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This article presents an exploration of the use of photography as a means to report history, particularly in relation to cultural criticism and ethnography in the postcolonial movements of the mid 1900s. The author highlights the writings and work of Richard Wright in documenting the formation of the nation of Ghana and the decolonization by Great Britain.

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Copyright of RACAR: Canadian Art Review / Revue d'art Canadienne is the property of Universities Art Association of Canada / Association d'Art des Universites du Canada and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Author-supplied Abstracts.)

The article discusses the philosophy of visual history, with reference to the work of French photographer Marc Riboud and the philosophy of historian Hans Belting on the anthropology of images. Topics mentioned include the concept of photographic images as the flashes of history discussed by philosopher Walter Benjamin, philosophy of photography presented by historian Mauricio Lissovsky, and the work of philosopher Eduardo Cadava on concepts of image and history.

A biography of French photographer Henri Cartier-Bresson is presented. He was born into the elite bourgeoisie and became rebellious against the Western World's moral ugliness. As a young man he travelled the world, documenting ordinary people as witnesses of history with a 90mm camera lens. He spent time as a prisoner of war, had communist political leanings, and in the 1970s left photography for drawing. The article also depicts several of Cartier-Bresson's photographs.

This paper addresses a topic that is not usually part of the history of historiography: technological developments. It starts from the obvious observation that historiography always takes place in a constantly changing and evolving environment of hardware, infrastructure, and machinery and argues that this environment significantly affects the methodological standards, research practices, and concepts of truth that guide historiography. One technological invention that obviously affected historiography very deeply was photography. Photos and images of documents had already been produced before the 19th century, mostly for purposes of paleographic training. Photography, however, opened entirely new possibilities. In the middle of the 19th century, photographic images became a key component of paleographic training in Paris, Vienna, and elsewhere. Soon, also paleographic research became dependent upon images, especially overseas where only few original documents were available for direct autopsy. Around 1900, photography also became part of historiographic research practices. Scholars started to combine personal travel to archives with requests for reproductions. Micro-filming made this even more popular, and from the 1930s onward commercial enterprises satisfied the need for an ever growing amount of archival images. Digital imaging, finally, opened an entirely new world of making and distributing pictures of documents. While initially hailed enthusiastically as enabling a much more rapid progress of higher-quality scholarship, recent authors have added also more cautious and skeptical voices to the evaluation of these technological developments. [ABSTRACT FROM AUTHOR]

The article provides a report from an October 2-4, 2013 conference in Moscow, Russia on the history and future of Russian and Soviet photography as well as the countries' visual culture. Topics of presentations given included the use of photography as a historical resource, photography's role in reinforcing social order in the Russian Empire, and the anthropological photography of Aleksej Nikolaevič Charuzin.

The author explores the question of why vernacular photography, understood as the photography of everyday production and reception, has resisted inclusion in histories of photography and art. He suggests that part of the problems lies in the sheer quantity of vernacular photographs as well as in their often unknown or uncertain authorship. Vernacular photographs in the author's own collection are pictured and described.

In three ground-breaking articles published in 1896–97 and 1915, which focused primarily on Italian Renaissance sculpture, Heinrich Wölfflin asked: ‘How should one photograph sculpture?’ In trying to answer this question, he became one of the first scholars to consider explicitly the ‘visual historiography’ of art history as a discipline. Following Wölfflin’s lead, this essay uses the photographic and, briefly, prephotographic reproduction of Renaissance sculpture to explore how such images have both reflected and shaped art-historical approaches, from Winckelmann’s illustrated surveys, Wölfflin’s and Malraux’s formalism, Berenson’s connoisseurship, Janson’s monographic interests and Panofsky’s iconology, to more recent socio-historical studies and digital applications. By doing so, this essay hopes to serve as a prolegomenon for further research on the ‘visual historiography’ of art objects made in many other periods, places and media. [ABSTRACT FROM AUTHOR]

