Surely fades away: Polaroid photography and the contradictions of cultural value

Photography has always had a precarious relation to cultural value: as Walter Benjamin put it, those who argued for photography as an art were bringing it to a tribunal it was in the process of overthrowing. This article examines the case of Polaroid, a company and technology that, after Kodak and prior to digital, contributed most to the mass- amateurization of photography, and therefore, one might expect, to its cultural devaluation. It considers the specific properties of the technology, the often skeptical reception Polaroid cameras and film received from the professional photographic press, and Polaroid’s own strategies of self-presentation, and finds that in each case a contradictory picture emerges. Like fast food, the Polaroid image is defined by its speed of appearance – the proximity of its production and consumption – and is accordingly devalued; and yet at the same time it produces a single, unique print. The professional photographic press, self- appointed arbiters of photographic value, were often rapturous about the technical breakthroughs achieved by Polaroid, but dismissive of the potential non-amateur applications and anxious about the implications for the ‘expert’ photographer of a camera that replaced the expert’s functions. For obvious marketing reasons, Polaroid itself was always keen to emphasize what the experts scorned in its products (simplicity of operation), and yet, equally, consistently positioned itself at the ‘‘luxury’’ end of the camera market and carried out an ambitious cultural program that emphasized the ‘‘aesthetic’’ potential of Polaroid photography. The article concludes that this highly ambivalent status of Polaroid technology in relation to cultural value means that it shares basic features with kitsch, a fact that has been exploited by, among others, William Wegman, and has been amplified by the current decline and imminent disappearance of Polaroid photograph

We are experienced! Jimi Hendrix in historical perspective

This article reflects on the decision of the Paris Tribunal de Grande Instance concerning copyright protection for a photograph of Jimi Hendrix by Gered Mankowitz (Bowstir Limited and Gered Mankowitz v. Egotrade SARL (2015)) and subsequent critical comment about the case, by providing an historical perspective on originality and photographic copyright. In doing so, it uncovers previously untold details of the history of photographic copyright and the first statutory originality criterion: introduced by section 1 Fine Arts Copyright Act 18621 and subsequently considered in Graves’ Case. 2 It argues that, while the decision in Bowstir seems surprising today, the points that complicated the Court’s reasoning are familiar from the standpoint of copyright history. An historical perspective, therefore, enables us to engage more critically with these issues. In commenting on the decision, the article draws on significant original research to be fully published in a forthcoming book (Art and Modern Copyright: The Contested Image, CUP, forthcoming 2016/173) which, in excavating a variety of little known perspectives on artistic copyright, shows history to be a rich terrain of ideas about copyright and the objects that it regulates

Snapshots from the South African War: The F.C. Cantrill Photograph Collection at the Canadian War Museum

The Canadian War Museum’s (CWM’s) Photographic Archives contains over 600 photograph collections or fonds. These include over 17,000 individual photographs, some with their original negatives, and more than 250 photo albums. This collection has been acquired from private sources, with the photographs for the most part representing the personal documentation of Canada’s military history by the participants. These have been brought together as part of the CWM’s mandate to collect, preserve and make available for research and exhibition the artifacts of the Canadian military experience. The collection of Frederick Charles Cantrill who served in the South African Constabulary from 1901 to 1903 is one of these.1 Larger than some, much smaller than others, this collection is typical of the personal photography undertaken by soldiers throughout the century. It is discussed here both as part of the CWM’s ongoing commemoration of Canadian participation in the South African War, and as an illustration of the interesting informal nature of many of the CWM’s photographic holdings. The article will examine Cantrill’s own story, the developments in photography that made his collection possible and, in the captions, assess what the photographs add to our understanding of Canadians in the South African War

Erasable Optical Fluorescent Data Storage (EOFS)

A novel principle for optical storage is described which is based on organic fluorescent dyes. The information carrier is the lattice of molecular crystals and the information is read out by solid state fluorescence. The information can be erased by a specific crystal transformation

