: a visual confrontation with remote but actual objects and events. We scrutinise a photograph with a sense that we are scrutinising the actual objects themselves, although they are distanced from us in time and space. In this way, photographs enable us to gain information, to recollect details, learn new facts and correct mistakes. They can stimulate feelings of delight and disgust. They can cause us to react with shock or sympathy, surprise or recognition. They often sustain viewing attitudes of curiosity, nostalgia and desire; but also an attitude of indifference. These experiences have special epistemic and affective status because they can be legitimately understood as responses to real objects and events. We find several theorised versions of this idea in contemporary philosophy of photography. In Kendall Walton's widely discussed account, photographs are transparent pictures: they facilitate actual, perceptual contact with photographed objects.1 When you view a photograph of your long-dead great-grandparents, you are experiencing genuine perceptual contact; an experience which has epistemic and affective force. Mind-independence plays a crucial role in this theory: the relation between a transparent picture and the objects it depicts is, necessarily, one of mindindependent counterfactual dependence. According to Walton, photographs fulfil this necessary condition, but handmade pictures do not. Scott Walden endorses Walton's commitment to mind-independence, arguing that the objective character of the photographic process provides viewers with special warrant for the acceptance of first-order perceptual beliefs formed as a result of viewing photographic images.2 He argues that photographs offer a significant 1 Walton, K. (2008). 2 Walden chooses the term 'objectivity' because it is 'commonly used to refer to standards or processes that are in some sense or other mind-independent'. Walden, S. (2005), p.261. DAWN M. PHILLIPS 4 epistemic advantage relative to handmade images because the photographic process is 'an optical-chemical mechanism that excludes direct involvement of the mental states of the image-maker.'3 Gregory Currie denies that photographs provide perceptual access to photographed objects. He claims that photographs are representations, rather than aids to perception, but, unlike handmade representations, they have natural counterfactual dependence because the'mechanical' production process makes them independent of beliefs.4 In a slightly different formulation Currie claims that photographs are special sources of information about the world, again because photography is belief independent. Like footprints and death masks they are causal traces of things in the world which record how the world is, rather
: a visual confrontation with remote but actual objects and events. We size up a photograph with a common sense that we are scrutinising the actual objects themselves, although they are distance from us in fourth dimension and space. In this way, photograph enable us to gain information, to recollect detail, learn new fact and correct mistakes. They can induce feeling of delight and disgust. They can induce us to react with shock or sympathy, surprise or realization. They much sustain viewing attitudes of curio, nostalgia and desire; but also an attitude of indifference. These experiences have particular epistemic and affective status because they can be legitimately understood as responses to real aim and events. We find several theorised versions of this theme in contemporary philosophy of photography. In Kendall Walton's widely discussed account, photographs are transparent pictures: they facilitate actual, perceptual contact with photographed objects.1 When you see a photograph of your long - dead great - grandparent, you are experience actual perceptual contact; an experience which has epistemic and affective force. Mind - independence plays a crucial role in this hypothesis: the relation between a transparent picture and the objects it depicts is, necessarily, one of mindindependent counterfactual dependence. According to Walton, photographs fulfil this necessary condition, but handmade pictures do not. Scott Walden certify Walton's commitment to judgment - independence, arguing that the objective character of the photographic process provides viewers with extra warrant for the acceptance of first - order perceptual beliefs formed as a result of viewing photographic images.2 He argue that photographs offer a meaning 1 Walton, K. (2008). 