This paper is about what counts as a photograph and what does not. One way in which this question arises stems from new technologies that keep changing our way of producing photographs, such as digital photography, which not only has now widely replaced traditional film photography but also challenges the very limits of what we count as a photograph. I shall discuss below at some length different aspects of digital photography, but also want to focus here on a new striking (...) type of photographic camera, announced in early 2012 by Lytro, Inc., namely, the so-called ?Light Field Camera?, which is said to represent a revolution in the photographic world. Indeed, unlike in the case of any previously available cameras, the photographs produced by a Light Field Camera can be re-focused after the photograph has been taken, which harbours many interesting consequences with regard to the resulting image and the way we interact with it. But of course, the initial question also arises in the case of traditional film photography as well as ?traditional? digital photography. The question amounts to asking about what the essential features of photographs are ? in short, what their nature is. (shrink)

In this paper, I explore the nature of photographs by comparing them to hand-made paintings, as well as by comparing traditional film photography with digital photography, and I concentrate on the question of realism. Several different notions can be distinguished here. Are photographs such that they depict the world in a 'realist' or a 'factive' way ? Do they show us the world as it is with accuracy and reliability other types of pictures don't posses ? Do they allow us, (...) as some have suggested, to literally see the world through them ? Below, I will distinguish three kinds of realism about photographs, reject two, and partly endorse one. Indeed, the label "realism", when concerning photographs, can stand for a variety of very different claims. The first (and quite obvious) distinction to start with concerns what the realist thesis is about : the claim that somehow photographs are more accurate or more reliable or that they somehow depict the world better than hand-made pictures can be a claim about the photographic image itself or alternatively a claim about the way in which photographs are produced. In the former case, realism is a thesis about how photographs look and what sort of information they contain, while in the latter case realism is a claim about the process of production of photographs. It is the latter claim that is the most discussed in the philosophical literature about photography. I will concentrate on this type of realism, of which I shall examine two varieties. (shrink)

According to Peter van Inwagen, visible inanimate objects do not, strictly speaking, exist. In defending this controversial thesis, he offers fresh insights on such topics as personal identity, commonsense belief, existence over time, the phenomenon of vagueness, and the relation between metaphysics and ordinary language.

A philosophical study of popular movies uses the viewer as a point of reference.

The topic of this book is material objects. Like most interesting concepts, the concept of a material object is one without precise boundaries.

It seems odd to say that photography is not a mode of representation. For a photograph has in common with a painting the property by which the painting represents the world, the property of sharing, in some sense, the appearance of its subject. Indeed, it is sometimes thought that since a photograph more effectively shares the appearance of its subject than a typical painting, photography is a better mode of representation. Photography might even be thought of as having replaced painting (...) as a mode of visual representation. Painters have felt that if the aim of painting is really to reproduce the appearances of things, then painting must give way to whatever means are available to reproduce an appearance more accurately. It has therefore been said that painting aims to record the appearances of things only so as to capture the experience of observing them and that the accurate copying of appearances will normally be at variance with this aim. Here we have the seeds of expressionism and the origin of the view that painting is somehow purer when it is abstract and closer to its essence as an art. Roger Scruton is the author of Art and Imagination, The Aesthetics of Architecture, The Meaning of Conservatism, From Descartes to Wittgenstein, and The Politics of Culture and Other Essays. (shrink)

Ever since their invention, photographic images have often been thought to be a special kind of image. Often, photography has been claimed to be a particularly realistic medium. At other times, photographs are said to be epistemically superior to other types of image. Yet another way in which photographs apparently are special is that our subjective experience of looking at photographs seems very different from our experience of looking at other types of image, such as paintings and drawings. While the (...) other seemingly distinctive aspects of photography have been quite thoroughly discussed in the literature, theories of the experience of photography, or in other words, theories of its special phenomenology, are less common. To be sure, the phenomenon has often been pointed out and described, but explanations of the phenomenology of photography are rare. In this essay, I attempt an explanation of at least part of the phenomenology of photography by appealing to the idea, borrowed from André Bazin, that a photograph is a certain kind of trace. Along the way, it is also argued that Kendall Walton's so called “transparency thesis” cannot give a plausible explanation of the phenomenology associated with looking at photographs. (shrink)

Objects and Persons presents an original theory about what kinds of things exist. Trenton Merricks argues that there are no non-living inanimate macrophysical objects -- no statues or rocks or chairs or stars -- because they would have no causal role over and above the causal role of their microphysical parts. Humans do exist: we have non-redundant causal powers. Along the way, Merricks has interesting things to say about mental causation, free will, and various philosophical puzzles. Anyone working in metaphysics (...) will enjoy this lucid and provocative book. (shrink)

What is special about photographs? Traditional photography is, I argue, a system that sustains factive pictorial experience. Photographs sustain pictorial experience: we see things in them. Further, that experience is factive: if suchandsuch is seen in a photograph, then suchandsuch obtained when the photo was taken. More precisely, photographs are designed to sustain factive pictorial experience, and that experience is what we have when, in the photographic system as a whole, everything works as it is supposed to. In this respect (...) photographs differ from handmade pictures, and from other information-preserving tools, such as the readings on a geiger counter. This distinctive feature can be used to explain what is epistemically special about photographs, and also to give an account of the distinctive phenomenology of looking at a photograph rather than a handmade picture. All this provides the background against which to assess claims that digital photography differs from traditional in certain key ways. (shrink)

The Donkey Problem (as I am calling it) concerns the relationship between more and less fundamental ontologies. I will claim that the moral to draw from the Donkey Problem is that the less fundamental objects are merely conventional. This conventionalism has consequences for the 3D/4D debate. Four-dimensionalism is motivated by a desire to avoid coinciding objects, but once we accept that the non-fundamental ontology is conventional there is no longer any reason to reject coincidence. I therefore encourage 4Dists to become (...) even more radical—embrace the Donkey Problem’s conventionalism and deflate the debate between 3Dists and 4Dists. (shrink)