Philosophy of Photography - Reconsidering Cameraless Photography, Apr 2022

This article introduces the Special Issue on cameraless photography and the translation of Georg Christoph Lichtenberg’s treatise on electrical figures. It summarizes previous discussions on cameraless photography, namely those by Geoffrey Batchen and suggests relating the photogram to current post-lenticular technologies such as radiography, digital scanning or machine vision. It outlines the emergence of cameraless imaging in late eighteenth- and early nineteenth-century scientific research, taking Lichtenberg’s figures as an emblem of automatically generated images situated between duration and instantaneity, between image making and measurement, between nature and culture.

This text was first published as ‘De nova methodo naturam ac motum fluidi electrici investigandi’ in Novi Commentarrii Societatis Regiae Scientiarum Gottingensis. Commentationes physicae et mathematicae classis 8 (Göttingen 1778: 168–80). It also appeared in a printing by Joann Christian Dieterich in Göttingen in 1778. Lichtenberg delivered this talk personally to the Royal Society of Sciences in Göttingen on 21 February 1778. Although Lichtenberg was not present, he had already informed the Royal Society of Lichtenberg’s discovery of the electrical figures at a meeting on 3 May 1777. The present German version was first published in Lichtenberg’s Vermischte Schriften, vol. 9 (Physikalische und mathematische Schriften, vol. 4) (Göttingen, 1806) pp. 49–80. Wolgang Promies suggests that the German translation was likely done by Friedrich Christian Kries, who was a co-editor of the Vermischte Schriften and Lichtenberg’s student (see Georg Christoph Lichtenberg [1974], Schriften und Briefe, [ed. Wolfgang Promies (K II: Kommentar zu Band III)], Munich: Carl Hanser Verlag, p. 11). Lichtenberg was the first to propose the use of + and – to designate electricity in this article.

Bringing together an assemblage of archival materials, photo documents, literature and found objects, Pechblende investigates concepts of scale, proximity and distance in relation to radioactivity and the body. Centred on the highly radioactive and uranium-rich mineral pitchblende (German: Pechblende), the work traces a history of scientific and photographic processes narrated through the interconnected sites of laboratory, archive, museum and mine. Pitchblende was mined in the Ore Mountains of the former German Democratic Republic between 1946 and 1989. Today, the former mining sites are under way to being transformed into a tranquil mountain vista, with few recognizable traces of the still-radiating industrial worksites. Concerned with both the literal and the political invisibility of radioactivity, Kriemann produced ‘autoradiographs’ – a unique type of photograph that is the result of directly exposing light-sensitive paper to the pitchblende specimens. Aiming to visualize what is invisible and yet acutely present: radioactivity.

This article examines the cameraless negatives revealing the imprints of four fingers obtained in Turin in February 1907 during the second of two séances with renowned medium Eusapia Palladino organized by physiologists Alberto Aggazzotti, Carlo Foà and Amedeo Hertlizka. By looking at the material and performative components of the séance, it presents spiritualist cameraless photography as a productive tool for rethinking and reframing the photographic medium from a cross-disciplinary perspective questioning medium specific histories and dominant genealogies.

This series of images forms part of the ongoing project Soft Ground, Hard Light, which speculates on a multiscalar spatial ontology of photography emanating from the Arditurri silver mine complex in the Basque Country. Evoking the mountainous massif around Arditurri where silver ore and galena have been extracted since Roman presence in the area, the depicted topographies are, in fact, data transcriptions from atomic force microscopy (AFM) probing the analogue film stock of an early 1930s experiment in 3D cinema, Cine en Relieve, by the Basque cinematographer Teófilo Mingueza. In contrast to optical or electron microscopy, AFM uses a scanning probe to physically touch the specimen, recording its surface undulations at the atomic scale of a nanometre, or a billionth of a metre. As a haptic operation based on direct contact between instrument and sample, between apparatus and referent, AFM is literally a contact print, a ‘blind’ scan that senses not the visual content of the recorded image but ‘feels’ its underlying material substrate of silver nanoparticles within the 35 mm film emulsion. The resulting image assemblies visualize a topography resulting from the intra-action between the silver nanoparticles and the scanning probe as much as its transcription through the particular parameters afforded by the AFM analysis software. Hard Light, Soft Ground was initiated during an artist’s residency at Tabakalera Centre for Contemporary Culture, Donostia-San Sebastián, and is currently in production as part of the wider research project Esper Syndrome: Archaeotopologies of the Image at the Royal College of Art, funded by the AHRC through the London Arts & Humanities Partnership. With additional thanks to the Basque Film Archive and Gustavo Ariel Schwartz at the Materials Physics Centre, Donostia-San Sebastián.