Although the efficacy of digital media as a replacement for traditional silver-based media is still being ebated and the United States Department of the Interior (HABS) standards for high-level documentation still specify silver-based materials, the field is in a state of transition. The great majority of site documentation is currently captured digitally, and all retrievable images from the Library of Congress are currently delivered digitally. Digital cameras have evolved to the point where image quality can meet even the highest HABS standards at a cost that is comparable to traditional materials. For professional photographic practitioners, it is time to propose digital standards for HABS-level work that will ensure high image quality, accuracy, and integrity of digital information and retrievability of archival images over the long term. At the same time, it makes sense to propose less rigorous standards for field notes, National Register nominations, area surveys, and the like, to guide preservation professionals who use photography in their work. This paper examines the elements of lens, camera, recording material, image adjustment, image storage, and retrieval, comparing the specifications of traditional film practice with digital counterparts currently available. It then proposes new standards to allow for further advances in digital technology that are both mindful of international practice and cost effective. [ABSTRACT FROM AUTHOR]

This article considers the fluctuation, in early commentary and historiography of photography (1843-1857), between the recurring expression of nationalities as criteria of photographic practice and an aspiration to regard the new medium as a promising universal language. Several key texts from the period are examined, including David Brewster's and Elizabeth Eastlake's landmark essays, as well as reports from the juries of the Expositions of 1851 and 1855. Discussions of photographic nationalities appear to have been prominent in the period, and those authors who staked universalist claims for photography may have been doing so in reaction to excesses of patriotism. This mostly Western European discussion needs, ultimately, to be read in the context of the larger globalising function of photography in the nineteenth century. [ABSTRACT FROM AUTHOR]

An archivist from a kibbutz in the north of Israel has been managing the kibbutz archive for close to a decade. I have chosen to present her enterprise and the role she is playing by means of her archival work, which is changing the historiography of her kibbutz. The archivist at the kibbutz in question reevaluates her kibbutz's history while incorporating values of egalitarianism and feminism into the archive. [ABSTRACT FROM AUTHOR]

From the 1900s residents of declining former gold-rush towns in south-eastern Australia took snapshot photographs of frail, elderly Chinese men. A small but distinct group of these photographs were subsequently termed the 'last Chinaman'. This article argues that photographs of the 'last Chinaman' have been mobilised in local histories, to describe Chinese involvement in the gold rushes as part of the history of rural towns, contributing to the construction of Chinese Australians in national history as a 'vanishing' people. The implications of this are that Chinese who were 'everyday' Australians have been overlooked in our histories and the public circulation of photographs which illustrate Chinese as Australians have also been constrained and overshadowed by those of the 'last Chinaman'. [ABSTRACT FROM AUTHOR]

Critical sociological analysis suggests that the film Stomp the Yard immerses its audience in a myopic legend of African American fraternities and sororities. Combining historical photos of Civil Rights leaders, traditions of ‘stepping’, tales of meritocratic social uplift, and romanticized aspects of historically black college or university (HBCU) culture, Stomp the Yard reveals a hyper-individualistic, conservative, and politically blunted form of historiography. Specifically, five ideological mythologies ground the film’s construction of Civil Rights memory and racialized identities. These mythologies decisively fail to interrogate the complexity of black fraternities and sororities. In so doing, they invite a critical blindness to these organizations’ role in past Civil Rights struggles as well as their intersection with contemporary issues such as classism, hazing, and resistance to contemporary forms of racism and racial inequality. [ABSTRACT FROM AUTHOR]

The article explores the role of emotions in historiography, particularly since the 1970s, when pictures from television and other media began to play an increasingly greater part in the perception of history. It also discusses the growing interest in historical exhibitions, reenactments, and computer games, which bring the emotionalization of history to the forefront. The authors of the article ask whether emotions block objective analysis of history, or if they offer new possibilities of acquiring knowledge. Referred to in the article are comments by historian Jürgen Kocka and writer Martin Walser.

