Watching birds: observation, photography and the 'ethological eye'

The article reflects upon the observational practices and methods developed by the early exponents of ethology committed to naturalistic field study and explores how their approaches and techniques influenced a wider field of popular natural-history filmmaking and photography. In doing so, my focus is upon three aspects of ethological field studies: the socio-technical devices used by ethologists to bring birds closer to them, the distinctive observational and representational practices which they forged, and the analogies they used to codify behaviour. This assemblage of elements included hides or screens from which to watch wild birds without disturbing them, optics to extend human vision, pens and paper to sketch and fix patterns of behaviour, watches to record timings, photography to capture action and freeze movement, and illustration and photographs to visualize behaviour. Carried through natural-history networks, the practices, methods and theories of ethologists like Huxley and Tinbergen influenced popular natural-history filmmaking and photography more broadly from the 1940s, driving a behavioural turn in these cultural practices. This popularization of the 'ethological eye' was further facilitated by the convergence of socio-technical devices, forms of observation and dramatization in the work of the early exponents of naturalistic field studies of birds and the popular filmmakers.

On the Cover: Showcasing China's On-the-Job Training in Rural Africa

The cover of this issue of Technology and Culture illustrates how China implemented-and promoted-on-the-job training in Africa. The image shows a Tanzanian dentist practicing dentistry under the supervision of a Chinese doctor in rural Tanzania, probably in the 1970s. Despite the ineffectiveness of the on-the-job training model, the photograph attempts to project the success of the dental surgery techniques exchanged between China and Tanzania, using simple medical equipment rather than sophisticated medical knowledge. The rural setting reflects the ideological struggle of the Cold War era, when Chinese doctors and rural mobile clinics sought to save lives in the countryside, while doctors from other countries engaged in Cold War competition worked primarily in cities. This essay argues that images were essential propaganda tools during the Cold War and urges historians of technology to use images critically by considering the contexts that influenced their creation.

The history of motion photography to video electroencephalography in the study of functional seizures and related seizure disorders: The first 100 years

This historical note highlights pivotal events of technology progressing between the late 19th and the 20th century to capture functional seizures and other related seizure episodes. From Charcot's initial use of photography for his study of hysteria at the Salpêtrière to the development of cinematography by Muybridge and Marey to study motion to the initial use of video electroencephalography (vEEG) through a pairing of cinematography with EEG, and the advent of EEG telemetry to eventually the development of modern epilepsy monitoring unit through the adoption of cameras and an improved long-term monitoring vEEG system.

The photographers' gaze: the Mobile Radioisotope Exhibition in Latin America (1960-1965)

During the IAEA's Mobile Radioisotope Exhibition (1960-1965) through the eventful roads of five Latin American countries (Mexico, Uruguay, Argentina, Brazil, and Bolivia), a variety of photographs were taken by an unknown Mexican official photographer, and by Josef Obermayer, a staff driver from Vienna. The exhibition carried not only bits of nuclear sciences and technologies, but also the political symbolism of the 'friendly atom' as a token of modernization. The photographs embarked on different trajectories, though all of them ended up at the training and exchange official's desk in charge of the exhibition, Argentinian physicist Arturo Cairo. The ones taken in Mexico also had a local circulation as propaganda intended to promote radioisotope applications. The two sets of images were intended to show the contrast between modernity and traditional society, but they did it from different gazes. Our paper argues that, in the case of Mexico, the photographer reinforced representations of the country which were already popularized by Hollywood for foreign and local audiences. On the other hand, the Viennese photographer's gaze delivers an autoethnography of his dutiful journey. We also argue that Obermayer's projection is one of what Roger Bartra has conceptualized as the 'salvage on the mirror'.

