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The Transcendental Machine? A Comparison of Digital Photography and Nineteenth-Century Modes of Photographic Representation

Both contemporary digital photography and analog photography of the nineteenth century place mechanical representation at the service of the imagination. These media are part of a perceptual continuum that began with the Industrial Revolution and reflect its mechanical and scientific extension of the human ability to create a visual microcosm. A capacity for literal mimesis also existed at the juncture of art and science of that period. This interdisciplinary relationship gave rise to a belief that a description of reality was a necessary and sufficient condition for the existence of objective ‘truth’. Thus, from the beginnings of photography, the objectivity of the photograph was often conflated with the structure of the reality it rendered. Although digital photography is like its nineteenth-century predecessor in this regard, its origins in computer science and its links to the graphic arts and constructivism also help to define its content and style.