In the late 19th century, the city officials of Berlin were intent on improving sanitation and hygiene in ‘Old Berlin’, the city’s messy and crowded historic core. While officials believed that demolishing blighted neighborhoods would create a healthier city, they also recognized the need to document disappearing buildings and vanishing streetscapes. Photographs of ‘Old Berlin’ taken between 1860 and 1914 created visual histories of the city: in the earlier period from 1860 to 1890, the images recorded the complex relationship of preservation and progress, whereas after 1900, photographs of the city reflected an historical turn which aestheticized the past into a nostalgic, fixed, eternal moment. [ABSTRACT FROM PUBLISHER]

The article discusses the work of Swedish American photographer John Olof "Ole" Hedlund (1882-1962) in documenting the construction of the Oregon Trunk railroad along the Deschutes River north and south of Madras, Oregon from 1909 to 1911. Hedlund's biography is briefly recounted, and then the historical significance of his photography is discussed, including what can be judged about his equipment and technique, and the aesthetic of his work. Many of his photographs are reproduced, including a famous image of the final stages of construction of a railroad bridge over the Crooked River.

Through an exploration of the history and legacy of the first photography studio in Mbouda, Western Cameroon, this paper focuses on links between professionalism in the local photography trade and the importance of the studio establishment. Despite increasing access to cheap cameras and colour processing, the photography studio remains an aspiration for local photographers, evidencing contradictions in the economic drivers maintaining the operation of photographic studios. The paper explores notions of recognition and remembrance inherently linked to photography practices for photographers and their subjects. It also looks at how a professional career can be validated through the visible presence of the photographic studio, constructions of local memory and the alteration of images for new audiences in the international art market and scholarly archive. [ABSTRACT FROM AUTHOR]

This essay explores key historical and theoretical concerns in the photographic history of Senegal. Drawing on interviews carried out during visits to Saint-Louis and Dakar (in 2007-2008), it documents the polyvalent practices of photographers working in Senegal in the mid-20th century, with a focus on the career and collections of El Hadj Adama Sylla, a photographer active in Saint-Louis from the 1950s and the former curator of the photographic collections of the Centre de Recherches et de Documentation du Sénégal (CRDS). Sylla was also a formidable private collector, and, in the first part of the essay, I examine the complex relationships between these official and personal collections, and I explore the broader consequences of polyvalent practice for the constitution of collections, definition of genres, and for our broader understanding of the role played by photography in the development of the political imagination of the postcolonial state. In the second part of the essay, I examine the extension of photography, in the period immediately following independence, into new domains of political imagination, and its role in the production of both 'official' and unofficial or non-state investments in the political iconography of the postcolonial state. [ABSTRACT FROM AUTHOR]

In the 1940s colonial administrators in the Gambia Colony hired local photographers to provide a vernacular window into colonial policies, procedures and successes. The political and aesthetic implications of their still photography were structured by forays into forms of visual expression that customarily lay beyond the bounds of the portrait studio - especially cine-film and film-strips. This photography inaugurated a political consciousness of colonial devolution within the administrative hierarchy. Even though Public Relations Office photography was clearly based within the bounds of government in the Gambia, it was a heterogeneous practice. Far from being a teleological tool of the state, colonial administrative photography in the Gambia was actually less stable, more innovative and significantly possessed of political and aesthetic power as to lead to its own demise. [ABSTRACT FROM AUTHOR]

African historians' interest in photographic sources is still rather recent and can be traced back to the mid-1980s. Today, after more than twenty years of research, we know the general outlines of the history of African photography, but have yet to move beyond the larger picture. In having a close look at some centres of the early history of West and Central African photography such as Sierra Leone, Fernando Po and Gabon, as well as at the professional careers of African photographers such as Francis W. Joaque, this paper will contribute to a better and deeper understanding of the early history of West African and Central African photography. Research using and comparing photographs and textual sources from the archive of the Atlantic Visualscape displays a world and a time between 1850 and 1900 when African photographers moved beyond cultural, political and linguistic boundaries to explore potentials in an increasingly competitive market. [ABSTRACT FROM AUTHOR]

The article discusses the social aspects of family portrait photography in the industrial towns of Manchester, England and Lille, France in the latter 19th and early 20th centuries. The expansion of studio photography in this period from the upper and middle to the lower-middle (petit bourgeois) and working classes is discussed, as is the role of photographs both as source material for historians and a resource for people of the time to construct their own histories and social identities. A number of example photographs are included.

