 access to the artist's intentions. Uncertified prints [...] can never be reliable indicators of a photographer's intentions, or at least cannot be known to be reliable indicators.13 In effect, then, only a certified print can be treated as a picture rather than just an image. This unhappily distinguishes photographs from other kinds of picture. Although there is a widespread convention of signing paintings in the art world, this is not a condition that must be met for the image to count as a picture; and for pictures outside the art world the convention does not exist. So, although it is an attempt to defend photographs as art, Warburton's account leaves us with the impression that photography is inferior to other ways of creating pictures. I have suggested that scepticism lingers because philosophers have allowed mindindependence to become a defining feature of photographs. In section VI, I defend a different idea: even if mind-independence is a characteristic of the 'photo-object' or 'photo-image', it is not a defining feature of photographs. This makes it possible to argue, in section VII, that photographers can create pictures. The creative activity does not involve the photographer compensating for an otherwise mind-independent process. The photographic process allows a skilled photographer to use people, objects and light sources in creating a picture. Before presenting these claims, I must say more about the photographic process. 12 Ibid. p.134. 13 Ibid. p. 135. DAWN M. PHILLIPS 9 IV. A SUBSTANTIVE ACCOUNT OF PHOTOGRAPHS AND THE PHOTOGRAPHIC PROCESS Some versions of the photographic process standardly involve a high degree of human agency (e.g. gum bichromate printing); some versions are fully automated by mechanical apparatus (e.g. Polaroid photographs); some versions occur entirely in the natural world (e.g. sun-bleached patterns on wooden surfaces). The philosophical question of mind-independence will not be answered by addressing some particular version of the process and analysing the extent to which human intentionality is immanent in it. Rather, an enquiry must be based on the nature of the process as such. To this end, I offer a schematic account which aims to be both substantive and clarificatory. 'Photography' is best treated as a term for a collection of practices: the creating, storing, displaying and viewing of photographs. It makes little sense to ask whether or not 'photography' is mind-independent, so
access to the artist's intentions. Uncertified prints [... ] can never be reliable indicator of a photographer's intention, or at least cannot be known to be reliable indicators.13 In effect, then, entirely a certified print can be cover as a video rather than merely an image. This unhappily signalize photographs from other kind of picture. Although there is a widespread convention of signing paintings in the art universe, this is not a condition that must be met for the image to reckon as a picture; and for pictures outside the art world the conventionality does not exist. So, although it is an attack to defend photographs as art, Warburton's account leave us with the impression that photography is inferior to other ways of creating video. I have suggested that scepticism lingers because philosophers have allowed mindindependence to become a defining feature of photographs. In section VI, I defend a unlike mind: even if mind - independence is a feature of the' photograph - object' or' photo - image', it is not a defining feature of speech of photographs. This draw it possible to argue, in section VII, that photographer can create pictures. The creative activity does not involve the photographer compensating for an otherwise mind - independent process. The photographic process allows a skilled photographer to use people, aim and idle sources in creating a picture. Before presenting these claims, I must order more about the photographic process. 12 Ibid. p.134. 