The Other Photography of Archaeology

5678270794_ed999b560d_b

January has been full on, with three talks (including a keynote!) in three countries and a fourth one next week. Two of them involve representation in archaeology and I was reminded to finally get my Nostalgic, Personal, Neglected, Treasured, Rejected: The Other Photography in Archaeology made into an e-book!

Click here for the low-quality pdf

Click here for the link to the high-quality FREE blurb book

Here is the original abstract for the Berkeley TAG piece in 2011:

Our view of the past is hazy, inaccurate, hard to discern, never quite all there. Yet our record of such uncertainty is becoming dazzlingly clear; professional-quality digital SLR cameras producing high-dynamic range imaging are becoming the norm on archaeological projects and our photographic archives, once highly-curated collections of “scientific,” carefully set-up shots have exploded in size and diversified in content accordingly. Along with this extraordinary, high-tech verisimilitude runs a counter-narrative–photography on sites performed by students, workmen, professionals, and tourists using their cellphones. These images are too casual, personal, low-rez, and are often unavailable to the official project. They find another life online, emailed to friends and posted on Flickr and Facebook, living beyond the archive and often becoming a much more visible public face than the more official photographs released by the project.

Inspired by this tension between the personal and the formal and Damon Winter’s recent New York Times iPhone photo essay of soldiers in Afghanistan, I shed my cumbersome and conspicuous DSLR to explore the affective, casual, and nostalgic qualities of archaeological photography with my cellphone and on-board photo-editing applications. In a session focused on exploring the work that archaeological photography does, I will investigate the hazy, inaccurate, personal, and extra-archival qualities of the archaeological snapshot.

As I said during my talks, interplay with digital and analog, and the transgression of using a camera-phone for archaeological recording felt a lot more edgy several years ago.

I discussed a bit about how I made the original, analog album in the previous blog post, The Other Photography.

Fuzzy France, Crisp Yorkshire, and Murky Italy: A Photography Update

I’ve been trying to take photographs again, and not just the snappy-snap iPhone photos that are uploaded to Instagram, that I treasure for their quick and easy conversational imagery.

Dan and I brought a 1930s £5 medium format camera with us to France over the summer and had a lot of fun finding film, setting up shots, and generally taking the time to play with the analog format. It was great, and I’d do it again in a heartbeat, but I may take a roll of test shots first, as these were the atmospheric, but not completely desirable results:

So I’ve been trying to haul the Nikon D200 around with me, both on walks in Yorkshire:

And more recently in Padova/Padua:

and Venice:

For a 7-year-old (!!) camera, the D200 is still solid, though suffering from several dead pixels at this point. You can check for dead pixels in your own camera by taking a photo with the lens cap still on, or by noticing horrible bright spots when you take an otherwise lovely photo. They are non-fatal but annoying, and I should have had the D200 serviced years ago.

Reports that the DSLR is dead are vastly overstated, though I could concede that the iPhone is the new DSLR while the DSLR is the new video camera. I was able to order equipment with my new (awesome) postdoc and I’ll be producing short films with this nifty piece of kit, pretty soon.