What faces reveal: Hugh Diamond's photographic representations of mental illness

Hugh Diamond was a psychiatrist, antiquarian, and photographer, who was the first person to take photographs of female asylum patients. These photographs, using the newly invented technology of the camera, were intended to be objective and accurate visual indicators of mental illness. Considering Diamond's overlapping interests, his project must be understood within the larger cultural and historical context and the tensions inherent in medical photography and portraiture. Despite the goal of capturing "objective, scientific data," the photographs instead relied on traditional iconography dating back to the Greeks and Middle Ages and can be analyzed from an art historical perspective. As an antiquarian, Diamond collected portraits of his patients just as he collected various other objects. As such, while Diamond may be considered a humanistic leader of the moral treatment movement, his work in capturing these "specimens," the female patients, reflects a perpetuation of the stigmatization of mental illness to be put on display for the Victorian audience.

Photograph as Skin, Skin as Wax: Indexicality and the Visualisation of Syphilis in Fin-de-Siècle France The William Bynum Prize Essay

In early twentieth-century France, syphilis and its controversial status as a hereditary disease reigned as a chief concern for physicians and public health officials. As syphilis primarily presented visually on the surface of the skin, its study fell within the realms of both dermatologists and venereologists, who relied heavily on visual evidence in their detection, diagnosis, and treatment of the disease. Thus, in educational textbooks, atlases, and medical models, accurately reproducing the visible signposts of syphilis - the colour, texture, and patterns of primary chancres or secondary rashes - was of preeminent importance. Photography, with its potential claims to mechanical objectivity, would seem to provide the logical tool for such representations. Yet photography's relationship to syphilographie warrants further unpacking. Despite the rise of a desire for mechanical objectivity charted in the late nineteenth century, artist-produced, three-dimensional, wax-cast moulages coexisted with photographs as significant educational tools for dermatologists; at times, these models were further mediated through photographic reproduction in texts. Additionally, the rise of phototherapy complicated this relationship by fostering the clinical equation of the light-sensitive photographic plate with the patient's skin, which became the photographic record of disease and successful treatment. This paper explores these complexities to delineate a more nuanced understanding of objectivity vis-à-vis photography and syphilis. Rather than a desire to produce an unbiased image, fin-de-siècle dermatologists marshalled the photographic to exploit the verbal and visual rhetoric of objectivity, authority, and persuasion inextricably linked to culturally constructed understandings of the photograph. This rhetoric was often couched in the Peircean concept of indexicality, which physicians formulated through the language of witness, testimony, and direct connection.

Capturing Racial Pathology: American Medical Photography in the Era of Jim Crow

This article focuses on the untapped, complicated, fragile, and fluid visual archives of the elite White surgeon Rudolph Matas, a large proportion of which was produced during the late 19th and early 20th century, a time when he was a resident at New Orleans' Charity Hospital in Louisiana and a professor of general and clinical surgery at Tulane University's Medical Department. The article's main aim is to understand the role of visual materials in the production, uses, circulation, and impact of a form of knowledge that Matas termed "racial pathology." A small but representative sample of visual materials from the Matas collection are placed in context and examined in order to make known this untold chapter from the life story of "one of the great pioneers" in American surgery. The article reveals that many of the photographs were most significant in having been produced and assembled in parallel with the making, publication, dissemination, reception, and use of Matas' racialized medical research, in particular his influential 1896 pamphlet, The Surgical Peculiarities of the American Negro.

Henry Granger Piffard, MD and his photogenic pistol cartridges

A leading physician in New York during the last quarter of the 19th century, Henry G. Piffard, MD, was a pioneer dermatologist in New York. He had a propensity to invent, and he used that ability to advance the nascent field of instantaneous photography. The recent discovery of a few survivors of Piffard's patented "photogenic (flash) cartridges" prompted an examination of his connection to a leading photographic supply house of his time. The study provided insights into his system and revealed that Piffard had combined the use of his patent with his passion for skin diseases. As a result, Piffard's publications were among the first to document diseases of the skin photographically.