An Historical Survey on Light Technologies

Following the celebration of the International Year of Light and Light-based Technologies in 2015, this paper presents a survey of the exploitation of light throughout our history. Human beings started using light far into the Stone Age, in order to meet immediate needs, and widened its used when ancient civilizations developed. Other practical uses were conceived during the Middle Ages, some of which had a deep impact on social life. Nevertheless, it was after the Scientific Revolution and, to a wider extent, with the Industrial Revolution, that more devices were developed. The advancement of chemistry and electricity provided the ground and the tools for inventing a number of light-related devices, from photography to chemical and electrical lighting technologies. The deeper and broader scientific advancements of the twentieth century, throughout wave and quanta paradigms and the research on the interactions with matter at the sub-atomic level, have provided the knowledge for a much broader exploitation of light in several different fields, leading to the present technological domains of optoelectronics and photoelectronics, including cinema, image processing, lasers, photovoltaic cells, and optical discs. The recent success of fiber optics, white LEDs, and holography, evidence how vastly and deeply the interaction between light and man is still growing

The History of Astrometry

The history of astrometry, the branch of astronomy dealing with the positions of celestial objects, is a lengthy and complex chronicle, having its origins in the earliest records of astronomical observations more than two thousand years ago, and extending to the high accuracy observations being made from space today. Improved star positions progressively opened up and advanced fundamental fields of scientific enquiry, including our understanding of the scale of the solar system, the details of the Earth's motion through space, and the comprehension and acceptance of Newtonianism. They also proved crucial to the practical task of maritime navigation. Over the past 400 years, during which positional accuracy has improved roughly logarithmically with time, the distances to the nearest stars were triangulated, making use of the extended measurement baseline given by the Earth's orbit around the Sun. This led to quantifying the extravagantly vast scale of the Universe, to a determination of the physical properties of stars, and to the resulting characterisation of the structure, dynamics and origin of our Galaxy. After a period in the middle years of the twentieth century in which accuracy improvements were greatly hampered by the perturbing effects of the Earth's atmosphere, ultra-high accuracies of star positions from space platforms have led to a renewed advance in this fundamental science over the past few years.Comment: 52 pages, 14 figures. To appear in The European Physical Journal: Historical Perspectives on Contemporary Physic

‘Little Gunshots, but with the blaze of lightning’: Xavier Herbert, Visuality and Human Rights

Xavier Herbert published his bestseller Capricornia in 1938, following two periods spent in the Northern Territory. His next major work, Poor Fellow My Country (1975), was not published until thirty-seven years later, but was also set in the north during the 1930s. One significant difference between the two novels is that by 1975 photo-journalism had become a significant force for influencing public opinion and reforming Aboriginal policy. Herbert’s novel, centring upon Prindy as vulnerable Aboriginal child, marks a sea change in perceptions of Aboriginal people and their place in Australian society, and a radical shift toward use of photography as a means of revealing the violation of human rights after World War II. In this article I review Herbert’s visual narrative strategies in the context of debates about this key historical shift and the growing impact of photography in human rights campaigns. I argue that Poor Fellow My Country should be seen as a textual re-enactment, set in Herbert’s and the nation’s past, yet coloured by more recent social changes that were facilitated and communicated through the camera’s lens. Like all re-enactments, it is written in the past conditional: it asks, what if things had been different? It poses a profound challenge to the state project of scientific modernity that was the Northern Territory over the first decades of the twentieth century

Absorbing new subjects: holography as an analog of photography

I discuss the early history of holography and explore how perceptions, applications, and forecasts of the subject were shaped by prior experience. I focus on the work of Dennis Gabor (1900–1979) in England,Yury N. Denisyuk (1927-2005) in the Soviet Union, and Emmett N. Leith (1927–2005) and Juris Upatnieks (b. 1936) in the United States. I show that the evolution of holography was simultaneously promoted and constrained by its identification as an analog of photography, an association that influenced its assessment by successive audiences of practitioners, entrepreneurs, and consumers. One consequence is that holography can be seen as an example of a modern technical subject that has been shaped by cultural influences more powerfully than generally appreciated. Conversely, the understanding of this new science and technology in terms of an older one helps to explain why the cultural effects of holography have been more muted than anticipated by forecasters between the 1960s and 1990s

Polaroid after digital: technology, cultural form, and the social practices of snapshot photography

The essay is part of a larger project on the cultural history of Polaroid photography and draws on research done at the Polaroid Corporate archive at Harvard and at the Polaroid company itself in Waltham and Concord Massachusetts. It sets out to make an addition to the understanding of the new social practices generated by digital photography, but does so by examining an old technology rendered obsolete by the new. It outlines the recent history and decline of Polaroid and identifies the specific properties of the Polaroid image: its speed of appearance, its elimination of the darkroom, and the singularity of the final print. It then addresses the significance of the affinities and differences between the old and new ‘instant’ photographies, particularly in terms of the snapshot practices that they encourage