Abstract
Abstract The ‘white mythology’ of photography is concerned with the epistemological status of photography.1 It is concerned with policing that status, overseeing it, fencing it in, framing it, riding herd on the interpretations of photographs, and ruling out of serious consideration certain photographic practices. The ‘white mythology’ of photography has occurred within the writings about photography for most of its history. Indeed, since (as we shall see) it began in I839 and versions of the ‘white mythology’ are still being written, it has some claim to be co-extensive with the life of photography as a practice— or rather, as a number of related practices. The ‘white mythology’ of photography is therefore a commonplace, and its main assertions can be summarized briefly as follows:
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