A pioneer in two worlds: Thomas Keith (1827-1895) photographer and surgeon

Thomas Keith, an Edinburgh surgeon, was an early and successful exponent of the operation of ovariotomy (ovarian cystectomy). He published detailed accounts of all of the patients on whom he carried out this procedure and his published success rate proved to be amongst the best in the world. The leading American surgeon J Marion Sims, who visited Keith to determine the reasons for this success, concluded that Keith's achievement resulted from meticulous attention to detail and his emphasis on the cleanliness of the instruments and the operating field, before this was generally adopted. His friendship with Joseph Lister led to his early use of Listerian antisepsis, which further improved these results. Yet, his medical colleagues and his obituarists seemed unaware of his other significant pioneering contribution, as a gifted photographer and pioneer of the waxed paper technique of photographic processing. That same attention to detail resulted in photographs of the highest quality whose significance has since been appreciated by photographic historians.

Old photos offer hope for the future of the elusive angel shark

Georgina Mills explains how angel sharks may be living closer to home than first thought.

“The Anaesthetist” 1933—An Iconic Australian Medical Photograph

Harold Cazneaux was the greatest Australian photographer of the early 20th century. In 1933, he took this image entitled ‘The Anaesthetist’. It is an important documentation of a clinical anaesthetist of the era and was exhibited internationally. Such photographs of specific medical scenarios are rare and valuable. The anaesthetist is Dr Frederick J. Bridges who worked at Royal Prince Alfred and Royal North Shore Hospitals in Sydney. He is using a Clements ether vaporizer which was Australian made. The patient is Cazneaux's daughter. Cazneaux has captured perfectly the care and concern of the anaesthetist for his patient.

Constructed Realities: Claude Cahun's Created World in Aveux Non Avenus

In her 1930 publication, Aveux non Avenus, Claude Cahun used the relationship between her inwardly focused poetic writing and symbolic photomontages to construct a unique reality for self-expression. This article focuses on three chapters and respective photographic images from the publication to relate Cahun's, and by association her partner Marcel Moore's, discussion on sexuality and gender expression. The utopian dreamscape created investigates issues of narcissism and otherness, female homosexuality, dandyism and going beyond gender, individual and social critique, mocking the antiquated views of art and writing, accepting and breaking taboos, while allowing for other departures from the accepted norm. Through analysis of the publication and supporting evidence from early influences, it can be seen that Cahun created a world in Aveux non Avenus where she could exist in a space between the established feminine-masculine binary of 20th-century Europe.

Scientific Study of Magic: Binet's Pioneering Approach Based on Observations and Chronophotography

In 1894, French psychologist Alfred Binet (1857-1911) published an article titled "The Psychol- ogy of Prestidigitation" that reported the results of a study conducted in collaboration with two of the best magicians of that period. By using a new method and new observation techniques, Binet was able to reveal some of the psychological mechanisms involved in magic tricks. Our article begins by presenting Binet's method and the principal professional magicians who par- ticipated in his studies. Next, we present the main psychological tools of magicians described by Binet and look at some recent studies dealing with those mechanisms. Finally, we take a look at the innovative technique used by Binet for his study on magic: the chronophotograph.

Medical History's Moment in Art Photography (1920 to 1950): How Lejaren à Hiller and Valentino Sarra Created a Fashion for Scenes of Early Surgery

Two groups of black-and-white photographs are found in medical rare book rooms and the collections of historically minded physicians. They were created by artists Hiller and Sarra to bring medical history to life for members of the health professions and, to some extent, for a wider public. These were not didactic illustrations for a textbook, but elegant scenes of great figures from Antiquity to the nineteenth century, evocation not documentation even though they were based on research. As pieces of fine art, cherished in portfolios or framed on the wall, the quality prints were intended to stimulate curiosity about the achievements of the figures portrayed. While familiar to some archivists and librarians, these photographs have received almost no attention in the scholarship of medical history. Only one short article examined them in 1983. In recent years these photographers have been given new consideration by scholars of advertising and photography. Using those works and primary sources, this article expands both men's biographies, and it explores their working methods, their artistry, and their achievements. An appreciation of these photographs enlarges our understanding of the place of medical history in American culture during the first half of the twentieth century.