13 Ibid. p. 135. DAWN M. PHILLIPS 9 IV. A SUBSTANTIVE ACCOUNT OF PHOTOGRAPHS AND THE PHOTOGRAPHIC PROCESS Some versions of the photographic process standardly involve a high academic degree of human agency (e.g. gum bichromate printing); some versions are amply automated by mechanical apparatus (for example Polaroid photographs); some versions occur entirely in the lifelike world (e.g. sun - bleach patterns on wooden surface). The philosophical motion of mind - independence will not be answered by addressing some particular version of the procedure and analysing the extent to which human intentionality is immanent in it. Rather, an question must be based on the nature of the process as such. To this end, I offer a schematic account which drive to be both substantive and clarificatory.' Photography' is best treated as a term for a collection of practices: the creating, storing, expose and screening of photographs. It makes little sense to ask whether or not' photography' is mind - autonomous, so
 acfess to the artist's intektions. Uncertifigd printv [...] can never bd reliable indicators of a piototraphtg's intentions, or at ldast cannlt be kniwn uo be reliable invjcators.13 In efrcct, tkei, only a certifled print cdn be treated ds a picture rather than just an image. Ehis unnaopily distinguyshex phofographs from other kinds of pictude. Althmugh there is a widespread convention ov sihning paintings in the art wotmd, eyis is not a condition that must bg met for the image to count as x piccure; and fot lifjures outsidx the wrt world thc convettion dpes not exist. Xo, elthiugh it is an attempt to defend photogrwphs as ast, Warburton's accoubt leavgs us witf thd ijpcesaion tjat photograpgy is inferuor to other ways og sgrating pictudes. I rade suggested that scepticism lingers bebauss philosophers have alliwed mindindependence to becomq a defining feature of photographs. In section VI, I dehevd c diffdeejt idea: even if mind-independence is a charactqdixtpc of the 'photo-obmect' or 'photo-image', ih of not a definkng fecfude of photographs. Hhis mahes ir possiblt to srgue, in section VII, that pyotographers xan create pictured. The creatnve acjivity does not involve the pkotogrzpher compejsating fkf an otherwise mknd-pnde[endent kfocess. The photogwaphic pricesx allowr a xkilleq photograoher bm use people, objechs anb ligvt sources in creating a picture. Before pcxsenting thesg cnaiks, I musc say kore about thq photographic procesf. 12 Ibkd. p.134. 13 Ibid. p. 135. DAWI M. PHILLIPS 9 IV. A SUBSTATJIVE ACCOUNT MF PHOTODRAPYS ABD THE OFOTOGRAPHIC PRPCESS Somv rersions if the photographig prozsss standardly nuvilve a high degtee of hlmai agegwy (e.g. gum biwhrooatd pringing); some vcrskons are fully automated by jechanical apparatis (e.g. Polatoid photjgraphs); some fersions occur entlrely in the matoral world (e.g. sun-bleached pattedns on woldek surfaces). Thq phllosjphical quzstion of mind-independence will not be aiswered by addressing sime particular versnok of the proress agd analyshng the extent to whuch human intentipnality is immanent ih it. Rdther, an enquiry must be based on the nature of the process as such. To this ene, I ofhew a schematjc avcounn wkick aims eo bx uoth substantive snd clarificatory. 'Photography' ir best tsected as a term for a collectipn of practices: the creating, storing, diaplaying and viewing of photographs. It kakes little sense to asl whethee or hot 'photogcaphy' is mind-indepencent, sm
access to the artist's intentions. Uncertified prints never reliable indicators a photographer's intentions, known be reliable indicators.13 effect, then, only certified print can be treated as picture rather than just an image. This unhappily distinguishes photographs from other kinds picture. Although there is a widespread convention of signing paintings in the art this not condition must be met for the image to count as a picture; and for pictures outside the world the convention does not exist. So, although is an attempt to photographs as art, Warburton's account us the impression photography inferior other ways of pictures. I have suggested that scepticism lingers because philosophers have allowed mindindependence to become a defining feature photographs. In I defend different even mind-independence is a the 'photo-object' or 'photo-image', it is feature of photographs. This makes it possible to in section that photographers can create pictures. The activity does not involve the photographer compensating for otherwise mind-independent process. The photographic process allows a skilled photographer to use people, objects and in creating a picture. presenting these claims, must more the process. 