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  1. Photographic Registers Are Latent Images.Mark Windsor - 2023 - Journal of Aesthetics and Art Criticism 81 (3):404-407.
    In a recent article, Dawn Wilson (2021) has argued against single-stage accounts of photography by arguing against the latent photographic images upon which those accounts depend. Concomitantly, she argues that the only viable account of photography is multi-stage. Unlike single-stage accounts, multi-stage accounts do not postulate the existence of photographic images of any kind prior to development. Rather, according to multi-stage accounts, photographs are produced from “photographic registers.” In this Discussion Piece, I defend single-stage accounts by arguing that Wilson’s rejection (...)
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  • VII—Reflecting, Registering, Recording and Representing: From Light Image to Photographic Picture.Dawn M. Wilson - 2022 - Proceedings of the Aristotelian Society 122 (2):141-164.
    Photography is valued as a medium for recording and visually reproducing features of the world. I seek to challenge the view that photography is fundamentally a recording process and that every photograph is a record—a view that I claim is based on a ‘single-stage’ misconception of the process. I propose an alternative, ‘multi-stage’ account in which I argue that causal registration of light is not equivalent to recording and reproducing an image. Intervention or non-intervention by photographers is more sophisticated than (...)
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  • Invisible Images and Indeterminacy: Why We Need a Multi-stage Account of Photography.Dawn M. Wilson - 2021 - Journal of Aesthetics and Art Criticism 79 (2):161-174.
    Some photographs show determinate features of a scene because the photographed scene had those features. This dependency relation is, rightly, a consensus in philosophy of photography. I seek to refute many long-established theories of photography by arguing that they are incompatible with this commitment. In Section II, I classify accounts of photography as either single-stage or multi-stage. In Section III, I analyze the historical basis for single-stage accounts. In Section IV, I explain why the single-stage view led scientists to postulate (...)
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  • Generative AI and photographic transparency.P. D. Magnus - forthcoming - AI and Society:1-6.
    There is a history of thinking that photographs provide a special kind of access to the objects depicted in them, beyond the access that would be provided by a painting or drawing. What is included in the photograph does not depend on the photographer’s beliefs about what is in front of the camera. This feature leads Kendall Walton to argue that photographs literally allow us to see the objects which appear in them. Current generative algorithms produce images in response to (...)
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  • Unfit to Print: Contra Mag Uidhir on the Ontology of Photographic Artworks.Alexey Aliyev - 2016 - Estetika: The European Journal of Aesthetics 53 (1):3-13.
    According to the orthodox view, photographic artworks are abstract objects. This view, however, has recently been challenged by Christy Mag Uidhir. In his article ‘Photographic Art: An Ontology Fit to Print’, he argues in favour of a nominalist construal of photographic artworks. My goal is to show that Mag Uidhir’s argument is unpersuasive.
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