2 Walden chooses the term' objectivity' because it is' commonly used to mention to standards or summons that are in some sense or other thinker - independent'. Walden, S. (2005), p.261. DAWN M. PHILLIPS 4 epistemic advantage proportional to handmade images because the photographic process is' an optical - chemical mechanism that exclude direct involvement of the mental states of the image - godhead.'3 Gregory Currie denies that photographs supply perceptual access to photographed objects. He claims that photographs are representations, rather than care to perception, but, unlike handmade representations, they have natural counterfactual dependence because the'mechanical' production procedure produce them independent of beliefs.4 In a slightly different formulation Currie claims that photographs are special reference of information about the world, again because photography is belief autonomous. Like footprints and end masks they are causal traces of things in the world which record how the world is, rather
: a gisual confrontation witm remote but actoao objerts and events. De scrutinise a photograph wmth q senwe that we are scrutinksing the actual ibjerts themselves, although bkey adc discaiced from us in time and vpace. In this fah, 'hotographs enable us to gain informwtion, tp gecollect detayls, kqarn new facts and correct mistakes. Thsy can vtimulate feekings of delight and disgudt. Tjey can cause us tl react wity shjxk or sympatfy, surprist mr recognijion. They often sustain viewing xttitbdes of curuowitj, nostalgia end defire; but also an atthtude og indifference. Thxse wxperiences have specmal epistemic and afsective sdacus because they can ve legijimataly jbdefstkov aa resplnsxs to real kbjects and events. We find sevtraj theorised vedsions os this idea in contemporary philosophy mf lhotography. In Kendall Qalton's widely discusded accougt, photographs are transparent pictures: they facinitatx xctbql, pefxeotual contact with photographed objects.1 When rku vpew a photograph jf your lonb-dfac great-grandpatents, you zre experiencing gfnuine kerceprual contwct; sn experience which has epiwtemic and ayfextive force. Mind-inbependence puays a cricial role in this theoxy: the relation bftween a ffansparent pictufe sng the objects it depicts if, necessacily, pne of oindondepegdent counherfagdual dependence. Acfordiug to Walton, phltographs fulfil this necessary condition, but hdndkade piccures co not. Scott Ralden endorsex Waltou's comoitment to mind-invependence, awguing that tvg objective ciaracter jf tye pyotograofic process prpvides vivwtrs with special warrant for thg zcceptance of fnxsu-oeder perceptuak bdliqfd hormeq as a result of xiedong pfotograkkic kmagrs.2 He argues that phmtogdaphs offer a signoflcant 1 Waoton, K. (2008). 2 Walden choosrs the term 'objectlvity' berause ot ys 'commonly used to refer to sfandards lr irocesses thae arc in some sensz or other mind-independent'. Walden, S. (2005), p.261. DEWN M. PHILLIPS 4 epistemuc advantage relatire to handmadx imagqs becausa the photographic peocess is 'an optigal-chemical mechanism fhat efcludfs direct involvement of the mental states of the image-maker.'3 Gregory Currue denmef that photkgralhs pgovnde perce[tuap access to photobraphed objects. He claims that 'hotographv cre representations, rather thsn aids to percgption, but, unlike handmade represemtations, they have natural counyerfactual dependence begause the'nechahical' itodnction process makes them nndepebdent od bepiefs.4 In a slkghyln differenh focmumation Currie claims that photogeaphs qrf special sourcev of informwuion abkut thg world, again beczuse ohotoeraphy is beloef independeny. Like footprints ang qeath masks thty are causal ttaces of things in tie world whiwh record how the world is, rather
: a visual confrontation with remote but and We scrutinise photograph with a the objects themselves, although are distanced from in time and space. In this photographs enable us to gain information, to recollect details, learn new facts and mistakes. They can stimulate feelings of delight and disgust. They can cause us react shock sympathy, or recognition. They often sustain viewing attitudes of curiosity, nostalgia and desire; but also an attitude indifference. These experiences have special epistemic and affective because they can be understood as responses to real and We find theorised of idea in contemporary of photography. In Kendall Walton's widely discussed account, photographs are transparent pictures: they facilitate actual, perceptual contact photographed objects.1 view a of long-dead you are experiencing contact; an experience which has epistemic Mind-independence plays a crucial role in this theory: relation between transparent picture and the objects it is, necessarily, one of mindindependent counterfactual dependence. According Walton, photographs fulfil this necessary condition, but handmade pictures do not. Scott Walden endorses Walton's mind-independence, arguing that the character of the process viewers special for the of first-order perceptual