Summary

Much has changed since photographs were used simply as apt illustrations and depictions of reality. The field of visual history has now become an important and legitimate area of rigorous enquiry. Photography and photographs as source material for research is now a widespread practice in history, anthropology, sociology and other social sciences and humanities. Both the historical trajectory of this medium in Africa, as well as some important theoretical and methodological issues which Africanists should be aware of, are introduced here. Photography is heavily imbricated in the rise of modernity. Different visual eras are delineated as technology and accessibility of the medium became easier to use and more accessible, moving on a continuum from daguerreotypes featuring mostly portraits and landscapes done by professionals largely for the elite to carte d’visite to postcards and stereoscopic-cards which decline with the introduction of spool photography epitomized by the inimitable Kodak, led to access by the broad middle class. After several innovations featuring 35 mm cameras and slides, digital photography arrived and made the medium even more accessible with smartphones leading the proverbial gaze to be turned into a glaze.

Alongside the historical development of photography, it is necessary to understand the different theoretical and methodological implications in the study and uses of this medium. Photography in itself can be understood through materialist, idealist and social constructivist ontological approaches. Whereas the latter is predominant in history and social sciences, a complementarity of different perspectives should be applied when using and assessing photographs as sources. For purposes of historical research the meaning of a photograph is established largely through contextual information about the image, its making, its different uses, and distribution. It is also important to consider how meaning is established in relation to other photographs or texts (i.e., through intertextuality). Issues include the assessment of images, ways of evaluating their credibility, and the questions scholars might ask in interpreting the meanings of the images, including identifying the provenance of the image, as well as the context in which the image appears. Was it intended for public or only private distribution? Was it in an archive, album, used in a publication, as a postcard and how might it be captioned? What affective meaning might it convey? How might one detect a fake? Besides using archival images, photography might also be used for photo elicitation and other experimental or participatory research methods.