Andrew Davidhazyhttp://www.rit.edu/~andpph/
Behind the Viewfinder—A Year in the Life of Photojournal-
ismhttp://www.digitalstoryteller.com/YITL/default.htm
Bengt’s Photo Pagehttp://w1.541.telia.com/~u54105795/
British Columbia Historical Photographs Onlinehttp://
aabc.bc.ca/aabc/archphot.html
British Journal of Photography On Line http://www.
bjphoto.co.uk/
Canon Camera Museum http://www.canon.com/camera
museum/index.html
Charles Daney’s Photography Pagehttp://www.mbay.net/
~cgd/photo/pholinks.htm
Classic Cameras http://home.t-online.de/home/tigin/camin
dexe.html
Classic Camera Websitehttp://www.cosmonet.org/camera/
index_e.html
Corbiswww.corbis.com
Daguerreian Societyhttp://www.daguerre.org/
Digital Photography and Imaging International http://
http://www.digitalphoto.com.nf/
Don Colucci’s Antique and Classic Camera Websitehttp://
members.aol.com/dcolucci/index.html
First Photograph http://www.hrc.utexas.edu/exhibitions/
permanent/wfp/
George Eastman Househttp://www.eastmanhouse.org/
History of Photography in Japanhttp://photojpn.org/HIST/
hist1.html
International Museum of Photographyhttp://www.icp.org/
index.html
Kodakhttp://www.kodak.com/
Library of Congress Prints and Photographs Online Cata-
loguehttp://lcweb.loc.gov/rr/print/catalog.html
Masters of Photography http://www.masters-of-photogra
phy.com/
Maison Nice ́phore Nie ́pcehttp://www.niepce.com/home-us.
html
Midley History of Photography http://www.midleykent.
fsnet.co.uk/
Mike Ware’s Alternative Photography Pageshttp://www.
mikeware.demon.co.uk/index.html#anchor1730286
New York Public Library digital collectionshttp://digital.
nypl.org/
Musee ́de l’’Elyse ́e Lausannehttp://www.elysee.ch/
Online Photographyhttp://www.onlinephotography.com/
PhotoDiscwww.photodisc.com
The Photographic Historical Society (TPHS)http://www.
tphs.org/
PhotoHistorians http://www.clt.astate.edu/wallen/photohis
torians/
PhotoLinkshttp://www.photolinks.com/
Photo.nethttp://www.photo.net/
Popular Photographyhttp://www.popphoto.com/
Qiang Li’s Photo Critique Forumhttp://www.photocritique.
net/
ReVue Photographyhttp://www.revue.com/
Robert Leggat’s History of Photographyhttp://www.rleg
gat.com/photohistory/
Royal Photographic Societyhttp://www.rps.org
la Socie ́te ́ franc ̧ aise de photographiehttp://www.sfp.photo
graphie.com/
Still Journalhttp://www.stilljournal.com/
Sorryeverybodyhttp://www.sorryeverybody.com/
TimePixhttp://www.timelifepictures.com/
University of California at Riverdale Museum of Photogra-
phyhttp://www.cmp.ucr.edu/
WireImagehttp://www.wireimage.com/
Women in Photographyhttp://www.womeninphotography.
org/bookarchive/INTERPRETATION
To interpret a photograph is to make sense of it for
oneself and to learn what it means to others. For
many viewers, photographs seem to be transparent,
obvious, like looking at actual persons, things, and
events in the world, and in little need of interpreta-
tion as images. Because photographs are made from
light reflecting off of people, places, and objects in
the world, they have attributes of what C. S. Peirce
called ‘‘indexical’’ qualities. The photographic sign
is caused by what it signifies, or in Roland Barthes’s
definition, a photograph is ‘‘that which has been.’’
Thus, given this causal connection to reality and an
inherited Renaissance style of realistic depiction,
people often view snapshots, news photographs,
advertising images, and art photographs as tran-
scriptions of reality rather than as opinionated and
influential constructs bearing situated knowledge
and invested expressions. Photographs are factual,
fictional, and metaphorical, and need to be inter-
preted. The interpretation of art, for Arthur Danto,
entails seeing the work as being about something,
projecting a point of view by rhetorical means, re-
quiring interpretation within a cultural context.
InErnstGombrich’sandNelsonGoodman’sview,
there is no innocent eye, and by implication, no inno-
cent camera, or viewer. According to Goodman,the eye functions not as an instrument self-powered and
alone, but as a dutiful member of a complex and capri-
cious organism. Not only how but what it sees is regu-
lated by need and prejudice. It selects, rejects,
organizes, discriminates, associates, classifies, analyzes,INTERPRETATION