David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Ezio Di Nucci
Jack Alan Reynolds
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British Journal of Aesthetics 45 (3):258-272 (2005)
On the Nature of Photographic Realism’ Kendall Walton argues that lack of mental-state involvement in the formation of photographic images is a quality that sets them apart from handmade images such as paintings or sketches. This paper defends and substantially develops this idea. It argues that viewers' knowledge of this objective character of the photographic process provides them with special warrant for the acceptance of first-order perceptual beliefs formed as a result of viewing photographic images. As well, it distinguishes between two different ways in which mental states can be involved in the formation of photographic images, and uses this distinction to ward off the objection that decisions about film type, composition, moment of exposure, etc. undermine the objectivity of the photographic process.
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Citations of this work BETA
Mikael Pettersson (forthcoming). Capturing Shadows: On Photography, Causation, and Absences. Australasian Journal of Philosophy:1-14.
Dan Cavedon-Taylor (2014). Belief, Experience and the Act of Picture-Making. Philosophical Explorations 17 (1):1-14.
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