanical approach. ...
... In a way, the students fell into the same trap that Théodore Gericault had found himself in 200 years earlier. Toister (2020) interprets such obstacles as the temporal incompatibility of photographic technology, where viewing is certainly a non-participatory experience, unlike live viewing or observation in which the observer is also a participant. ...
