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A ̊bo Akademis Fo ̈rlag, 2000.PHOTOGRAPHY IN AFRICA: SOUTH
AND SOUTHERN
Photography has been practiced in Southern Africa
since the earliest days of the medium. From its
earliest years in Africa there has been a tension
between the documentary and the artificial uses of
photography, a tension which was made more pro-
found due to the pressures of foreign domination
and racial classification derived from the colonial
period. According to scholar Karel Schoeman , just
as they became popular abroad, plate glass images,
daguerrotypes, and ambrotypes, as well as paper
images were also made in South Africa by private
amateur or traveling artists, and by 1846 they were
being produced in commercial photography stu-
dios. Cartes-de-visite were produced by Arthur
Green in Cape Town as early as 1861. The conven-
tions for sitters and their attire followed those of
Victorian Europe. Also notable for this period were
the anthropometric studies of Khoi-San people
made by Wilhelm Bleek, whose attention was
more directed at aspects of physical description
and items of dress of the ‘‘natives’’ than the style
of memorial portraiture seen in visiting cards of
white subjects. By the 1890s, postcards were also
produced in Southern Africa, mostly for tourist
consumption. They described scenes from the dia-
mond and gold mining camps, the rise of great
cities Cape Town, Durban, Port Elizabeth, and
Johannesburg, technological marvels, railroads,
the destructiveness and genocide of the Boer
War, native ‘‘types,’’ and various aspects of the
control of native populations by colonial powers
and settlers, including images of Africans admin-
istering corporal punishment to other Africans.
Another early use of photography in Southern
Africa, as noted by Patrick Harries, was as propa-
ganda for missionaries, especially ‘‘before and
after’’ shots of Christianized and western-clothed
Africans. Also, in Mozambique, Harries notes that
the anthropologist Henri-Alexandre Junod used
photography to present a view of ‘‘primitive’’
Thonga society living ‘‘close to nature,’’ in con-
trast to Europeans in cities who were experiencing
the ‘‘trauma of industrialization.’’
By the time of the partition of the African con-
tinent among European powers after 1884, thus at
the height of the colonial enterprise, European
photographic greeting cards had evolved from the
chromolithograph trade. These cards, collected in
albums, were made as souvenirs of places traveled
to in Europe, and also in its colonial outposts.
What began as exoticism at home was transferred
quickly to an exoticism of the colonial world, and
thus it became fashionable among the middle class
of Europe and in Africa to collect images of the
scenes and types of the ‘‘countries of the world.’’
These cards started as lithographic prints, soon
included photographic prints, and then went into
mass production using the halftone screen process.
Christraud Geary notes that by 1900, Sallo Epstein
and Company in Johannesburg had become the
largest publisher of postal cards in Southern
Africa. Epstein and other commercial houses, as
well as individual artists, according to Geary,
worked along the lines similar to photographers
in other African territories. They reproduced simi-
lar stereotypes of the ‘‘native,’’ such as the solitary
warrior male and the seductively arranged, eroti-
cized native female group. Studio portraits of Afri-AFRICA: NORTH, PHOTOGRAPHY IN