Scary Photography

Scary Photography

Since its introduction in 1839, photography has sparked intense debate and controversy. Society largely welcomed this new medium, with its myriad possibilities and applications, yet many were apprehensive about its unforeseeable impacts. These concerns were sometimes warranted, as photography revolutionized the business of creating portraits, or rather, likenesses of people, often displacing painters and compelling them to adapt to the new art form. A German cartoon illustrates this shift, portraying the seemingly prosperous painter-turned-photographer, while his stubborn fellow artists starve clinging to their brushes.

Intriguingly, beyond rational concerns, photography also stirred irrational fears. Among the cultural elite of the nineteenth century, Honoré de Balzac confessed his fear of photography's seemingly mystical properties, a sentiment which his friend Nadar poignantly encapsulated.

“According to Balzac’s theory, all physical bodies are made up entirely of layers of ghost-like images, an infinite number of leaflike skins laid one on top of the other. […] every time someone had his photograph taken, one of the spectral layers was removed from the body and transferred to the photograph. Repeated exposures titled the unavoidable loss of subsequent ghostly layers, that is, the very essence of life.”

The widely held and enduring superstition that photography could harm the sitter and seize their soul was often mocked, as seen in Champfleury's "The Legend of the Daguerreotypist" (1863).

Nevertheless, in the 1800s, the man with the camera was often depicted as something mysteriously unknown and potentially dangerous “insect,” “hybrid,” or even “devil” himself.

In the 1880s, advancements like the gelatin process and the advent of handheld cameras changed photography significantly. The craft became more accessible, and posing for photos became quicker and less arduous. However, these advancements did not enhance photography's social reputation; instead, they bred new fears. The fast handheld cameras meant anyone could be photographed unwittingly, leading to the press of the late 19th century depicting photographers as nuisances or even threats. The term "kodaking" was coined as a societal ill, and there were calls for regulations on public photography.

The camera began to be viewed more as a weapon, influencing the language used to describe photographic equipment and methodology. Terms like "execution" for being photographed, or the photographer needing to "aim," press the "trigger," and "shoot," further militarized the craft. This perception peaked in the 20th century with the paparazzo, portrayed as "hunting" their subjects and "making a kill" for profit.

Even today, many individuals experience discomfort when being photographed. Next week, we'll transition from theory to practice as I delve into the dynamics of the photographer-subject relationship in the context of studio photography.