Shades of empire: police photography in German South-West Africa

This article looks at a photographic album produced by the German police in colonial Namibia just before World War I. Late 19th- and early 20th-century police photography has often been interpreted as a form of visual production that epitomized power and regimes of surveillance imposed by the state apparatuses on the poor, the criminal and the Other. On the other hand police and prison institutions became favored sites where photography could be put at the service of the emergent sciences of the human body—physiognomy, anthropometry and anthropology. While the conjuncture of institutionalized colonial state power and the production of scientific knowledge remain important for this Namibian case study, the article explores a slightly different set of questions. Echoing recent scholarship on visuality and materiality the photographic album is treated as an archival object and visual narrative that was at the same time constituted by and constitutive of material and discursive practices within early 20th-century police and prison institutions in the German colony. By shifting attention away from image content and visual codification alone toward the question of visual practice the article traces the ways in which the photo album, with its ambivalent, unstable and uncontained narrative, became historically active and meaningful. Therein the photographs were less informed by an abstract theory of anthropological and racial classification but rather entrenched with historically contingent processes of colonial state constitution, socioeconomic and racial stratification, and the institutional integration of photography as a medium and a technology into colonial policing. The photo album provides a textured sense of how fragmented and contested these processes remained throughout the German colonial period, but also how photography could offer a means of transcending the limits and frailties brought by the realities on the ground.International Bibliography of Social Science

Weegee’s City Secrets

As a freelance photographer of crime, accidents, fires, and also of the recreational life of the city—scenes of violence and of pleasure—Weegee worked mainly at night and employed a powerful photoflash attachment to his press camera. His "secrets of shooting with photoflash" consist of practical technical advice for beginners. But within the rhetoric of his "secrets" there lie cogent and subtle reflections on the relation of light to darkness, especially on the way the flash of light makes darkness visible. In Weegee’s account, the photoflash gives photography the power of writing—writing with light, a mode of picturing uniquely suited to recording instants of life on city streets at night

Francois Brunet, Photography and Literature, London, Reaktion Books, 2009

There is much to praise in François Brunet’s recent book, Photography and Literature, not least being the intellectual courage and verve of the undertaking itself. It’s a daring book. The topic, immense and inchoate, at once invites and defies investigation. As Brunet notes at the outset, “the history of photographic involvements with literature remains a shadowy and fragmented subject.” (8). After Brunet’s thoughtful and provocative study, the subject is notably less daunting. He meets the h..

culture, democracy, America

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