Photographs, and images more generally, are sites of conflict over meaning and representation. So much of the struggle in discussing photographs stems from the notion that photos are “true” in some sense, or less subjective than say painting or drawing, if only as a slice of a scene in a given context, in that specific moment in time. These conflicts, this messiness that happens when investigating images, is what continues to fascinate me about visual culture: there isn’t one True Meaning. It’s not new to suggest that historians adopt critical methodologies to analyze images as clearly and rigorously as textual sources; perhaps the increase in scholarly work in new media will help address this need as more scholars are trained and become more competent at preparing and dealing with images first-hand.
Read the Postthe magic (aka manipulation) of images
This week I’m trying to get my head organized for the upcoming type assignment. Already I’ve lost track of how much time I’ve spent looking at webfonts, going back and forth between some of the…