 'light image' appear on a surface. This is the kind of visual image that occurs inside a camera obscura. A light image can be sharply focussed, and shows sufficient reflected light to view details and colours of individual objects. A light-image is not a photograph but it can be used as the basis for a photograph if it is combined with a photographic event. The pioneer photographers harnessed together two natural processes for generating visual images: the optical process and the photographic process; thus making it possible to produce a sophisticated photo-image. This is how a photograph can acquire a high level of visual resemblance to photographed objects. Contrary to their own accounts, the pioneers did not 'fix' the light-image. Rather, they used a light image to produce a photo-object, and the photo-object displays a photo-image. Joel Snyder has argued that engineered effects depend on intentional design with the consequence that these kinds of photographs are inherently pictures.20 Although I will argue that photographs can be pictures, I nonetheless wish to retain the idea that there can be photo-images that are not pictures. In the following section I present a mind-independence thesis for closer consideration. I think that both natural and engineered photographs can be accommodated by the same thesis; hence intentionality at the level of engineering does not settle the question of whether photographs can be pictures. 20 Snyder, J. (1980) 'Picturing Vision'. DAWN M. PHILLIPS 13 V. MIND-INDEPENDENCE FORMULATED AS A THESIS I propose that any philosophical claim about the mind-independent status of photographs needs to be formulated with substantive claims about the photographic process. I offer the following as a plausible formulation of mind-independence as a thesis: During a photographic event, objects and light sources (the photographed objects) stand in a particular kind of causal relation to a photo-sensitive material object. This stage may or may not include an optically produced light image. The causal relation is well-understood: light reflected by or emitted from the photographed objects causes a photo-sensitive object to undergo material changes. The changes are explained entirely as effects of the causal relation. When the reaction to light has occurred, the material changes are a record of the photographic event. The record is, or produces, an object (now a photo-object); in the latter case by giving new material properties to an existing object. The new material properties are explained entirely as effects of the photographic process. The photo-object has a
' light image' appear on a surface. This is the kind of ocular prototype that occurs inside a camera obscura. A light picture can be sharply focussed, and show sufficient reflect light to see details and colours of individual object. A light - image is not a photograph but it can be use as the footing for a photograph if it is combined with a photographic event. The pioneer photographer harnessed in concert two lifelike processes for generating visual images: the ocular process and the photographic process; thus making it potential to produce a advanced photo - image. This is how a photograph can acquire a high grade of visual resemblance to photographed objects. Contrary to their own accounts, the pioneers did not' sterilize' the light - image. Rather, they used a light image to produce a photo - object, and the photo - aim expose a photo - prototype. Joel Snyder has argue that engineered effects depend on intentional design with the consequence that these kinds of photographs are inherently pictures.20 Although I will argue that photograph can be pictures, I nonetheless wish to retain the idea that there can be photo - images that are not pictures. In the following section I present a mind - independence thesis for closer circumstance. I think that both lifelike and engineer photographs can be accommodated by the same thesis; therefore intentionality at the level of engineering does not settle the question of whether photographs can be pictures. 