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Abstract
Some photographs show determinate features of a scene because the photographed scene had those features. This dependency relation is, rightly, a consensus in philosophy of photography. I seek to refute many long-established theories of photography by arguing that they are incompatible with this commitment. In Section II, I classify accounts of photography as either single-stage or multi-stage. In Section III, I analyze the historical basis for single-stage accounts. In Section IV, I explain why the single-stage view led scientists to postulate “latent” photographic images as a technical phenomenon in early chemical photography. In Section V, I discredit the notion of an invisible latent image in chemical photography and, in Section VI, extend this objection to the legacy of the latent image in digital photography. In Section VII, I appeal to the dependency relation to explain why the notion of a latent image makes the single-stage account untenable. Finally, I use the multi-stage account to advance debate about “new” versus “orthodox” theories of photography.
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DOI 10.1093/jaac/kpab005
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References found in this work BETA

Artworks as Historical Individuals.Guy Rohrbaugh - 2003 - European Journal of Philosophy 11 (2):177–205.
Photography and Causation: Responding to Scruton's Scepticism.Dawn M. Phillips - 2009 - British Journal of Aesthetics 49 (4):327-340.
What's So New About the “New” Theory of Photography?Diarmuid Costello - 2017 - Journal of Aesthetics and Art Criticism 75 (4):439-452.
Costello on the New Theory of Photography.Scott Walden - 2019 - Journal of Aesthetics and Art Criticism 77 (3):307-311.

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