Introduction
Nowadays, with the advent of photographic practices, historians and other individuals interested in artifacts and vital evidence from the past can clearly observe the transformation in the storage and creation of information. More specifically, visual archives are created to support better preservation of photographs. Consequently, the new practices mold people’s perceptions of the past and their capacity to interpret it. Without incorporating modern methods and advancements, limited knowledge would be available. Thus, the creation and preservation of visual archives that support knowledge production are facilitated by photography techniques that are reshaped by technological advancements, enabling new approaches.
Visual Archive
Before delving deeper into examples, it is necessary to define a visual archive. A collection of visual materials, including films, digital photos, and photographs, that have been methodically arranged, conserved, and made available for study and reference is known as a visual archive (Mitman and Wilder 4). To ensure their durability and future use, these visual materials must be carefully selected, arranged, and preserved (Mitman and Wilder 4). Additionally, since they serve as repositories of historical data, cultural memory, and sources of fresh information, archives can be considered essential. They provide tangible records of past events, interactions, and perspectives, allowing researchers to analyze and interpret them through various lenses (Mitman and Wilder 4).
Libraries, museum collections, and archaeological and art-historical sites all portray themselves as holding all the artifacts of the past (Klamm 166). Numerous contemporary art, historical, and archaeological organizations have amassed substantial collections of 19th- and early 20th-century photos that replicate historical settings and structures (Klamm 166). Thus, visual archives are essential for providing concrete documentation of historical occurrences, encounters, and viewpoints, enabling scholars to examine and interpret them across diverse settings.
Given its visual aspect and the belief that it provides a true portrayal of reality, photography has traditionally been considered “objective” evidence alongside oral or written testimony. According to Klamm (166), “photographs are not just containers for images.” A photograph is a tangible, three-dimensional item that is typically mounted on cardboard and bears historical marks, such as labels, autographs, and seals, that attest to its use and practical purpose (Klamm 166).
Since photographs are inextricably linked with actual procedures for use, production, reproduction, and exhibition, their materiality and likenesses arose from and were components of the dynamic networks of cultural, social, and economic relationships (Klamm 166). This holds for both the process of taking a picture and its subsequent use. As a result, understanding this notion of objectivity and evidence is important when discussing the visual archive, since they provide a genuine account of reality and history.
Contemporary Examples of Photographic Practices
Examples of modern-day photography practices span a broad spectrum of devices and uses. The affordances of photographic practices have expanded with the introduction of digital photography and the development of image-editing software. For example, Ben Quinn’s contemporary visual archive can demonstrate the application of technologies in the creation of photographic collections.
The planetary scientist works on his computer at the headquarters of the US Geological Survey to display for him the near-infrared spectrum of light, which is a part of Mars that is invisible to human sight but visible to the Rover’s “eyes” (Vertesi 71). He launches the Pancam image processing program, selects a few distinct filtered frames from the 13-filter collection, and blends them until the rock image appears brighter on his screen (Vertesi 71). Ben attributes his capacity to discern differences in the Martian terrain to his digital manipulation of the Pancam pictures (Vertesi 71). Ben and his coworkers use image-processing tools to actively arrange photos of Mars to create meaningful works from millions of miles away (Vertesi 71). In this case, more progressive approaches are used to offer meaningful pieces.
Affordances and Acts of Archive-Making
When reflecting on modern examples of photographic practices, it is crucial to remember how they have transformed significantly in the past several centuries. For example, there is an interesting dilemma raised by the 19th- and early 20th-century practice of photographically and cinematically recording the world (Geimer 45). Black and white was the predominant rendering of the world in photographic media (Geimer 45). Photography generated a tonality of its own, consisting of a particular range of black, white, and gray, or occasionally brown or violet, yet hardly in instantaneous alignment with the organic look of objects (Geimer 45).
In other words, the history of photography began in color, contrary to the colorful phenomena found in the environment or culture. Therefore, color was not considered part of photography’s historical standing or its various uses, even though it was an essential component of the medium from the start. Unlike modern possibilities and affordances of photograph generation and enhancement techniques, previous possibilities were limited.
The Stakes in Understanding the Relationship
Knowing how photographic techniques relate to archives involves several considerations. For example, the first aspect to be considered concerns opportunities for a critical evaluation of the construction and representation of history. As noted by Mitmal and Wilder (6), evaluating photographs and archiving practices can reveal biases and the subjective nature of photographs.
Consequently, dominant narratives can be challenged, enabling marginalized stories to be voiced. Moreover, Mitmal and Wilder (7) emphasize that the comprehension of power dynamics is made possible by closely examining photos and preservation methods. Through the analysis of visual culture, insights about cultural politics and public perceptions become available. Therefore, photographic approaches play a crucial role in archives by enhancing their significance and perceptions.
Conclusion
In summary, technological developments have enabled new methods for creating and maintaining visual archives that support knowledge production. A visual archive comprises carefully organized, preserved, and accessible visual elements such as digital images, videos, and photographs. Photography has always been regarded as “objective” evidence as compared to oral or written testimony because of its visual component and the notion that it captures an accurate representation of reality.
Ben Quinn’s works, for instance, can illustrate how technologies are applied in the creation of photo collections. It is important to keep in mind how drastically photographic processes have changed over the past few centuries when considering contemporary photography. In contrast to the current affordances and capabilities of photo creation and enhancement techniques, the possibilities of the past were constrained.
Works Cited
Geimer, Peter. “The Colors of Evidence: Picturing the Past in Photography and Film.” Documenting the World: Film, Photography, and the Scientific Record, edited by Gregg Mitman, and Kelley Wilder, University of Chicago Press, 2016, pp. 45-64.
Klamm, Stefanie. “Reverse–Cardboard–Print: The Materiality of the Photographic Archive and Its Function.” Documenting the World: Film, Photography, and the Scientific Record, edited by Gregg Mitman, and Kelley Wilder, University of Chicago Press, 2016, pp. 166-199.
Mitman, Gregg, and Kelley Wilder. “Introduction.” Documenting the World: Film, Photography, and the Scientific Record, edited by Gregg Mitman, and Kelley Wilder, University of Chicago Press, 2016, pp. 1-22.
Vertesi, J. “Mars in the Making: Digital Documentary Practices in Contemporary Planetary Science.” Documenting the World: Film, Photography, and the Scientific Record, edited by Gregg Mitman, and Kelley Wilder, University of Chicago Press, 2016, 65-88.