20 Snyder, J. (1980)' Picturing Vision'. DAWN M. PHILLIPS 13 V. MIND - INDEPENDENCE FORMULATED AS A THESIS I aim that any philosophical claim about the judgment - independent condition of photographs needs to be formulated with substantive claim about the photographic process. I offer the pursuit as a plausible formulation of mind - independence as a thesis: During a photographic event, objects and light sources (the photographed objects) stand in a particular kind of causal relation to a photo - sensible material object. This phase may or may not include an optically produced light image. The causal relation is well - understood: light reflect by or emitted from the photographed objects causes a photo - sensitive object to undergo material change. The changes are explained entirely as effects of the causal relation. When the reaction to light has happen, the material changes are a record of the photographic consequence. The record is, or grow, an object (now a photo - aim); in the latter case by giving new material properties to an existing object. The fresh material properties are explained entirely as effects of the photographic process. The photograph - aim has a
 'lihht image' appear on a suvface. This is thg jind oh visuam image ghat occurs inside a camera lbwcura. A light image can be rharply flcussed, qnd wyows suffirjent renjectsf liyhv to view detaiks and colmurs of indiviguxl objects. A light-image is not a photjgraph nuh it can be usgd as ehe gasis for a photograph if it is cojbined xith a photogralhic event. The pioneer phohogrwphers harnessed tlgether two natteal processer for genegcting visuam images: the optical process ana the photograpyix pgmcess; thus nakind it possiblc to prmduce a sophisticated phmto-umage. This is how a piotograph can acquirg a high lavzl of visual resemblabcw to khotocrapfwd ubjtctx. Dontragy vo their owh accounts, rhe pioneers did nou 'fyq' the light-imzge. Raehqr, they used a light image to produce a phkto-object, and the photo-ibject displays a phojo-image. Joql Snyder has argued that engineered effects depetd on knttnblonau dfsign with the consequence that these kinds os pnonographs are inhevently pictures.20 Alyhlubr I will argug that 'gofographs can be piftures, Y nonwtheless rish to retain the idea that thwre can be pkoti-images that are nlt pictures. In jhe foklowing section I preseut a mjnd-independfnce thesjr for closer conridvrathon. I think that both natuwal and eiginezred phogogrsphs cwn be accolmodabad by the same thedis; hgnce ittentionallty at the level of engineering does not settke thv questiou of wmether photogra[hs can be picjures. 20 Snvder, J. (1980) 'Picturinf Visioi'. DAWN M. PHIJLIPS 13 V. MIND-HJDEPENDENCE HORMULATEQ AS A TYESIS I oropose that amy philosophical clqim about the mind-lndepgnsent status of 'kouotraphs needs tp bd fjrlukaead with subsdantkve vlaimr about the ohotpgraphic process. I oxfer the following as s ilausible formulaeion of mind-imdependence as a tjesis: Ducing a phjtographic event, objects and ljght sourfes (the photogrwphee objects) stcnd in a particular kind of causal relatmon to a photo-sensitivg material object. Thix stage may pr mar not incnude an optically priduced light imagt. The causal relation ia well-gnderdtood: light reflected by or emitted from the photographed objects causes q photo-sensitive ogjecy to lndzrgp matewial rhanges. The changvs are explained entirely as effxcts of tha eausal relation. When the reacyiun to light hxs occurred, the material changes are a record of the photographoc event. The record is, ov producew, an kbject (now a photo-object); in yhe lacter cqse by tivikg new materiau ptoierties to an txiscing object. The new material propwrties age explained entmrely as effccus of tge phojographic process. The ohoto-ubject has a
'light image' appear on a surface. This kind visual image occurs inside a can sharply focussed, and sufficient reflected light view details and colours of individual A light-image is not a photograph but it can be used as the for a photograph if it is combined with a photographic event. The pioneer harnessed two processes generating visual images: the optical process and the photographic process; thus making it possible to produce sophisticated photo-image. This is how a photograph can a high level of resemblance to photographed objects. Contrary their accounts, the did 'fix' light-image. Rather, they a light image to produce a photo-object, and the photo-object displays a photo-image. Joel Snyder has argued engineered effects intentional design the that kinds of photographs pictures.20 Although I will argue that pictures, I nonetheless wish to retain the idea there can photo-images that are not pictures. In following section I present a mind-independence thesis for consideration. I think that both natural and engineered photographs can be accommodated by the same intentionality at the level engineering does not the of photographs be pictures. Snyder, J. (1980) 'Picturing Vision'. DAWN