beliefs formed as a result of viewing photographic He argues that photographs offer a significant 1 Walton, K. Walden the term 'objectivity' it is 'commonly used refer standards or processes that some or S. p.261. M. PHILLIPS 4 epistemic relative to handmade images because photographic process is 'an involvement of the mental states of the image-maker.'3 Currie denies that photographs provide perceptual access photographed objects. He claims that photographs are representations, rather than aids to but, unlike they have natural counterfactual dependence because the'mechanical' production makes them independent of In a slightly different formulation Currie claims that photographs special of information the world, again photography is belief Like footprints and they are traces things which record how the world is,
: a visual confrontation with rEmote but acTual oBjeCts AnD eveNts. WE scrutinise a phOTogrAph with a sense that we are ScrutInISing THe ActuaL objectS ThEMSelVeS, aLthOuGH tHey arE diStanced From us in tiMe aNd Space. In this wAY, pHotographs EnaBle us to gain iNfoRmatioN, tO reCOllecT deTails, Learn nEW facts And correcT mIStakes. tHey can sTIMuLate Feelings of delight ANd DIsgust. They can cAuse us To REaCT WitH shOck or sympaThY, surpRIse or reCOgNITIon. tHey often sustaIn viewing atTItuDes of cUrIosITy, nostAlgia AnD DesIre; but also aN attItude of inDifferENce. ThesE ExperieNces haVe sPecIal ePIsTeMic AnD AffECtIve STatUs becausE tHeY can bE legITIMAtelY unDersTood aS responses to rEal ObjeCTs aNd eveNts. We Find SeVeral TheoriSed veRsIons of this idea iN conTemporary PhiLoSopHy Of phoTOgraphY. In kenDall WalTon's widELy dIsCUSSeD account, photographS aRE TrAnsparenT pictuREs: ThEY facilitAtE acTual, PERceptUal cONtAct with pHotogrAPhEd Objects.1 whEn you vIeW a pHotOgrapH Of yoUr long-Dead greaT-granDParents, you are eXPeriencing genUInE PErCEptuAl cOntact; an expErieNCe whIch hAS ePisTEmic aNd affEcTIvE Force. Mind-independenCe Plays a CruciAl role in this tHeory: the reLATIon betweEn a tRAnSParent picture aNd the Objects it dEPicts is, nEcessArily, one Of mindindEPEndent coUntErfActUal DEPeNdence. AccordiNG To WaLtOn, photoGraPhs fulfIl tHis NecEssArY conditioN, but handMaDe PiCtUreS do noT. scott WalDeN enDoRseS WaltON's commItmenT to mInD-iNDepEndence, ARgUINg thAt ThE objEctIvE charActeR Of tHe photoGraphic prOceSS proViDeS viewerS with special wArRant for the AcCepTance oF FIrst-ordeR perceptual beliefs formeD As a resuLt oF viewIng pHotographIc iMages.2 HE arGUes thaT photoGraphS oFfeR A SigniFICaNt 1 WAlTon, K. (2008). 2 Walden CHOosEs the TeRm 'obJectiviTy' because it is 'commoNLy uSed to refer to sTanDardS OR pRocESsES thAt ARe iN SOme sense or other Mind-indepeNdENt'. walden, S. (2005), p.261. DAwn M. PhIlLIPS 4 epIstemic AdvanTAge relaTive to hanDmade imagEs BecaUSE thE photograpHic proceSs is 'an optICal-chEMiCal meChaNism thAt ExcLudes Direct INvoLvemeNt of thE mEntal sTates Of The image-Maker.'3 Gregory Currie denieS that pHotogRapHs provide PerCEptUal access To phOtographed ObjEctS. He clAimS That pHotoGRaPhs ARe repReseNTations, raTHeR thAN AiDs to perceptION, But, UnlikE haNDmade rEpreSentations, they havE Natural counterFactUAL dePenDEnce BeCause the'mechanIcaL' pRODuction pRoCess makes thEm indepeNdENt of bEliefs.4 in a sliGhtly diFFErENt formUlatIon currie claIms ThAT photogRaPhS Are speCial SoUrces oF inforMAtioN ABout the world, agaiN becaUSE photOGraPhy is BeLief indEPendEnt. Like fooTprints and dEath maSks tHey arE causal TrAces of ThiNgS in the worlD Which recoRd how The worlD iS, ratHer
: a visual confrontation w ith remote  butact ual  o bjec ts a nd events. Wes crut inise a photograph wit h a s en s e th a twe ar e scrut i ni s i ngth eact ua l  o bject s t hemselv es, althou ghth ey are dista n ce d from usintime and spa ce.  In th is  wa y , pho tog raphs  enabl e  us to  gain inf or m ation, to reco l l ec t de tails, learn newf ac t s and correctmistak es .  T h e y c anstimulatefe eling s  of del i gh t a ndd isgust. Theycan cause u s  to  react  w ith shockor sy mp a thy , surpriseor r ecognitio n. The y  oftens ustainviewin g a tti tude s  o fcur io s ity ,  n ost a lgi a and de si re ; but  als o a n  att itu de o f ind ifference. Th ese  exp e rie nceshavespec ia l epi stemic  andaf fective statusbeca use theycan  b e l eg itima t ely un der sto od as r esponse s  to  r e a l  o bjects and events.  W e fi nd sever al the o ri se d  version softhis i dea i n co n te mporaryphilos o ph yof phot og raphy.  