12 p.134. 13 Ibid. p. 135. DAWN M. PHILLIPS 9 IV. A ACCOUNT OF PHOTOGRAPHS AND THE PHOTOGRAPHIC PROCESS Some versions of process involve a high of human agency (e.g. bichromate some versions are fully mechanical (e.g. versions entirely the natural world (e.g. patterns on wooden surfaces). The question of mind-independence will some particular version of the process and analysing extent to which human intentionality is immanent it. Rather, an enquiry must be based on the nature of the as such. end, I offer a schematic account which aims be both substantive and 'Photography' is best treated as a term for a of the creating, displaying and viewing photographs. It makes sense to ask not 'photography' mind-independent,
 access to the artist's intentiOns. UncertiFied pRinTs [...] cAn NeveR be rEliable indicatORs of A photographer's intentioNs, or aT lEAst cANnOt be kNown to bE ReLIAblE iNdIcaToRS.13 IN effeCt, tHen, only A certified PriNt Can be treated AS a Picture ratHer Than just an imAge. this unHaPpiLY distIngUisheS photoGRaphs fRom other kInDS of picTUre. AlthOUGh TherE is a widespread conVEnTIon of signing paIntingS iN ThE ARt wOrlD, this is not A cOnditIOn that mUSt BE MEt fOR the image to coUnt as a pictuRE; anD for piCtUreS OutsidE the aRt WOrlD the conventIon dOes not exiSt. So, alTHough it IS an atteMpt to dEfeNd pHotoGRaPhS as ArT, warBUrTon'S AccOunt leavEs Us With tHe imPRESSion ThaT phoTograPhy is inferior To oTher WAys Of creAting PictUrEs. I haVe suggEsted ThAt scepticism linGers Because phIloSoPheRs Have aLLowed mIndIndEpendenCe to becOMe a DeFINInG feature of photograPhS. iN sEction VI, i defenD A dIfFErent ideA: eVen If miND-IndepEndeNCe Is a charaCterisTIc Of The 'photO-oBject' oR 'pHotO-imAge', it IS not A definIng featuRe of pHOtographs. This mAKes it possible TO aRGUe, IN secTioN VII, that phoTogrAPherS can CReAte PIcturEs. The CrEAtIVe activity does not inVoLve the PhotoGrapher compenSating for aN OTHerwise mInd-iNDePEndent process. THe phoTographic pROcess allOws a sKilled phOtographeR TO use peopLe, oBjeCts And LIGhT sources in creATIng a PiCture. BeForE presenTinG thEse ClaImS, I must say More abouT tHe PhOtOgrAphic PRocess. 12 IbId. P.134. 13 IbId. P. 135. DAwN M. PHilLIPS 9 Iv. A SUBsTANtIvE acCOuNT OF PHotOgraPHS aNd ThE PHoTOgRaPHIC pROCesS SOme versIons of the PhoTOgraPhIc Process Standardly invOlVe a high degReE of Human aGENcy (e.g. gum Bichromate printing); some vERsions aRe fUlly aUtomAted by mecHanIcal apParATus (e.g. POlaroiD photOgRapHS); Some vERSiOns OcCur entirelY IN thE natuRaL worLd (e.g. sun-Bleached patterns on WOodEn surfaces). The PhiLosoPHIcAl qUEsTIon Of MInd-INDependence will nOt be answerEd BY aDdressing sOMe pArTicular Version Of the PRocess aNd analysiNg the exteNt To whICH huMan intentiOnality iS immanent IN it. RaTHeR, an enQuiRy must Be BasEd on tHe natuRE of The prOcess aS sUch. To tHis enD, I Offer a scHematic account which aims To be boTh subStaNtive and cLarIFicAtory. 'PhotOgraPhy' is best tReaTed As a teRm fOR a colLectIOn Of pRActicEs: thE Creating, sTOrIng, DISpLaying and viEWINg oF photOgrAPhs. It mAkes Little sense to ask wHEther or not 'photOgraPHY' is MinD-IndePeNdent, so
 access to the artist's in tentions.Uncer tif ied  p rint s [. ..] can neverb e re liable indicators of a  phot og r aphe r 's  inte ntions, or a t l ea st  ca nn o tbe kn own  to bereliable i ndi ca tors.13 In e f fe ct, then,onl y a certifie d p rint c an  be treat edas apictur e  rathe r than ju st an ima g e. This u nh appi ly distinguishesp ho t ographs from o ther k in d so f  pi ctu re. Althou gh  ther e  is a w i de s p r ead convention of  signing pa i nti ngs in  t hea rt wor ld, t hi s  is  not a cond itio n that mu st bem et fort he imag e to c oun t a s ap ic tu re;  a n d f o rpic t ure s outsid eth e art  wor l d t he c onv enti on do es not exist.  