The article presents discussion regarding the photographic historiography of the Jewish Holocaust. Introductory details are given citing the challenges and concerns of historians regarding the use of visual media as a historical methodology, particularly in the context of the Holocaust. The author then presents an examination of the exhibits "War of Extermination: Crimes of the Wehrmacht, 1941-1944," at the Hamburg Institute for Social Research in Germany in 1995, and "The Memory of the Camps: Photography of the Nazi Concentration and Extermination Camps (1933-1999) in Paris, France in 2001. Discussion is then given evaluating the visual engagement with the photography of the atrocities and commenting on its implications towards the historical method.

The article discusses the documentary works of several postwar Lebanese artists and filmmakers which involve experimental visual media to depict the social catastrophe during the Lebanese civil war from 1975 to 1990. It says that photographer Abdallah Farah methodologically burned the negatives of the photographs of Beirut's tourist sites, which he took before the war, to depict the street wars and bombings during the social unrest. It tells that the film "Here and Perhaps Elsewhere," by Lamia Joreige explored the social memory of the kidnapping cases during the war. It says that reproductive media was able to illustrate an imaginary world in which realities of violence exist in order to help the Lebanese deal the past's trauma by breaking their silence and official amnesia.

The article discusses the 19th-century mountain photography of Aimé Civiale. The author explains that between 1859 and 1868, Civiale attempted to introduce photography as a medium for studying the earth sciences through his photography of the High Alps in Europe. The author examines where Civiale's confidence in the medium came from and the confidence in photography in the earth sciences at the time. The author believes that it is the unexpected results of photography that instilled this confidence. The article also discusses the historiographical problem that occurs when writing about images.

The photography of Bourdieu, whilst documenting aspects of his sociological work in Algeria, problematizes the relationship between its photographic referents and their history. To grasp this relationship, I will decode the historical signification of three photographs taken by Bourdieu in the mid-1950s when Tillion published L'Algérie en 1957 and Sartre ‘Le colonialisme est un système’ situating Bourdieu's photographic and sociological work in relation to both Tillion and Sartre. Although the influence of Tillion on Bourdieu is discernable, especially in Sociologie de l'Algérie, their political positions are at variance. Bourdieu's snapshots provide us with a perspective on how to interpret the causes of the vagrancy and famine in colonial times. Despite his avowed hostility to Sartre, Bourdieu concurs with the latter's critique of colonialism. His three photographs together project a political affinity with both Sartre and Barthes. The impoverishment of native Algerian society was not due to the fact that it failed to catch the train of progress, as Tillion intimates; rather it resulted from its systematic despoilment by colonial France. [ABSTRACT FROM AUTHOR]

The paper was provoked by viewing various selections of the photos taken by Bourdieu in Algeria in the late 1950s and early 1960s. The paper is divided into two parts. The first part considers three stages in the production and consumption of Bourdieu's photos. The possibility that the third of these stages – the gallery display of Bourdieu's photos in the present – might be a betrayal of the sociology of photography and of art galleries that Bourdieu attempted in the 1960s leads to the discussion of the second part of the paper. Part 2 first contextualises the work on photography undertaken within the Centre de Sociologie Européenne in the early 1960s and then, secondly, discusses the emergence of divergent sociologies of photography in the work of Bourdieu and Passeron. The purpose of the discussion is to ask which of the theories of photography which developed in association with Bourdieu's photographic activity now enables us better to respond to Bourdieu's photographic products. [ABSTRACT FROM AUTHOR]

The article presents reflections on the photography of the early 20th century U.S. itinerant artist Francis Marion Steele, commonly known as F. M. Steele, and the means by which historians can study his works. Introductory details are given noting the large body of Steele's work and its definite significance as a primary source of historical material concerning the Western U.S. at the turn of the century. Extensive comments are given expounding upon the artistic and commercial nature of photography, describing how historians must be discerning in the ways the content and artifacts themselves are analyzed.

