In recent decades, the philosophical literature on photography has flourished (see, for example: Scruton 1981; Walton 1984; Currie 1991; Maynard 2000; Savedoff 2000; Friday 2002; Cohen and Meskin 2008; Gaut 2008; Davies 2009; Phillips 2009; Abell 2010; Nanay 2010; Atencia-Linares 2012; Pettersson 2012; Mag Uidhir 2012; Cavedon-Taylor 2013; Benovsky 2014; Hopkins 2015; Lopes 2016; Walden 2016; Costello 2017; Toister 2020; Anscomb 2021; Wilson 2021). Despite these developments, disagreement persists about how to define photography, whether it is an art form independently of other media and if so how, whether it has any epistemic advantages over other media, how it is changing in the digital age, and the ontology of photographic works. This special issue seeks to advance the debate about the philosophy of photography, and how we should understand and appreciate photographic practices and their products. To this end, Dr Dawn Wilson (University of Hull) will be contributing a target article, “Music, Visualisation and the Multi-stage Account of Photography”, which has been specially written for this issue.
The editors invite papers of up to 3,500 words, that are either original articles on any topic relating to the philosophy of photography or that directly engage with the content of Dr Wilson’s article. Accepted papers of the latter kind will be published alongside the target article with a response by Dr Wilson. An abstract of Dr Wilson’s article can be found to the right. Those who are interested in responding to Dr Wilson’s work are asked to contact the editors (firstname.lastname@example.org) who will pass along a draft of the article. All those who submit a paper are also asked to state whether they would be interested in participating in a workshop that is being planned on the theme of this issue (more details to follow on this).