Source
Lister, M. (ed. 2013)The photographic image in digital culture. Abingdon: Routledge. (Pp113-30)
Georges Didi Huberman, Allan Sekula and John Tagg "investigated the uses and abuses of photographic archives in institutional surveillance, control and punishment." Theorists viewing the material with regards to ownership and control of the photographic production. Materialist approach - "attending to the historical, material practices and institutions by and through which photographic archives come into being. " (Vestberg, 2014: 114) "Recover the perspective of those who were subjected or constrained by the archive."
In the 1990's stock industry or visual content industry developed. 1990's - 2010 - development of archive systems. Literature written around "mapping the cultural inpact and significance of an industry that provides "the wallpaper of consumer culture." (Frosch 2003 as cited by Vestberg, 2014:114) Blaschke - commercialism of images from historical development of picture archive to image bank. Language developed around it to allow people to access images.
Digitisation "rendering of existing analogue content into digital formats" and "computerisation of working practices" (Vestberg, 2014:115) So digitisation is change which has affected images.
Computerisation "changes that have affected people."
Archives old filing systems, typewriter, index system, contacts book, fax machine, metadata on back of images
Picture library computer, catalogue, printed cross reference index, name, date, keywords, metadata, high res file
Change from manually finding something - labour intensive to the computer finding the image with ease.
Beginning of picture library people were developing systems. Different institutions such as museums, newspaper groups, stock image companies used their own according to their budgets, needs, size and technical expertise. Analogue archivist "mediate(d) between the image and the user" and digital archivist "mediate(d) between the image and the system." Tope and Enser, 2000 as cited by Vestberg, 2014:116)
Photographs in analogue archive
Archive - valuable to society. Skip is where unwanted objects go. Who should decide what goes where? Newspaper reported mistake of tate gallery for clearing out duplicate files. Newspaper thought readership would be interested in cultural issues of archiving. (Tate - duplicate or archived photos?)
Print catalogue from Guardian Exhibition at time of move from analogue to digital displayed recorded information (such as different coloured pen, copyright stamps) on the back of the real images as images in the exhibition catalogue. Exhibited as analogue only. Hard copies of original prints archived safely.
Photographs in digital archive
Analogue archive Digital archive
Metadata ?metadata not as accurate
Hulton Archive Getty Images
Few keywords More keywords (some not related e.g nail file)
Licence type - rights managed
Image specified for royalties to photographer Royalty free (user pays one fee)
can use digital copy More expensive?
New edition - new licence Fee allows use of image in other publications
model release form
property release form
"Keywords assigned to digital files are not so much intended to indicate the location of the hidden image but the need to stand in for it.... Keyword cluster aspires to be synonymous with the image - or create a textural image." (Wallace 2010 as cited by Vestberg 2014:123)
Residual archives
Residual media - Williams "argued for dynamic division of cultural forms into the "emergent" and "dominant" and "residual". "Residual is "that which has been effectively formed in the past but is still alive in the cultural process. (Williams, 1973 cited in Ackland, 2007 cited in Vestberg, 2014:126)
Residual is a place where the past and present overlap and both can still be used.
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