The article focuses on the post-colonial culture in Shanghai and the social and economic conditions via a discussion of "Shanghai Renjia" or "Shanghai Living," a collection of portraits by Shanghai photographer Hu Yang. The design of Shanghai's material and visual cultures, the influence of Western society and commercial culture on the retail market, the role of globalization in hybridity and cultural transition, the Chinese identity and poverty, and the use of binarisms such as East and West to categorize culture in cross-cultural analysis.

Photography has often been scrutinized regarding its relationship to reality or historical truth. This includes not only the indexicality of photography, but also the question of how structures and processes that comprise history and historical events can be depicted. In this context, the Holocaust provides a particular challenge to photography. As has been discussed in numerous publications, this historic event marks the “limits of representation.” Nevertheless there are many photographs “showing” the Holocaust that have been produced in different contexts that bespeak the photographers' gaze and the circumstances of the photographs' production. Some of the pictures have become very well known due to their frequent reproduction, even though they often do not show the annihilation itself, but situations different from that; their interpretation as Holocaust pictures results rather from a metonymic deferral. When these pictures are frequently reproduced they are transformed into symbolic images, that is, images that can be removed from their specific context, and in this way they come to signify abstract concepts such as “evil.” Despite being removed from their specific context these images can, as this essay argues, refer to historical truth. First, I explore the arguments of some key theorists of photography (Benjamin, Kracauer, Sontag, Barthes) to investigate the relationship between photography and reality in general, looking at their different concepts of reality, history, and historical truth, as well as the question of the meaning of images. Second, I describe the individual circumstances in which some famous Holocaust pictures were taken in order to analyze, by means of three examples, the question what makes these specific pictures so particularly suitable to becoming symbolic images and why they may—despite their abstract meaning—be able to depict historical truth. [ABSTRACT FROM AUTHOR]

The article reviews two exhibitions presented at the Peabody Museum of Archaeology and Ethnology, "A Good Type: Tourism and Science in Early Japanese Photography" from October 2007-April 2008 and "Fragile Memories: Images of Archaeology and Community at Copán, 1891-1900" from June 2008-March 2009.

This article concerns the photographic collection of Paka anak Otor, the Bidayuh owner of a 'mini-museum' in Sarawak, Malaysian Borneo, and how it became entangled in his claims to status within and beyond his village. Superficially, the situation is easily apprehended via two analogous approaches within photographic theory and Southeast Asianist ethnography, which treat objects and images as representations or bearers of power and meaning. Here I suggest that such approaches end up eliding the action-centred nature of Paka's 'big name'-making ambitions. In response, I approach his photographic collection through an analytical framework deriving from Alfred Gell's seminal theory, Art and Agency (1998), which has hitherto remained marginal to Southeast Asianist anthropology. I argue that, more than merely symbolising or bearing his 'big name', Paka's photographs were agentive image-objects that actively instantiated it. I conclude by asking how such an analytical shift might encourage a reconceptualisation of 'power' and 'objecthood' in Southeast Asianist anthropology. [ABSTRACT FROM AUTHOR]

The article examines the importance of photography and photographic analysis to the study of history. The author argues that photographs should be seen as valuable primary historical sources. Art historians' analysis of photographs mainly for their aesthetic qualities is explained, although the author argues that the importance of images to other historians lies outside of their artistic aspects. The use of a photograph collection located within the Romanian National Archives in the author's study of Romania's communist era is then detailed. It was concluded that these photographs were taken by the Romanian Securitate to aid in the capture Romanian counterrevolutionaries.