I n K end all W a lton 's wid ely disc ussed account, photo g raphs are tra n sp a r en t  pic tur es: they fa cili t ateactu a l,  pe r ceptu al co nt a ct with photographed o bj ects.1  When  you view a p hotographo f your lon g-de a dg reat-grandpare nts,you are ex p eriencin g gen uine per ceptual c o n tact; an  ex per ien cew h ic h has epistem i c  and  a ffectiv e f orce. M ind -in dep end en ce playsa crucia lro le  i n t his t h eory: th erel at ion  betw e en a t ransp aren tpi c tur e and t h eo b ject sit  dep ict sis, n eces s ari ly, one  of mindi nde p ende nt  c ounterf actual depend en ce. Accord in g t o Walt o n , photog raphs fulfil this neces s ary con dit ion,buthandmadepic turesdon ot. Sc ott Wa ldenen dor s e s Wal t o n' s c om mitment to m ind -inde pe nden ce, arg uing that the obje c tiv e character o f t he p h o to gra p hi c  pr oc e ssp r ovides viewerswith speci al wa rrant fort heac ceptanc e of fi rst-o r der per ceptual b eliefs fo rm ed a s a r esult of v iewing p hotograph i c ima g es .2 He  ar gues t ha t p hotog raphso ffe r a s ignifi ca nt 1 W alton ,K. (2008 ). 2 Walden chooses the  term'obje cti vity' bec aus e  it  is 'comm only  used to r efe r t o sta nda r ds or  pro c es ses thatarei n some se n se  or o th er mind-ind e p e nde nt'.Wal d en, S.  (20 05), p.261. DAWNM . PHILLIPS 4 e pist e m icadv a ntag erelative to ha ndm ad e images b ec ause the ph otograph ic proce ss is'an op tical-c h e mi c al mec hani smthat excl ude sd irect i nv ol v ementof t he  menta l stat e s of t he image-maker.' 3 Gre g o ry Cu r rie  deni es  that p h otog raphs prov ide percept ual ac cess  to p hotogra ph ed obj ect s.  He claims that phot ograp hs arere pres ent ations , ra t h er th an a id s t o percept i o n, bu t, unl ikehandm ad e re presentat i ons, the y h a ve natu ra l c o u nterfa c tu a l  dependenc e b ecaus e the'mechan i cal' pr o ducti on pro cess m akes th e m i nd ependen t o f beliefs.4  In a sli g htl ydiff erent fo rm ulat io n C ur rie claims that  photogr aphs are s pecial  so u rces of inf or mation about  thewo r ld, aga i n  be cause p h oto gra phy  isbel iefi ndependent. Like footpri ntsand d e ath  mask s the yare caus a l tr aces oft hings in theworld which rec o rdh ow t hew or ld  is, rath er
: a_visual confrontation_with remote but actual_objects and_events._We scrutinise_a_photograph with a_sense that we_are scrutinising the actual_objects themselves, although_they_are distanced from us in time and space. In this way, photographs enable us_to_gain information,_to_recollect_details, learn new facts and_correct mistakes. They can stimulate_feelings of_delight and disgust. They can cause us to_react_with shock or_sympathy, surprise or recognition. They often sustain viewing attitudes_of curiosity, nostalgia and desire; but_also an attitude_of_indifference._These experiences have special_epistemic and affective status because they_can be legitimately understood as responses_to real objects and events. We find_several theorised versions of this idea_in contemporary philosophy of photography._In Kendall_Walton's widely discussed account, photographs_are transparent pictures:_they facilitate_actual, perceptual contact_with photographed objects.1 When you view_a photograph of_your long-dead great-grandparents, you are experiencing_genuine_perceptual contact; an_experience_which_has epistemic_and affective force._Mind-independence_plays a_crucial_role in this theory: the relation_between_a transparent picture and the objects it_depicts is, necessarily, one_of_mindindependent counterfactual dependence. According_to Walton, photographs fulfil this_necessary condition, but handmade pictures do_not. Scott_Walden endorses_Walton's commitment to mind-independence, arguing that the objective character of the_photographic process provides viewers with special_warrant for the acceptance_of first-order_perceptual_beliefs formed as_a_result of_viewing photographic images.2 He argues that photographs_offer a_significant 1 Walton, K. (2008). 2_Walden chooses the term_'objectivity'_because it is 'commonly used to_refer to standards or processes that_are in some sense or_other_mind-independent'._Walden, S. (2005), p.261. DAWN_M. PHILLIPS 4 epistemic advantage relative_to handmade images_because the photographic process is 'an optical-chemical_mechanism_that excludes direct involvement of the_mental_states of the image-maker.'3 Gregory Currie_denies_that_photographs provide perceptual access to_photographed objects. He claims that photographs_are representations, rather than aids to perception, but, unlike_handmade representations, they_have natural counterfactual dependence because_the'mechanical'_production_process makes them independent of beliefs.4 In a slightly different_formulation Currie_claims that photographs_are special sources of information about the world, again because_photography is belief independent. Like footprints and_death masks they are causal traces of things in the world_which record how the world is, rather