Photography has always been associated with the physical activity of the human body: capturing, editing and viewing photos are all activities that involve the user’s spatial interaction with the technology used. With conventional photography, one aspect of spatial relation with technology is the viewer’s ability to recognize the camera’s location in the photographic scene through visual indications, such as the relative location of objects in the frame to the camera’s point of view, combined with a basic familiarity with the functionality (...) of conventional cameras, relating to the notions of ‘in-front’ and ‘behind’ the camera. Some instances of interactive photography, such as 360-degree imagery and three-dimensional photogrammetry, challenge the spatial connection between the photographer (represented by the camera location) and the viewer due to unique usability and innovative interactions, such as the viewer’s ability to ‘move’ freely in all directions of the three-dimensional, photographic space. The technological affordances of interactive photography create a distinct corporeal experience that challenges the traditional associations between the photographer, the viewer and the photographic imagery, evoking with the viewers the notion of technological uncanniness and, consequently, questioning some of the traditional preconceptions regarding the prime characteristics of the photographic medium. (shrink)

Arising out of the heightened sensory perceptions of extended lockdown, this creative investigation began with contemplation of flowering street-trees. Through 262 days of lock down, residents of Melbourne retreated to the hyper-local, often reinforced by a 5-km travel bubble and a one-hour daily time limit outdoors. The sublime ephemeral springtime flowers of street-trees were amplified by the extreme sensory and social constraints of social distancing. Drawing us into a suspended moment of slow encounter, we attuned to the contained glowing pulse (...) of plants. The works were created using photogrammetry, a technique for generating 3D models from a large set of photographs taken from all angles of the botanical specimen. Whilst the point-cloud models remain the central artefact of vegetal/digital, it has been presented in a range of formats throughout 2022–23, including multichannel video loops, augmented reality, webXR, gestural interactive works and still prints. This work invites an embodied experience of attuning to both the vegetal and the digital. This is consistent with my alignment with queer and autistic politics, of siding with the object. Increasingly, queer cultural practices are employing new materialism and posthumanism to interrogate the agency of things and the culturally constituted hierarchies of objects and subjects. The reconfiguration of embodied relations is necessary in order to reconceive a viable future. (shrink)

Many recent visual and technological changes in photography are related to the fact that it is increasingly connected to space through computerization and digitization. Photographs no longer appear as framed 2D images, but rather resemble a cloud whose viewing and operating mode necessarily involve navigation. My purpose in this article is to think about photography’s ontological and epistemological status through its contemporary spatial uses. Using two projects by Forensic Architecture, I examine two methodologies of spatial photography – photogrammetric point clouds (...) and the Image-Data Complex – and claim that, whereas with the emergence of the internet, digital photography has primarily been perceived as a networked image, today we should think of it in terms of clouds. Both projects rely on a posthuman multiplication of perspectives and a vertical conceptualization of photography as navigable space. Both also represent and demonstrate the medium’s contemporary political potential for documenting, creating evidence and organizing data. Finally, both challenge traditional definitions of photography and outline new alternatives for interrogating human rights violations. (shrink)

This article looks at the emerging technology of the neural radiance field (NeRF) and suggests that this means of digital image production, when used by a creative practitioner, produces an emergent aesthetic – a result of the affordances inherent in the digital materiality of the NeRF and its processes. The use of this machine-learning technology as a material for creating images can lead to an entirely new way of creating photographic representations that provide us with a way of seeing and (...) recording how we phenomenologically experience seeing. The processes and the emergent aesthetic are explored with examples drawn from the author’s own practice. (shrink)

In this article I analyse the hidden genealogical link between portrait photography, used for criminological and psychiatric purposes, and contemporary systems of biometric identification of the human face. The aim is to highlight the shift between the emphasis on the importance of the human ‘expert eye’ in recognizing the face when talking about nineteenth-century photography and the use of computer technology that produces and reads digital facial images. In both cases, however, these are modes and variants of reducing and flattening (...) the human face; the face itself disappears under the onslaught of technologies of vision and mediation, becoming a mere data set. Special attention is devoted to the pose, the frontal view, which is the technological a priori of the empirical possibility of recognition, articulated through the history of visualization of the face from early portrait photography to facial recognition systems. Consequently, what we call the ‘face’ is a simulacra of individual the face presented to the apparatus: the ‘real’ face is transposed upon multiple technological layers (camera – plates – photographic surface), losing its characteristic features to be re-written according to specific techniques of measurement. (shrink)