'She sits all day in the attitude depicted in the photo': photography and the psychiatric patient in the late nineteenth century

The links between mental state and art in all its various forms and media have long been of interest to historians, critics, artists, patients and doctors. Photographs of patients constitute an extensive but largely unexplored archive that can be used to recover patient experience in the late nineteenth and early twentieth century. The camera and the photograph became tools to communicate information about mental ill health between doctors, their patients and their colleagues. They were published in textbooks and journals, exhibited, exchanged and pasted into medical case books alongside case notes. But they were also used by patients to communicate their own experiences, identity and sense of self. This article uses published and case book photographs from c. 1885-1910 to examine the networks of communication between different stakeholders and discourses.

[Workers with signs of smallpox in the collection of Regional Office of Labor, Rio Grande do Sul, 1933-1944]

Work Register Booklet was created in Brazil in 1932. Soon, Regional Labor Inspectorates emerged - after renamed as Regional Office of Labor. In Rio Grande do Sul, this office was settled in 1933 in Porto Alegre. Procedures for making this booklet consisted of filling a professional qualification form with workers' personal and professional information. One of the fields consisted of requester's distinguishing signs, like visible marks and lack of limbs. The purpose of this article is to analyse the presence of one of these distinguishing signs. We use 3x4cm photos of workers who presented smallpox signs, as well as other information written in the fields of their forms.

The presentation of plastic surgery visual data from 1816 to 1916: The evolution of reproducible results

All scientific data should be presented with sufficient accuracy and precision so that they can be both analyzed properly and reproduced. Visual data are the foundation upon which plastic surgeons advance knowledge. We use visual data to achieve reproducible results by discerning details of procedures and differences between pre- and post-surgery images. This review highlights how the presentation of visual data evolved from 1816, when Joseph Carpue published his book on nasal reconstruction to 1916, when Captain Harold Gillies began to treat over 2000 casualties from the Battle of the Somme. It shows the frailties of human nature that led some authors such as Carl von Graefe, Joseph Pancoast and Thomas Mutter to record inaccurate methods or results that could not be reproduced, and what measures other authors such as Eduard Zeis, Johann Dieffenbach, and Gurdon Buck took to affirm the accuracy of their results. It shows how photography gradually supplanted illustration as a reference standard. Finally, it shows the efforts that some authors and originators took to authenticate and preserve their visual data in what can be considered the forerunners of clinical registries.

Artistic representations of short stature, a tentative diagnosis

Throughout human history, disease-related short stature has represented a source of fascination. Following the recent advances in genetics and molecular biology, several hundreds of possible causes are now to be considered. We present herein a few examples of the diagnosis approach of such cases from art sources (sculptures, paintings or photographs for the most recent periods), associated or not with biographical data, allowing semiological and anthropological analyses. The explored period spans from antic great civilizations to 19th Century Western societies. The palaeopathological diagnosis method is based upon medical approach. It includes a search for possible associated abnormalities and the distinction between proportioned, mainly related to hormonal disorders (particularly growth hormone deficiency), and non-proportioned cases especially associated with genetic skeletal dysplasias. Among this latter category, achondroplasia is the most represented cause of short stature. Other more exceptional etiologies are also reported.

Psychicones: Visual Traces of the Soul in Late Nineteenth-Century Fluidic Photography

The article discusses attempts to visualise the soul on photographic plates at the end of the nineteenth century, as conducted by the French physician Hippolyte Baraduc in Paris. Although Baraduc refers to earlier experiments on fluidic photography in his book on The Human Soul (1896) and is usually mentioned as a precursor to parapsychological thought photography of the twentieth century, his work is presented as a genuine attempt at photographic soul-catching. Rather than producing mimetic representations of thoughts and imaginations, Baraduc claims to present the vital radiation of the psyche itself and therefore calls the images he produces psychicones. The article first discusses the difference between this method of soul photography and other kinds of occult media technologies of the time, emphasising the significance of its non-mimetic, abstract character: since the soul itself was considered an abstract entity, abstract traces seemed all the more convincing to the contemporary audience. Secondly, the article shows how the technological agency of photography allowed Baraduc's psychicones to be tied into related discourses in medicine and psychology. Insofar as the photographic plates displayed actual visual traces, Baraduc and his followers no longer considered hallucinations illusionary and pathological but emphasised the physical reality and normality of imagination. Yet, the greatest influence of soul photography was not on science but on art. As the third part of the paper argues, the abstract shapes on Baraduc's plates provided inspiration for contemporary avant-garde aesthetics, for example, Kandinsky's abstract paintings and the random streams of consciousness in surrealistic literature.

