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  • Place: Towards a Geophilosophy of Photography by Ali Shobeiri
  • Elizabeth. L. Cox
Place: Towards a Geophilosophy of Photography
BY ALI SHOBEIRI
Leiden, The Netherlands: Leiden University Press, 2021

In his most recent work, Place: Towards a Geophilosophy of Photography, Ali Shobeiri skilfully demonstrates both the importance of, and fluid ways in which, place plays a dynamic role in the understanding and stories nestled within the seeing and evaluating of photographs and photography. Bringing together the worlds of photography, geography, and philosophy to create an interdisciplinary theoretical understanding of place in relation to photography, Shobeiri has expertly unearthed a nuanced, exciting way of considering the photographic process and images.

Shobeiri, an Assistant Professor of Photographic Studies and Visual Arts Theory at Leiden University, brings his knowledge and expertise of visual culture, photographic theory, human geography, and philosophy to the fore in his latest publication. His knowledge, passion, personal interest in photography, and his critical thought come through nicely in his writing, and it is clear that the development of Shobeiri’s ideas and framework have been given a lot of thought, time, and energy. This book meaningfully speaks to those interested in a discussion of place within the realm of photography, evidenced through the depth of knowledge and sheer detail explored within this book.

Inspired by his own experience as a photographer and influenced by Edward Casey’s “delimited” definition of place, Shobeiri explores how place is never simply presented or fixed (11). It is here that he expertly uses photography to do this across six different yet clearly complimentary chapters. Critically, there is no way to give a succinct overview of the chapters of this book without losing meaning and diluting Shobeiri’s message; the book is rich, deeply detailed, embedded within philosophical thought, and is nuanced throughout, which is important to remember when reading this non- fiction piece of work.

In the first chapter, Shobeiri provides a phenomenological exploration of the importance of the photographer’s body both as a lived experience and a physical entity. He then juxtaposes this duality to the lived [End Page 136] place of the photograph, returning to the notion of fixedness and using the idea of belonging to explore the photographer’s body and the photographic experience as a lived place. The next chapter discusses spatiality and time, and the way in which space is temporalized, using key influences such as Roland Barthes and Susan Collins to illustrate the argument. Central to this is the idea that a photograph captures time, but also aims at space, which raises questions about what this means for the space before the lens. In chapters 3 and 4, the author argues that the photograph itself travels through space, and highlights the importance of the photographic place, allowing us to “bestow meaning upon that space on the photograph’s surface” (67). Interestingly, Shobeiri points to philosophy to help the reader understand this, such as Jacques Derrida, and uses more familiar images and scholarly thought from NASA to discuss blind field and the liminality of photographic place. Chapter 5 moves away from location and journeys the reader to a discussion of places viewed as moment of encounter, specifically considering the spectator and the photograph. This evolves further in the sixth and final chapter insofar as it explores the transition and translation of the photographed place to the communication of the content of the image and the agency of the photograph. Shobeiri finishes with a simple yet engaging epilogue, several helpful notes, and a plethora of references which are useful for further reading.

Place: Towards a Geophilosophy of Photography is genuinely interesting, centred within academic scholarship, and employs the thought of theorists that readers of Environment, Space, Place will undoubtably recognise. Scholarly figureheads such as Jacques Derrida, Alain Badiou, and Michel Foucault, space and place authorities such as Tim Cresswell, Tim Ingold, and Doreen Massey, and art aficionados such as Roland Barthes, Susan Collins, and John Berger frequent the pages. Familiar artistic names are also drawn upon, including Ansel Adams, Gert Jan Kocken, and Gerhard Richter, which soften the strong academic tones that this book voices. This work is clearly sophisticated in terms of lexicon and ideas, however...

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