The following article gives a global perspective on the issue in the field of History of Photography between 1998 and 2008. The analysis focuses on the evolution in Spain of fundamental points such as methodological, conceptual and terminological development, and as a competitive area. It outlines a series of milestones in the bibliography and scientific activity in this field in Spain. [ABSTRACT FROM AUTHOR]

A common assumption in current scholarship on imperialism is that representations of colonised landscapes were gendered female and that European expansion was a male-gendered enterprise. In the Dutch East Indies (colonial Indonesia), a Dutch possession in south-east Asia, this association was by no means consistent in artistic and literary representations of nature and landscape. The gendering of Indies landscapes as feminine and their association with erotic conquest in colonial representations was most strongly evident in paintings. However, in photographs and literature, race figured more prominently in the designation of colonised landscapes as tropical and other. This was particularly true from the late nineteenth century onwards, when an ideological shift towards increased racial segregation occurred among colonial intellectuals and officials. In literature particularly, Indies landscapes and nature appeared as gender-neutral, but were clearly raced native. In such instances, colonial representations were more likely to convey a fear of seduction and engulfment by Indies nature than titillation at the prospect of erotic opportunity or colonial conquest. [ABSTRACT FROM AUTHOR]

The article discusses the role of photography in influencing cultures and determines its capacity in validating history. It discusses the issues associated with the use of technology in manipulating images which can represent the truth and has became a powerful tool in hiding the reality. It then relates the personal experience of the author as a journalist in challenging the control of propagandist's power over the media. Moreover, it discusses the emerging advocacy for new expression of the formerly known Third World that challenges the western countries' rhetorics of democracy.

The recent transformation of the urban landscape of Kinshasa is documented by the Belgian photographer Marie-Françoise Plissart whose images capture the palpable manifestation of a rapidly decomposing city, its urban landscape, and the lives of those whose existence has been irrevocably altered by forces outside their immediate control. The images captured by Marie-Francoise Plissart in Kinshasa resonate with those also found in Lagos, Johannesburg, Addis Ababa and Maputo as well as many postcolonial cities of Africa. [ABSTRACT FROM AUTHOR]

The article presents essays on how photographs can be used to understand the past. The author presents the opinions of various professionals, from archivists and historians to photographers and subjects, on the affect of photography. A review of each essay featured in the article is provided. Article topics include the Oklahoma City bombing, the 9/11 terrorist attacks in New York City, the Vietnam War, as well as the Great Depression. Additional article topics include the archives of the U.S. Library of Congress and the importance of historical photography.

The article reports on visual literacy and the psychological aspects of photography. The author offers his opinions on the complexities of photographs and reports on the various levels of meaning behind picture taking. Particular attention is given to the psychological aspects of photography and photographers. Additional article topics include the importance of historical photographs, the impact of the Internet and digital media on the profession, as well as the importance of preserving photographs.

In 1922, F.E. Williams began his first assignment as the Australian Territory of Papua's assistant government anthropologist in the Purari Delta. During this eight-month trip, Williams obtained information on daily life, social relations, material culture, as well as religious beliefs and practices. He collected ethnographic specimens, made sketches and took some 96 photographs and used 29 of these photographs in his 1924 monograph The Natives of the Purari Delta , a publication that subsequently came to define the area for Europeans. However, Williams obscured the culturally specific ways in which Purari histories were locally reproduced and understood. This essay highlights a long-term ethnographic trend by which communities of the Purari have been portrayed as without ‘history’ or as having only a rudimentary historical consciousness and suggests that, despite this ‘particular bundle of silences’, the Purari is not without ‘important stories’. [ABSTRACT FROM AUTHOR]

Over the last decade, historical research into photography in the Pacific has grown and diversified, yet an enormous amount of visual material remains untapped, new approaches and questions await exploration, and most historians still neglect critical engagement with visual evidence. This article, in summarising developments in the historical research of photography both generally and in the Pacific, identifies directions in recent work, and argues that closer links between visual history and Pacific History promise revisions and new vistas of Pacific pasts. [ABSTRACT FROM AUTHOR]