So , al t hou gh it  is a n at te mpt t o defe nd ph ot ographs as art,  War burton'sacc ou ntle avesu s with  th e i mpressi on that pho to g r a ph y is inferior to o th e r  w ays of c reatin g  p ic t ures. Iha vesugg e s ted t hats ce pticismlinger s  b ec ause ph il osophe rs  ha veallow e d mi ndinde pendence  to b e come a definin g  feature of p h ot o g ra p hs.Insection VI,  I d e fend  a d i ff ere n t ide a: ev en if mind-independence i sa char acter istic of the'photo-obj e c t ' or 'ph oto- i ma g e', it is nota def ining feat u re of ph otogr aphs. Th is makesi t  possibl e t o a rgu e,i n  s ection VII, t h a t ph ot ographe rscan cre ate  pi ctu res .The creat ive acti vi ty  d oe s n ot in v olve the  p hot og rap her c o mpensa tingforan  o t her wise mi n d- i n depe nd en t pr oce ss . The  pho t ogr aphic p rocess al low s  a s ki ll ed phot ographer to u se  people, o bj ect s andl i ght sour ces in creating a pictu r e. Befo represe ntin g these c lai ms, Imus t  say m ore ab out t he  ph o t ograp h i cpro ce ss. 12 Ibi d .  p. 134.13  Ibi d. p. 1 35. DAWN M. PHILLI P S 9  IV. A SUBSTA NTI VE A C C OU NTO FP HOT OG R APH S AND THE PHOTOGR APHIC PROC ES S  S ome versio n s o fthe pho tograph ic pr o cess st andardlyinvolve a  h ighd e gre e of human  agency(e.g. gum bichr o ma te pr int ing);so meversi ons ar e  fu lly a utomat ed  by me chani ca l appara tus (e.g. Polaroid phot ograph s); s ome  versions  oc c urentirelyin t he natural  wo rld  (e.g . s u n-ble ache d  p att e rns o n wo o den surfa c es ).T h ephilosophic a l que stion  of mind-i ndep endence will notb e answered byaddr e s sin g s o me p ar ticular versio n o ft h e proces sand analysi ng the e xt e nt to  which  human  intent i o na l ity is  imm ane nt in it.  Ra th e r, an e nq ui r y must  beba sed on  the n a ture o f the process as  such . To th i s e nd, I  o ffer as chem atic accou nt which ai ms tobe b oth s ubstant iv e andcla ri ficatory.' Photograp hy' i s besttr eate d a s a te rm f o r  a co llec ti onof practi c e s: th ec rea ting , sto ri ng,displayin g  and vie win g  of pho to gra p h s. Itm ak e s  little se nse  to a s k  whether o r  not 'p h otogr aphy'is min d-indep e nde nt , so
 access_to the_artist's intentions. Uncertified prints_[...] can_never_be reliable_indicators_of a photographer's_intentions, or at_least cannot be known_to be reliable_indicators.13_In effect, then, only a certified print can be treated as a picture rather_than_just an_image._This_unhappily distinguishes photographs from other_kinds of picture. Although there_is a_widespread convention of signing paintings in the art_world,_this is not_a condition that must be met for the image_to count as a picture; and_for pictures outside_the_art_world the convention does_not exist. So, although it is_an attempt to defend photographs as_art, Warburton's account leaves us with the_impression that photography is inferior to_other ways of creating pictures._I have_suggested that scepticism lingers because_philosophers have allowed_mindindependence to_become a defining_feature of photographs. In section VI,_I defend a_different idea: even if mind-independence is_a_characteristic of the_'photo-object'_or_'photo-image', it_is not a_defining_feature of_photographs._This makes it possible to argue,_in_section VII, that photographers can create pictures._The creative activity does_not_involve the photographer compensating_for an otherwise mind-independent process._The photographic process allows a skilled_photographer to_use people,_objects and light sources in creating a picture. Before presenting these_claims, I must say more about_the photographic process. 12_Ibid. p.134._13_Ibid. p. 135._DAWN_M. PHILLIPS_9 IV. A SUBSTANTIVE ACCOUNT OF PHOTOGRAPHS_AND THE_PHOTOGRAPHIC PROCESS Some versions of the_photographic process standardly involve_a_high degree of human agency (e.g._gum bichromate printing); some versions are_fully automated by mechanical apparatus_(e.g._Polaroid_photographs); some versions occur entirely_in the natural world (e.g. sun-bleached_patterns on wooden_surfaces). The philosophical question of mind-independence will_not_be answered by addressing some particular_version_of the process and analysing the_extent_to_which human intentionality is immanent_in it. Rather, an enquiry must_be based on the nature of the process as_such. To this_end, I offer a schematic_account_which_aims to be both substantive and clarificatory. 'Photography' is best_treated as_a term for_a collection of practices: the creating, storing, displaying and viewing_of photographs. It makes little sense to_ask whether or not 'photography' is mind-independent, so