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A Central to the nineteenth-century debate about the nature of photography as a new technology was the question as to how far it could be considered as art. It was celebrated for its putative ability to produce accurate images of what was in front of the camera's lens: images which were seen as being mechanically produced and thus free of the selective discriminations of the human eye and hand. On precisely the same grounds, the medium was often regarded as falling outside the realm of art as its assumed power of accurate, dispassionate recording appeared to leave no room for the artist's compositional creativity.
B Debates concerning the status of photography as art continued to take place in periodicals throughout the nineteenth century. The French poet Baudelaire linked "the invasion of photography and the great industrial madness of today" and asserted that if photography is allowed to deputize for art in some of art's activities, it will not be long before it has supplanted or corrupted art altogether. In his view, photography's only function was to support intellectual enquiry.
C Baudelaire was not alone in this view. Absolute material accuracy was seen as the hallmark of photography, and the nineteenth-century desire to explore, record, and catalogue human experience, both at home and overseas, encouraged people to emphasize photography as a method of naturalistic documentation, rather than any type of art form.
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