The article provides information on the efforts of preservation and to make photographs of the history of the South Seas accessible. Archival management of research records such as photographs should focus on the authentication of original documentary material and private retention of research records. It could be made accessible by creating Web-based databases, digital cataloging and retrospective digital reformatting of analogue photographs

The article provides information about the Archives of New Caledonia (ANC) and presents the Tiby Hagen collection which is an example of the history resources of New Caledonia and the Pacific Islands. The ANC provides access on original and public photographic collections of the country's history in white or colored prints, slides and glass plates. The Tiby Hagen Collection, owned by John-Charles Nicholas Hagen, is an ethnographic document that contains prints of the Solomon Islands and the Vanuatu.

Drawing on English language sources and material relating to the colonial administrations of Western Samoa (now Samoa) and American Samoa, this examination of photographically illustrated serial encyclopaedias and magazines proposes an alternative historical analysis of the colonial imaging of Samoa, the most extensively covered field in Oceanic photographic studies. Though photographs published between 1890s and World War II were often ‘recycled’, without acknowledging the fact that they were taken much earlier, and despite claims in the text of illustrated publications of an unchanged, enduring, archaic tradition in Samoa, the amazing variety of photographic content often offered contradictory evidence, depicting a modern, adaptive and progressive Samoa. Contrary to orthodox historical analysis, the images of Samoa in illustrated magazines and encyclopaedias were not limited to a small repetitive gallery of partially clothed women and costumed chiefs; and the ways in which readers understood Samoa from photographs and text raises questions still to be explored. [ABSTRACT FROM AUTHOR]

In 1875, Methodist George Brown arrived in the Bismarck Archipelago to establish the New Britain Mission. Based in the Duke of York Islands, Brown's territory covered New Ireland and the Gazelle Peninsula of New Britain. The mission was one of the first to be photographed from its inception. The Australian Museum holds 96 plates from the first five years of the mission. Brown's photographs are a visual record of conditions and peoples of the time. Analysed in relation to Brown's writings they are indicative of the relationships and bonds established through photography both in the mission field and across wider scientific and church audiences. The methodology employed here also challenges the kinds of interpretations of photographs that can arise from visual analyses relying solely on the caption and the posing of the subject. [ABSTRACT FROM AUTHOR]

The article focuses on the campaign of cultural institutions in New Zealand in improving public access of collections of the photographs of the Māori and South Pacific people. Activities were conducted including National Digital Forum projects, photographic exhibitions sponsored by the Alexander Turnball Library. A series of digital projects emerged such as the Matapihi website, Anthropology Photographic Archive database and the "Kahungunu, Ka Moe... Ka Puta' photographic exhibition.

Discusses photographs and illustrations that had become common to the genre of scientific pictorial display in the early 20th century. Focus on the inconsistent renditions within the human sciences of a legible sexual identity evidenced on the body; Emergence of an interest in the contours of the visible body; Coming into visibility of sexually pathologized identities; Ways in which the technologies of sexual spectacle bring fields of identity into highly productive conjunctions of personhood.

In reviewing the photographic record presented in four American newspapers during the invasion of Poland, there is little doubt that the American public was presented with an overall image of an awesome German military force that was capable of swift and decisive action. Readers of the Chicago Tribune, the Chicago Daily News, the New York Times, and the New York Herald Tribune, also saw Hitler and his military leaders conduct the invasion from Germany and the battle front inside Poland. It was not until late in the invasion that a few images were published in the American newspapers that depicted the Polish people's efforts to resist the invasion of their homeland. When viewed as a whole, there is little doubt that what the American public saw in these photographs helped to create an image of an awesome German military force that was capable of swift and decisive action. This perspective was to some extent controlled by the Germans themselves, given the fact that 101 of 164 photographs in this study were identified as being either provided by a German source or cleared by a German censor. In spite of this perspective, however, these photographs were valuable, for they provided the American public with a unique opportunity to watch the world turn to war. [ABSTRACT FROM AUTHOR]