[Enrico Modigliani and the Institution of maternal assistance: a study of the social factors of illegitimate motherhood during early Twentieth century]

Enrico Modigliani (1877-1931) was an Italian paediatrician of the early Twentieth century whose work anticipated modern concepts of maternal and child health. Convinced of the importance of creating a network of health and social care for children born out-of-wedlock, he began by providing care to single mothers and their babies at his home on Sundays. In 1918, in Rome, he established the Institution for Maternal Assistance, which aim was to provide single mothers with basic health information as well as tools to face their socioeconomic situation. The Opera encouraged breastfeeding and maternal acknowledgement of the child and promoted the establishment of lactation rooms and nurseries within factories. Moreover, women were supported to find a job which was compatible with their situation. In the first five years of activity, over 1,000 unmarried women were assisted; 95% of them acknowledged their children and 52% found a job. The infant mortality rate fell to 11%, which was much lower than the 35% observed at the time among the social classes which Modigliani called the most miserable. This article reviews Modigliani's paper, in which the paediatrician reported the first five years of activity of the Institution of Maternal Assistance and where he largely focused on the social factors surrounding illegitimate motherhood. The paper was structured like a modern scientific report, with photographic documentation and statistical data, and proposed a point of view regarding social inequality which is surprisingly up-to-date.

The Dercum-Muybridge Collaboration and the Study of Pathologic Gaits Using Sequential Photography

In the late 1870s and 1880s, prior to the development of movie cameras or projectors, English-American photographer Eadweard Muybridge (1830-1904) photographed sequential images of people and animals in motion, using arrays of sequentially triggered single-image cameras. In 1885, Philadelphia neurologist Francis Dercum (1856-1931) collaborated with Muybridge at the University of Pennsylvania to photograph sequential images of patients with various neurological disorders involving abnormal movements, and particularly various gait disorders, including both the sensory ataxic gait of tabes dorsalis and various spastic gaits. Dercum used tracings of sequential photographic images to plot trajectories of limbs as a way to characterize and distinguish pathologic gaits. The Dercum-Muybridge collaboration produced the first motion-picture sequences of neurological gait disorders ever filmed. These sequences and the trajectory-based studies that derived from them were a milestone in studies of pathologic gaits.

Photographing AIDS: On Capturing a Disease in Pictures of People with AIDS

The photography of people with AIDS has been subject to numerous critiques in the 1980s and has become a controversial way of visualizing the AIDS epidemic. While most of the scholarly work on AIDS photography is based in cultural studies and concerned with popular representations, the clinical value of photographs of people with AIDS usually remains overlooked. This article addresses photographs as a "way of seeing" AIDS that contributed crucially to the making of the disease entity AIDS within the history of medicine. Cultural studies methods are applied to analyze clinical photography in the case of AIDS, thus contributing to the medical history of AIDS through the lens of photography. The article reveals the conflation of disease morphology and patient identity as a characteristic feature of both clinical photography and a now historical nature of AIDS.

[Biographical discoveries and supplements around the 3rd psychoanalytic congress in Weimar 1911, Part II: Maria von Stach, Georg Wanke ? and the photographer Franz Vältl]

In the first section of this paper Andreas Peglau presents new material on the vicissitudes of the life of publicist and feminist Maria v. Stach. Of particular interest is her longtime relationship to Karen Horney, both as patient and as friend. ? Michael Schröter adds new information about Georg Wanke, director of a sanatorium in Thuringia, who came to psychoanalysis from hypnotism. In September/October 1911 he (1) visited the Weimar Congress, (2) presented a paper on psychoanalysis to his psychiatric colleagues, and (3) joined the Berlin Psychoanalytic Association. His 1924 book contains some remarkable ideas on euthanasia which seem to have been directly approved by Freud. – Last but not least A. Peglau provides a portrait of the man who created the Weimar photo, Franz Vältl.

