1g science: still photography and the Torres Strait ‘the nature of photography itself, establishing concurrent yet oppositional t a temporal currences in the making and use of images which could igh these temporal tensions photographs frst of an expression ofa notion of Torres Blzabeth Edwards , ‘This chapter on the photography ofthe Cambridge Anthropological Expedition digm- of which photography concerned with theact of photography and! nature of the Expedition was stressed by the cutting edge’ technology which was assembled a Newman and Guardia cinematograph with tire reels of feet of fm. for still photography several cameras including a Newman and (Guardia Series, the colour photographic process developed by Ives and Joly? ‘and for soune, two phonographs with both recording and playbck fait it | mimetic devices. Given that the proven physical integrity of the material technology of experimentation wat vital to the perceived integrity of the knowledge the apparatus helped to prod tration, but a8 central to the Expeditor landers during eldwork and with the ecientiie community on its renum My argument alto positions photography and, by implication, i’ within 2 aud The Tamer Plat. Corebasdta Uncuecih Peet of photography is part ofthe central but multiple roe sual relationships and visual analysis which constitute meta Arnvila & ROUSE, Poudre led.) Aaae ns dge. HERLE, Cours Carrdyprsd le &‘inbt Bards photographic apparats is partiulaly signiScent Highly Bexibleand sophir ron te produc: fd performance, colour recognition and diferentaton. Added tothe ma ‘on visuliy and visuallsing cleatly “riculats cor Intellectual objectives Linking this metaaarrative of visualty ‘with "thinking photographically, asking photographically constituted ques ‘workings ofthe relationship while tthe nd ambiguities of our own assumption terial 1 dst consider photography 2s 2 medium so that it no longer remains ‘analysis of these al photographs, but becomes pat of the self pare of that ‘integrity of knowledge’ to which Iefrred, In 0 times, in Barthess famous phrase the ‘ThereThen becomes the HereNow' ‘Te photograph contains and constrains within its own boun pointing tothe illefined borders becween us and the Absence, of materiality and immaterial. Time and event become fused, 3 of presence and Peoring sence ltsrferent. The whol cultura expectancy of the photograph ints confirma: tory potenti The role of photography in repicting experiance is eri ‘because through photography, inscriptions of information and experience can ‘be mobilised arose time and space in diferent interpretative spheres without lementin the salvage Reenactment andthe salvage paradigm Inthe planning ofthe Expedition, Haddon sates the salvage cate clesry In the analysis ofthe Expedition photographs, the relationship between time. Photography and salvage ethnography is central, reveals not ony the deepnab ards _ bjecives of the Expedition in scientfe terms but sto suggests Tomantic | tance trough the mechanims of alvage ethnography | ature of photography the realism of which eightens and makes thea, | ‘Photographic work, made considerable number of the images and was cer tainly the intellectual force ints design and implementation. The complete the Expedition had cameras and were taking photographs heie own personal records” |