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Traditional Photography and the Digital Divide Lloyd Godman Locating the gap Traditional photography and the digital divide Lloyd Godman Key note address: Alternative Photographica. At the theconference From NIEPCE to NOW.. a survey of Alternative processes. RMIT University School of Creative Media, Australia 2003 The purpose of this paper is not was free use of the invention and immediate excite- the very first photographs struggled to achieve realis- ment. tic representation and looked more like abstractions to offer a definitive answer that of the scene in front of the camera. However, within lays out a rigid new regime to Despite the charges of blasphemy, the world was a few years the process was quickly refined to the ready to embrace the notion of photography and the point where photographic images gave very accurate jack march the digital order into opportunities that it offered. Nowhere is this more detail of the scene in front of the camera in a way the 21st century crushing all in graphically illustrated than in America where it was that painting or drawing could not. embraced almost as though America was the only its wake, or reiterate a desperate nation that had sole rights to the medium. Late in The perception of truth in this era was securely root- defence for traditional photogra- 1838 the American inventor Samuel Morse, who ed in religious belief and the unquestionable word of had attempted to fix images from a camera obscura god, but in this blasphemous medium, subject was phy as the territory of truth, (such himself, made a visit to Paris and eventually met no longer questioned, there was no potential for it folly would suggest there is actu- Daguerre in March 1839. to dwell in the realms of the artist’s imagination, no While the French rights for the Daguerreotype were space for an artistic license, as was the case in media ally a truth out there) rather it is to bought by the French Government and made free like print making and painting where aspects of the create a context where questions to the public in 1839, patent restrictions in England subject could be moved at will to form a more pleas- added a cost that constrained its use. However in the ing or relevant composition. can be raised about an inclusive United States, where no patent had been issued there photography (image making with was free use of the invention and immediate excite- There was a visual accuracy that spelt truth to the ment. subject, a photographic truth. It was a crucial time lenses and light but not necessar- Despite the charges of blasphemy, the world was when the visual culture of the world changed in a ily both) and the digital domain, ready to embrace the notion of photography and the dramatic way. Unlike the painted portrait, which opportunities that it offered. Nowhere is this more carried an elitist weight not everyone could afford, questions that might offer an in- graphically illustrated than in America where it was the photograph quickly became available to almost embraced almost as though America was the only everyone with modest means, rapidly undermined Inceptions of Truth of Inceptions “From today painting is dead” Delacroix declared. Research reveals that the invention of photography nation that had sole rights to the medium. Late in the industry of miniature portrait painters, which “Such a wonderful invention”. Inspired, he made was not a single revelation, but a series of incremen- 1838 the American inventor Samuel Morse, who had proliferated in Europe up until this time. the comments that an artist might “raise himself to tal steps over a long period of time where discover- had attempted to fix images from a camera obscura heights that we do not yet know”. With the official ies were made about both photosensitive materials himself, made a visit to Paris and eventually met This association of subject / image and the real, announcement of the invention of photography in and optical principles, discoveries which grew to a Daguerre in March 1839. became particularly evident with photographs of the 1839 humanity was confronted with a revelation; crescendo as imminent success loomed, but in both nude, where the morals of a virtuous, early 19th cen- it delivered a fundamental philosophic change in areas (photosensitive materials and optical princi- Morse promptly sent a letter to his brother, and tury audience was easily challenged and affronted. the way people implicitly saw images, a change that ples) actually date right back to the Greeks Aristotle through publication in the New York Observer, Up until the photograph, paintings of nudes had could only ever be refined or redefined. That initial and Archimedes. describing the results, alerted the American public to always related to religious depictions, gods and god- excitement of disclosure to a disbelieving public the potential of the process. “In a view up the street, desses from Greek myths or great historical events: could never be replicated, an innocence of image And yes, there was a German involved in this blas- the distant sign would be perceived… By the assis- ‘Well that’s how the story goes’. There was unspoken culture was lost forever; while a new order, a different phemous activity . In 1725 Johann Schulze ¬¬pho- tance of a powerful lens… every letter was clearly conjecture that somehow these paintings never actu- understanding between image and subject emerged, tography, for in modern photography it is from and distinctly legible, and so also were the minutest ally involved real people. virginity intact. And over the next 120 years an ap- exposed silver salts that the photographic image we breaks and lines in the walls of the buildings; and the parently unseverable truth between the image and know is ultimately formed. pavements of the street”. However, with photography these nudes had nothing the subject developed. to do with religious depictions, Greek myths or great However, it was an age where realistic depiction in Although Morse had returned to the United States historical events other than in some cases to imitate before Daguerre had published his full instructions, them. In a photograph, they were real people and Such was the revelation at the announcement of this the visual arts was stimulated and assisted by the D. W. Seager, who was leaving England just as the the fact they were naked in front of the camera was a new invention, that the Leipzig City Advertiser news- climate of scientific inquiry, which had emerged first published copies arrived there, brought the for- visual truth which could not be denied. paper in Germany responded in disbelief: “The wish through the Renaissance; so in the scientific fraterni- mula with him and is credited as the first American to capture evanescent reflections is not only impos- ties there was little surprise and full acceptance at the photographer. Transfixed to this new nectar, Morse sible ... but the mere desire alone, the will to do so, is announcement of this new invention. made his first successful daguerreotypes only days blasphemy. God created man in His own image, and after this and the process spread through the land no man-made machine may fix the image of God. Is While the French rights for the Daguerreotype were like a ship load of colonists. it possible that God should have abandoned His eter- bought by the French Government and made free nal principles, and allowed a Frenchman ... to give to to the public in 1839, patent restrictions in England the world an invention of the Devil?” added a cost that constrained its use. However in the United States, where no patent had been issued there Due to the crudeness of the processes, in some cases Anonymous circa 1855 These people were unashamedly naked, photographi- stultifying influence of the pictoralists … The Photo As inventors of the medium Daguerre, Bayard and was not practical for wide scale applications since Archive an Establishing cally frozen as in a Barthesian death, caught out, and League’s task is to put the camera back in the hands Fox Talbot, etc are embedded into the history of the it took eight hours to expose, a view from Niepce’s on display in a cultural age where the exposure of of honest photographers, who will use it to photo- medium as archetypal reference points. studio window taken in 1826 is considered the oldest flesh was shunned. Worse than that, in some cases graph America.” From the Photo League, and other existing photograph, Daguerre and Niepce worked they may actually be involved in disgusting acts of groups like Magnum, etc. generations of photogra- Reflecting as a frustrated artist using the Camera together from 1829 until Niepce’s death in 1833. fornication. phers in every country of the world followed a doc- obscura and the Camera Lucida as aids to drawing trine of imagined objective photographic truth. whilst on holiday at Lake Como in Italy, Fox Talbot Although, Daguerre was once again alone in his With this association to an assumed truth, photog- made the following comment: “on the immutable experiments, he had made excellent use of his time raphy quickly became recognised as evidential. A New Zealand has also had a strong and commit- beauty of the pictures of nature’s painting which the with Niepce and had learned enough to make impor- means of telling: telling that the subject had been ted group of like photographers. Stalwarts like Ans glass lens of the camera throws on the paper in its tant advances. Finding the proper developing agent in front of the camera at a certain place at a certain Westra who engaged in this genre during the 1960s, focus...fairy pictures, creations of a moment and was the key to Daguerre’s success, and occurred quite time, that specific objects had specific associations to inspired the next generation of photographers to destined as rapidly to fade away.
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