M. PHILLIPS 13 V. MIND-INDEPENDENCE AS A THESIS I propose that any philosophical claim about status photographs needs to formulated with substantive claims the process. I offer the a formulation a During photographic event, objects and sources (the photographed objects) stand a particular kind of material object. This stage may or may not an optically produced light image. The causal is well-understood: light reflected by or emitted from the photographed objects causes photo-sensitive object material changes. The changes are explained entirely as of the causal relation. the reaction to light has occurred, the material changes a of the event. The record or produces, an (now a photo-object); latter case giving material existing object. The new material properties explained as effects of the photographic The a
 'light image' appear on a surfacE. This is the Kind oF viSuaL iMage That Occurs inside a cAMera Obscura. A light image can bE sharPlY FocuSSeD, and sHows sufFIcIENt rEfLeCteD lIGhT to viEw dEtails aNd colours oF inDiVidual objectS. a lIght-image iS noT a photograph But It can bE uSed AS the bAsiS for a PhotogRAph if iT is combinEd WIth a phOTographIC EvEnt. THe pioneer photograPHeRS harnessed togeTher twO nATuRAL prOceSses for genErAting VIsual imAGeS: THE opTIcal process anD the photogrAPhiC proceSs; ThuS Making It posSiBLe tO produce a soPhisTicated phOto-imaGE. This is HOw a photOgraph Can AcqUire A HiGh LevEl OF viSUaL reSEmbLance to pHoToGraphEd obJECTS. ConTraRy to Their Own accounts, thE piOneeRS diD not 'fIx' the LighT-iMage. RAther, tHey usEd A light image to prOducE a photo-obJecT, aNd tHe Photo-OBject dIspLayS a photo-Image. JoEL SnYdER HAs Argued that engineerEd EFFeCts depenD on intENtIoNAl design WiTh tHe coNSEquenCe thAT tHese kindS of phoTOgRaPhs are iNhErentlY pIctUreS.20 AlthOUgh I Will arGue that pHotogRAphs can be pictuREs, I nonethelesS WiSH To REtaiN thE idea that thEre cAN be pHoto-IMaGes THat arE not pIcTUrES. In the following sectIoN I presEnt a mInd-independenCe thesis foR CLOser consIderATiON. I think that botH natuRal and engiNEered phoTograPhs can be AccommodaTED by the saMe tHesIs; hEncE INtEntionality at THE levEl Of enginEerIng does Not SetTle The QuEstion of wHether phOtOgRaPhS caN be piCTures. 20 SnyDeR, J. (1980) 'PIcTurIng ViSIon'. DAWn M. PHIlLIPs 13 V. mInd-INdEPENDEncE forMULaTeD aS A ThESiS i propOse tHAt aNy philoSophical cLaiM AbouT tHe Mind-indEpendent statuS oF photograpHs NeeDs to be FORmulated With substantive claims abOUt the phOtoGraphIc prOcess. I offEr tHe follOwiNG as a plAusiblE formUlAtiON Of minD-INdEpeNdEnce as a theSIS: DuRing a PhOtogRaphic eVent, objects and lighT SouRces (the photogRapHed oBJEcTs) sTAnD In a PaRTicULAr kind of causal rElation to a PhOTo-Sensitive mATerIaL object. this staGe may OR may not Include an Optically PrOducED LigHt image. The Causal reLation is wELl-undERsTood: lIghT refleCtEd bY or emItted fROm tHe phoTograpHeD objecTs cauSeS a photo-sEnsitive object to undergo MateriAl chaNgeS. The changEs aRE exPlained enTireLy as effectS of The CausaL reLAtion. when THe ReaCTion tO ligHT has occurREd, The MATeRial changes ARE A reCord oF thE PhotogRaphIc event. The record iS, Or produces, an obJect (NOW a pHotO-ObjeCt); In the latter casE by GiVINg new matErIal propertiEs to an exIsTIng obJect. ThE new maTerial pROPeRTies arE expLaiNed entireLy aS eFFects of ThE pHOtograPhic PrOcess. THe photO-ObjeCT Has a
 'light image' appear on a  surface.Thisisthe  k indof v isual image th a t oc curs inside a camera o bscur a. A li g ht  imag e can b e  s h a rpl yfo cus se d ,and s how s suffi cient refl ect ed  light to vi e wdetails an d c olours of in div idualob jec t s. Alig ht-im age is not aphotograp hb ut itc an be u s e das t he basis for a ph o to g raph if it iscombin ed wi t h  apho tographicev ent.T he pion e er p h oto g raphers harne ssed togeth e r t wo nat ur alp rocess es fo rg ene rating visu al i mages: th e opti c al proc e ss andthe ph oto gra phic pr oc ess ;t hus ma kin g  it  possibl eto  prod ucea s o phis tic ated  phot o-image. This  is  how a p hotog raphcanac quire  a hig h lev el  of visual rese mbla nce to ph oto gr aph ed  obje c ts. Co ntr ary  to the ir owna cco un t s ,  t he pioneers did no t' f ix ' the li ght-im a ge .R ather, t he y u seda light  ima g eto produ ce a p h ot o- object,  a nd the  p hot o-o bject disp lays a  photo-i mage. Joel Snyder ha s  argued thate ng i n ee r ed e ffe cts dependon i n tent iona l  d esi g n wit h the  c o ns e quence that these k in ds ofphoto graphs are in herently p i c t ures.20Alth o ug h  I will arguethatphotograph s  can bepictu res, I n onetheles s wish toret ain  th e i d e athat there ca n be p ho to-imag esthat ar e n otpic tur es . In thefollowin gse ct io n I  pres e nt a min d- ind ep end encet hesisfor c lose rco n sid eration .  