Thomas Annan is a fascinating study, both in the particular case of Lionel Gossman’s fine monograph on this photographer (I nearly wrote ‘artist’) and in the general sense of an individual experimenting with a dynamic new technology. The tensions in this first sentence are revealing: photographer, artist, scientist. The truth is that these rigid categories become fluid in the context of photography’s development in the 19th century, and the work of Annan is caught in the vortex. Continue reading
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