AcknowledgementsIntroduction:Photography’s MaterialitiesGeoff Bender and Rasmus R. SimonsenSection I: The Materialities of Process and ProductSilver Salts: Realism and Materiality in a French photograph c.1900Maura CoughlinEarly Photogravure & the Material UnconsciousJacob W. LewisSection II: Material RemediationsEvery Contact Leaves a Trace: Edith Wharton and the Forensic ImaginationMary MarchandStructuring Desire in Thomas Eakins’s Painting and PhotographyRasmus R. SimonsenThe Multilingualism of Jacob Riis’s ImagetextChrista Holm VogeliusSection III: Human-Posthuman MaterialitiesComposita, the “Mascot” of the Class of 1886: A (Fictional) Picture of “Real” Victorian-era College Sisterhood and Social-Caste ExpectationsKris Belden-Adams “A Single Multiple Image”: The Visual Rhetoric of An Ethiopian ChiefGeoff BenderSpirit Photography & Rogue ObjectsZachary TavlinObject Lessons: What Cyanotypes Teach Us About Digital MediaDavid LaRoccaAfterwordRasmus R. Simonsen and Geoff BenderGallery with Color PlatesContributorsIndexExtensive variety of material approaches to the study of photography and photographic practicesThere is little dispute that photography is a material practice, and that the photograph itself is ineluctably material. And yet “matter,” “material,” and “materiality” have proven to be remarkably elusive terms of inquiry, frequently producing studies that are disparate in scope, sharing seemingly little common ground. Although the wide methodological range of materialist study can be dizzying, it is this book’s contention that that multiplicity is also the field’s greatest asset, keeping materialist inquiry enduringly vibrant—provided that varying methods are in close enough proximity to converse. Photography’s Materialities orchestrates one such conversation. Juxtaposing the insights of theorists like Lacan, Benjamin, and Latour beside close studies of crime, spirit, and composite photography, among others, this collection aims for a productive synergy, one capacious enough to span transatlantic spaces over the long nineteenth century.There is little dispute that photography is a material practice, and that the photograph itself is ineluctably material. And yet “matter,” “material,” and “materiality” have proven to be remarkably elusive terms of inquiry, frequently producing studies that are disparate in scope, sharing seemingly little common ground. Although the wide methodological range of materialist study can be dizzying, it is this book’s contention that that multiplicity is also the field’s greatest asset, keeping materialist inquiry enduringly vibrant—provided that varying methods are in close enough proximity to converse. Photography’s Materialities orchestrates one such conversation. Juxtaposing the insights of theorists like Lacan, Benjamin, and Latour beside close studies of crime, spirit, and composite photography, among others, this collection aims for a productive synergy, one capacious enough to span transatlantic spaces over the long nineteenth century.