In Camera Geologica Siobhan Angus tells the history of photography through the minerals upon which the medium depends. Challenging the emphasis on immateriality in discourses on photography, Angus focuses on the inextricable links between image-making and resource extraction, revealing how the mining of bitumen, silver, platinum, iron, uranium, and rare earth elements is a precondition of photography. Photography, Angus contends, begins underground and, in photographs of mines and mining, frequently returns there. Through a materials-driven analysis of visual culture, she illustrates histories of colonization, labor, and environmental degradation to expose the ways in which photography is enmeshed within and enables global extractive capitalism. Angus places nineteenth-century photography in dialogue with digital photography and its own entangled economies of extraction, demonstrating the importance of understanding photography’s complicity in the economic, geopolitical, and social systems that order the world.

From rare-metal mining to environmental photography, Siobhan Angus tells the history of photography from a materialist perspective of the minerals extractive practices upon which the medium depends.

Focusing on the Mediterranean region from 2015 onwards, this volume explores photography’s engagement with displacement, a process that denotes the environmental and social breakdown of places and the forced mobility of people. The ongoing proliferation of photography of the displaced plays a crucial role in shaping opinions, by sensitising the public to the despair of displacement and hardening them to the trope through repeated exposure. Through a range of images by both established and amateur photographers, as well as ethnographic notes that draw from interviews with actors who are either displaced or working with the displaced, Parvati Nair questions the extent to which photography opens a space of possibility for the displaced in the face of globally dominant ideological drives that lead to the Anthropocene. Chapters focus on key aspects of this mass phenomenon, such as the question of crises no longer as exception but as historical process, the lived experiences of protracted relegation to borders and exposure to possible death, the prevalence of domicide and the spread of encampments, and the question of hope for the future. The book will be of interest to scholars in photography theory, migration and refugee studies, art history, Mediterranean studies, and political science.

List of members.

The Mediterranean Sea, nestled between Africa, southern Europe, and the Middle East, may be envisioned as a complex picture-puzzle comprising numerous intricate pieces, many of which are already in place. A general image, in terms of science, has emerged, although at this time large gaps are noted and some areas of the picture remain fuzzy and indistinct. In recent years this fascinating, mind-teasing puzzle image has become clearer with individual pieces more easily recognized and rapidly emplaced, largely by means of multidisciplinary and multinational team efforts. In this respect, the Special Program Panel on Marine Sciences of the NATO Scientific Af fairs Division considered the merits of initiating four conferences bearing on the Mediterranean ecosystem. It was suggested that the first, emphasizing geology, should dovetail with subsequent seminars on physical oceanogra phy, marine biology, and ecology and man's influence on the natural Medi terranean regime. At a conference held in Banyuls-sur-Mer, France, in August 1979, Profes sor Raimondo Selli was urged by some panel members to initiate an Ad vanced Research Institute (ARI) that would focus primarily on the geologi cally recent evolution of the Mediterranean Sea and serve as a logical base for future NATO conferences on the Mediterranean.