Capturing Motion and Depth Before Cinematography

Visual representations of biological states have traditionally faced two problems: they lacked motion and depth. Attempts were made to supply these wants over many centuries, but the major advances were made in the early-nineteenth century. Motion was synthesized by sequences of slightly different images presented in rapid succession and depth was added by presenting slightly different images to each eye. Apparent motion and depth were combined some years later, but they tended to be applied separately. The major figures in this early period were Wheatstone, Plateau, Horner, Duboscq, Claudet, and Purkinje. Others later in the century, like Marey and Muybridge, were stimulated to extend the uses to which apparent motion and photography could be applied to examining body movements. These developments occurred before the birth of cinematography, and significant insights were derived from attempts to combine motion and depth.

Dust Plate, Retina, Photograph: Imaging on Experimental Surfaces in Early Nineteenth-Century Physics

This article explores the entangled histories of three imaging techniques in early nineteenth-century British physical science, techniques in which a dynamic event (such as a sound vibration or an electric spark) was made to leave behind a fixed trace on a sensitive surface. Three categories of "sensitive surface" are examined in turn: first, a metal plate covered in fine dust; second, the retina of the human eye; and finally, a surface covered with a light-sensitive chemical emulsion (a photographic plate). For physicists Michael Faraday and Charles Wheatstone, and photographic pioneer William Henry Fox Talbot, transient phenomena could be studied through careful observation and manipulation of the patterns wrought on these different surfaces, and through an understanding of how the imaging process unfolded through time. This exposes the often-ignored materiality and temporality of epistemic practices around nineteenth-century scientific images said to be "drawn by nature."

Photography and radical psychiatry in Italy in the 1960s. The case of the photobook Morire di Classe (1969)

In the 1960s Franco Basaglia, the Director of a Psychiatric Hospital in a small city on the edge of Italy (Gorizia), began to transform that institution from the inside. He introduced patient meetings and set up a kind of Therapeutic Community. In 1968 he asked two photographers - Carla Cerati and Gianni Berengo Gardin - to take photos inside Gorizia and other asylums. These images were then used in a photobook called Morire di Classe (To Die Because of your Class) (1969). This article re-examines in detail the content of this celebrated book and its history, and its impact on the struggle to reform and abolish large-scale psychiatric institutions. It also places the book in its social and political context and as a key text of the anti-psychiatry movement of the 1960s.

"PRE-COLUMBIAN MOULAGES". HUACOS, MUMMIES AND PHOTOGRAPHS IN THE INTERNATIONAL CONTROVERSY OVER PRECOLUMBIAN DISEASES, 1894-1910

By the late nineteenth century an international controversy arose referred to the probable existence of certain diseases such as leprosy, syphilis and lupus in pre-Columbian America. Led by the American physician Albert Sidney Ashmead (1850-1911), it brought together scholars from Europe and the Americas. In this context, certain types of Peruvian archaeological pottery and "mummies", along with series of photographs illustrating the effects of these diseases in contemporary patients, met a prominent role as comparative evidence. In this article we analyze how this type of collections were used as evidence in the debates about pathologies of the past, an issue that from a historical standpoint have received considerably little attention.

The Making of a Best-Selling Book on Reproduction: Lennart Nilsson's A Child Is Born

This article examines the 1965 first edition of Swedish photographer Lennart Nilsson's Ett barn blir till (A Child Is Born) by placing the book back in the historical context in which it was produced, marketed, and reviewed. In particular it shows how medicine and the media in Sweden were intertwined in the process of incorporating Nilsson's photographs of aborted embryos and fetuses into a best-selling book on the origin and development of human life. Nilsson's work is related to other books in the same genre as well as the popular picture magazines of the time, in order to highlight how it aspired to offer something new. It is argued that a number of commercial and other interests were involved and that an immense effort went into not only making and promoting the book but also trying to control the meaning of the images.

