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Full Description
In Camera Geologica Siobhan Angus tells the history of photography through the minerals upon which the medium depends. Challenging the emphasis on immateriality in discourses on photography, Angus focuses on the inextricable links between image-making and resource extraction, revealing how the mining of bitumen, silver, platinum, iron, uranium, and rare earth elements is a precondition of photography. Photography, Angus contends, begins underground and, in photographs of mines and mining, frequently returns there. Through a materials-driven analysis of visual culture, she illustrates histories of colonization, labor, and environmental degradation to expose the ways in which photography is enmeshed within and enables global extractive capitalism. Angus places nineteenth-century photography in dialogue with digital photography and its own entangled economies of extraction, demonstrating the importance of understanding photography's complicity in the economic, geopolitical, and social systems that order the world.
Contents
List of Illustrations vii
Acknowledgments xi
Introduction 1
1. Bitumen and a Reorientation of Vision 30
2. Silver and Scale 67
3. Platinum and Atmosphere 106
4. Iron and Unstable Boundaries 132
5. Uranium and Photography beyond Vision 164
6. Rare Earth Elements and De/Materialization 196
Conclusion. All That Is Solid Melts into Air 22
Notes 231
Bibliography 263
Index 293