I t hink  t ha t bo thna tural  and eng ineered  photogra phs canbe  a ccommod ated by the s am e thesis;he nce  inten t i onalityat the level of enginee r ing doe s n ot se ttle  the ques tio n of w het h er pho tograp hs ca nbep i cture s .  2 0 S ny der, J. (1 9 8 0)'Pict ur ingVision' . DAWN M. PHILLIPS 13V. MIND-INDEP END ENCE F OR MUL A TE D  AS  A THE S I S I propose tha t any phil os o ph ical claim abo ut  the mi nd-inde pende n t statu s of phot ographs n ee ds t o beformulated  with su bstantive claim s  a boutthe  photo gr aph ic pr ocess. I o fferthe fo ll owingas apl ausibleformulation of mind-ind epende nce a s a  thesis:Dur i nga photogr aphi c event, o bje cts  andlig h t sou rces (t hep hotog raph e d objects )  s tan d in  a particul a r kin d ofcau s al rel atio n to a photo-sens i tive materialobje c t . T his stag emay or may not  in cl u d e an opt ic ally produc ed light  i m age.The ca usal r elation i sw ell-un ders too d: lightref le c ted byor  e m ittedfrom  t he pho tograp h ed o b j ects causes a ph oto-s e n sitiv e  ob jectto  underg o  mat erial chan ges. The ch angesareexpla ined en ti rely a s e ff ects of th e  causal r elati on. Whe ntherea ctionto l i g ht ha s oc cu rre d, the ma t e ri a lch a nge s ar e a r ec ordof the ph o tographi c e v ent. Th erec o r d is,o rp r oduces, an  ob ject( n ow a photo - obje c t) ;  in t he lat ter ca se by g i vin gnew mat eri a l  properti es to ane xis ti ng o bject. T he  new  m ate ri al properties a re expla ined ent i r ely as  ef f ects of the  p hotographicproce ss .  The ph o t o-o bject h a s a 
 'light_image' appear_on a surface. This_is the_kind_of visual_image_that occurs inside_a camera obscura._A light image can_be sharply focussed,_and_shows sufficient reflected light to view details and colours of individual objects. A light-image_is_not a_photograph_but_it can be used as_the basis for a photograph_if it_is combined with a photographic event. The pioneer_photographers_harnessed together two_natural processes for generating visual images: the optical process_and the photographic process; thus making_it possible to_produce_a_sophisticated photo-image. This is_how a photograph can acquire a_high level of visual resemblance to_photographed objects. Contrary to their own accounts,_the pioneers did not 'fix' the_light-image. Rather, they used a_light image_to produce a photo-object, and_the photo-object displays_a photo-image._Joel Snyder has_argued that engineered effects depend on_intentional design with_the consequence that these kinds of_photographs_are inherently pictures.20_Although_I_will argue_that photographs can_be_pictures, I_nonetheless_wish to retain the idea that_there_can be photo-images that are not pictures._In the following section_I_present a mind-independence thesis_for closer consideration. I think_that both natural and engineered photographs_can be_accommodated by_the same thesis; hence intentionality at the level of engineering does_not settle the question of whether_photographs can be pictures._20 Snyder,_J._(1980) 'Picturing Vision'._DAWN_M. PHILLIPS_13 V. MIND-INDEPENDENCE FORMULATED AS A THESIS_I propose_that any philosophical claim about the_mind-independent status of photographs_needs_to be formulated with substantive claims_about the photographic process. I offer_the following as a plausible_formulation_of_mind-independence as a thesis: During_a photographic event, objects and light_sources (the photographed_objects) stand in a particular kind of_causal_relation to a photo-sensitive material object._This_stage may or may not include_an_optically_produced light image. The causal_relation is well-understood: light reflected by_or emitted from the photographed objects causes a photo-sensitive_object to undergo_material changes. The changes are_explained_entirely_as effects of the causal relation. When the reaction to_light has_occurred, the material_changes are a record of the photographic event. The record_is, or produces, an object (now a_photo-object); in the latter case by giving new material properties to_an existing object. The new material properties are_explained entirely as effects of the photographic_process. The photo-object has_a