[A HISTORICAL ARCHIEVE PICTURE AND A MEDICAL CASE]

History of Medicine is a science that projects past medical cases to the present by investigating relevant archieves, printed and visual documents. Biographic studies alone do not form it's basis. To bring up-to-date medical issues presented as case reports in the past derived from original data, and to provide them to doctors and medical history speci- alists is important. In this communication, we are presenting a historical medical case and original picture in light of modern medicine, which is in the archieves of the Department of History of Medicine and Ethics in the Medical School of Ege University.

[Mental images: towards a media history of the psyche around 1900]

Presupposing that visual practices are inherent to the social constitution of knowledge, this article suggests juxtaposing photographs and films produced in a psychiatric environment to popular films run in theaters around 1900, thus identifying cinema's particular "Denkstil" (Fleck). Rejecting science's dominating paradigm of visual objectivity (Daston/Galison), the visual apparatus [dispositif] of early cinema facilitates subjective experience of unreason and irrationality and thus initiates a different epistemological approach to knowledge as self-knowledge of a modern, self-reflexive subject. This is particularly evident in early cinema's depiction of the psyche, which does not solely focus on the physical manifestation of the 'mad', 'insane' body, but also visualizes the subject's inner life: technical means like montage, multiple exposure or stop motion can be employed to illustrate subjective visions, fantasies or dreams. Thus, the invisible mind becomes visible as the "unthinkable within thinking" (Deleuze), while the subject is invited to participate in cinema's "gay science" (Nietzsche).

"A souvenir of undersea landscapes": underwater photography and the limits of photographic visibility, 1890-1910

The first known attempts to take photographs below the surface of the water were carried out shortly after the appearance of the daguerreotype in 1839. The earliest records date from the 1850s. Towards the end of that century, in order to help advance scientific study of marine life, what are considered to be the first underwater photographs were taken. In these attempts, photography was valued as producing evidence, while at the same time the limits of its range of visibility were debated. Here we compare some European and American experiments, particularly those of biologists Louis Boutan and Jacob Reighard in their studies of marine fauna from 1890 to 1910.

Capturing the will: Imposture, delusion, and exposure in Alfred Russel Wallace's defence of spirit photography

The co-discoverer of natural selection, Alfred Russel Wallace, found himself deeply embroiled in a range of controversies surrounding the relationship between science and spiritualism. At the heart of these controversies lay a crisis of evidence in cases of delusion or imposture. He had the chance to observe the many epistemic impasses brought about by this crisis while participating in the trial of the American medium Henry Slade, and through his exchanges with the physiologist William Benjamin Carpenter and the psychical researcher Frederic Myers. These contexts help to explain the increasing value that Wallace placed on the evidence of spirit photography. He hoped that it could simultaneously break these impasses, while answering once and for all the interconnected questions of the unity of the psyche and the reliability of human observation.

Colouring the human landscapes. Lennart Nilsson and the spectacular world of scanning electron micrographs

This article explores the relationship between Swedish photographer Lennart Nilsson's scanning electron micrographs and commercial culture from the late 1960s to the mid-1980s. By retracing how Nilsson's micrographs of the internal structures of the human body were made, circulated, and received, its aim is to investigate three aspects of this relationship. First, it highlights how the complex and sometimes conflicting interplay between the photographer and various actors in science, industry and the media shaped the pictures and their trajectories. Second, it analyses the processes used to colour Nilsson's original black-and-white micrographs in relation to tendencies in the media and the advertising industry during this period. Third, it examines what motivated Nilsson and his collaborators in their use of colour and also the critical debates concerning the spectacular and commercial qualities of his pictures. In the concluding section, the implications of this analysis for the history of the objectivity of scientific images is discussed.

Geography. Tree line shifts

Models and experiments only go so far in assessing the effects of climate change. For a reality check, researchers turn to historical photos.