This encyclopaedia entry defines ‘analog(ue) photography’ as a construct of the digital age. After first situating the concept’s history in relation to that of the larger field of ‘the analog’, thereby exposing its connection to the American field of cybernetics, the entry describes how analog photography’s identity as a synonym for film was initially constructed and has subsequently evolved. Then it elaborates on the category’s formulation as a site of resistance to emerging technologies. Analog photography’s ongoing usage, the entry suggests, (...) is a testament to the way that information-age epistemologies have organized the shape and scope of the photographic field. (shrink)

This article examines two first-hand encounters with the foetus to reflect on the familial, photographic and political dimensions of 3D and 4D foetal portraits. It examines the photographic status of foetal portraits as intimates of the family album while acknowledging their public meaning in reproductive politics. The article aims to situate 3D and 4D foetal portraits within photographic history, theory and practice by examining how these camera-less images align with photographic vision.

This study identifies alternative models for the production of AI-generated images to those currently used by mainstream AI platforms. Based on primitive computational art processes, these systems allow designers to gain greater control over the final visual result while avoiding potential issues with intellectual property theft and breach of privacy. The article starts by analysing the level of artificiality that might be effectively attributed to each part of the creative process involved in the development of AI-generated images. It then moves (...) on to discuss the extent to which individual actors intervene in each of these stages, with the aim of untangling the different subjectivities that would ultimately shape the meaning of AI-generated photographs, and identifying existing AI models that are able to offer practical solutions for every designer to retain creative autonomy over their AI creations. (shrink)

Image of the Road (Kirwan and Pruciak 2013–2015) and Virtual Realis (Pruciak 2023) are travelogue video projects selected as a vantage point from which to examine our understanding of image since the disappearance of the frame and collapse of the cinematic form in VR video. Exploring the concept ‘frame’ in dialogue with theories of cinema and VR and an analysis of VR video’s characteristics, we question whether it may effect changes of perception and new understandings of the road as a (...) virtual site/sight explored by travellers. We suggest that VR video’s ‘unframedness’ gives the unlimited freedom that allows a cognitive shift in the experience of non-narrative travelogues. This allows an inherent potential for an experience of transcendence akin to the overview effect. VR video gives spectators the opportunity of making autonomously their own journey and thus encountering new understandings and experiences in the travelogues presented to them. (shrink)

Review of: Operational Images: From the Visual to the Invisual, Jussi Parikka (2023) Minneapolis, MN: University of Minnesota Press, 276 pp., ISBN 978-1-51791-211-6, p/bk, e-book, $29.00.

With the advent of AI-generated photorealistic images in easily accessible online resources, synthetic imaging suddenly is widely discussed, obscuring the quiet revolution that has transformed image-making in the digital realm over the last decades. ‘The decisive moment’ has been taken out of the photographer’s hands a long time ago and the numerous automatic mechanisms integrated into the apparatus and the editing pipeline question the idea of sole authorship. This reassessment and re-evaluation of photographic images demands for a precise, differentiated description (...) for images that are not produced by optical means. Therefore, the term synthography determines the essence and origin of the photorealistic, artificially created image. (shrink)

This editorial introduces the Special Double Issue of Philosophy of Photography (15.1&2), which focuses on the impact of novel technologies on photography and through this on our understanding of the contemporary world. It sketches the contents of the featured articles and articulates some of the technical developments, concerns and questions that inform and link them.

Dall-E2 and Stable Diffusion promote their text-to-image models based on their level of (photo)realism. The use of photographic language is not superficial or accidental but indicative of a broader tendency in computer science and data practice. To nuance the general application of photorealism, I position the term alongside photographic realism and computational photorealism. To contextualize important nuances between these three terms, contemporary examples from astrophotography are analysed and reconstructed using text-to-image models. From the comparative analysis, computational photorealism emerges as a (...) modified term that recognizes the relationship between photography and text-to-image models without conflating their ontological and epistemological differences. (shrink)