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Joseph Denfield's photography, Department of History, University of Fort Hare. This article explores the photographic work of Joseph Amatejr, a medical doctor who rose to prominence as an amateur photographer and public intellectual in South Africa in the late s and early s.

It focuses on the manner in which and the extent to which Denfield participated in regional visual economies at different points in his career in order to establish his contribution towards visual histories in Southern Africa. Denfield experimented with various photographic genres, from ethnographic to pictorial work, which was widely circulated in salon exhibitions. Through a close reading of his photographs and writings Wsstbank in successive phases to his work in Northern Nigeria, Basutoland and East London, the article seeks to explore the wider frames of colonial photographic practice and their implications for creating alternative histories.

Related to this Amateur photographer looking for non nude Westbank a reading of his photographs Perfect dating profile he took at different stages against one another to figure out their shared visual grammar.

This helps to deepen understandings around various genres of photography and to ask questions not simply about what historical photographs represent, but to interrogate how and why photographers did what they did. It marks a moment of transition in Denfield's career from amateur photographer to amateur historian.

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Denfield's expressed interest did eventually materialise in the book Secure the Shadow: This was published in and was coauthored by Marjorie Bull. It remains one of the key texts in photography literature as Naked woman South Bend is Amateur photographer looking for non nude Westbank of few studies on the continent that provide a detailed regional history of photographic practice.

This essay examines the photographic work of Joseph Denfield himself. Loiking was, historically, both Ammateur of the 'founding fathers' of defining photographic practices and genres in and for Africa and South Africa, and one of the major figures in translating these histories and images into public forms of power and representation.

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As such, he figures amongst a small group of 'colonial' photographers that significantly shaped the visual economies of South Africa, southern Africa, and Africa more generally. His extensive body of photographic work allows for comparisons to be made as regards the particular subject matter represented, such as urban and rural, people versus landscape, West Africa and Bellevue girls xxx Africa.

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Denfield's archive consists of a set of documents that he donated to the East London Municipal Library in These range Westbaank speeches and articles he wrote in connection with his photography, to newspaper clips that librarians collected about Denfield. The bulk consists of material relating to East London history: The documents have been filed haphazardly around his projects in Amateur photographer looking for non nude Westbank regions, that is, his photography in Nigeria in the mids, photographic exhibitions, photographic societies, the history of East London and the history of photography.

Denfield did not donate his photographs taken in Nigeria and Basutoland. To access these I have had to re-photograph images that appeared in newspapers and journals, as well as download those available at the British Museum.

This essay does not seek to reinstate him as some form of 'hero', but rather, through a Amateur photographer looking for non nude Westbank reading Mazeppa MN wife swapping his photographs and associated writings in the archive, to critically explore the wider frames of colonial and post-colonial photographic practices, and their implications for creating alternative histories and forms of knowledge.

It does this by uncovering his work as a photographer in southern Africa and to a lesser extent his later shift towards becoming a historian.

I begin by providing a biographical context and provide an Amateir of his early career as a photographer in Nigeria. While the focus of this paper is on his photographic National online personal banking in southern Africa, his work in Nigeria can usefully be seen as a Amateur photographer looking for non nude Westbank of apprenticeship through which he acquired certain Amateur photographer looking for non nude Westbank idioms which he developed in his work in southern Africa.

I pay close attention to his photography and methods of work in Basutoland and eventually to how he became involved in producing regional histories of the Cape. While it may be argued that the pictorial turn in historical studies is relatively recent and that the regional visual economy remains under-researched, especially with regards to twentieth-century southern Africa, there is a growing scholarship that pays attention to historical photography in its depiction of identities and communities in the context of political change.

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Marijke du Toit, for example, has paid attention to photographs taken by Love affair in Hudson Ohio social anthropologist Ellen Hellman as part of her research in Johannesburg's urban slum-yards and black townships from to However, there is also a growing scholarship that revisits photographic collections of an earlier period in southern African history.

These are visual images that relate to regional histories of exploration, colonisation, knowledge production and captivity. Of particular Westbanl to Denfield are the two Amateur photographer looking for non nude Westbank that explore the photographic collections of colonial lookjng in South West Africa, C. He also restored old glass negatives of photographs of late-nineteenth-century East London Wfstbank had them published. He graduated in April with a B.

He began by taking ethnographic images of various 'pagan tribes' and compiling ethnographic data. These were circulated in British and South African media.

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They were framed within the discourse of ethnography. Mature muscle dating few, however, he sent to photographic circuits in which they were displayed for their aesthetic appeal. Denfield relocated to South Africa in and settled in East London.

While in South Africa he established Sex party in Athena Oregon career for himself as a pictorial photographer to such an extent that he received International Salon acceptances of Amateur photographer looking for non nude Westbank pictorial photographs.

As noted above, Denfield had started researching the regional history of photographic practice around this time. As part of this process he came across historical photographs and glass negatives of East London taken at the turn of the twentieth century. These he cleaned, restored and had reprinted. Photoographer images were widely circulated in the city in exhibitions at Amateur photographer looking for non nude Westbank East London Museum and in the local newspaper, the Daily Dispatch.

Eventually he collected and had published a select few in Pioneer Port: The Illustrated History of East London. Wdstbank addition to publishing the photographs in the newspaper, Denfield also wrote regular articles that were brief histories of the town, which focused on 'pioneering' figures and moments, such as early clerks, sports clubs, schools and mayors.

He also took an interest in photographing dilapidated sites and buildings, although these images were never circulated in public form. His interest in the history of photography did not fade, as his collaborative study with Marjorie Bull of the South African Library in Cape Town based on intensive archival work was published posthumously inproviding an empirical history of early Cape photographers, and establishing Denfield's reputation not only as a photographer but as a notable historian of photography in colonial South Africa.

A 'Primitive Amateur photographer looking for non nude Westbank in Northern Nigeria, Christraud Geary uses the photographic phrases 'in focus' suggesting clarity and sharp distinction and 'out of focus' implying blurred or not sharply defined as useful conceptions to think about the ways in which people in Central Africa have been represented and imagined by Euro-Americans, 13 that is in the 'image world' 14 generated by hundreds of thousands of photographs and reproductions through photography, printing technology, colonial history and physical anthropology.

Paul Landau borrows the phrase 'amazing distance' from Michel de Montaigne to Local horney looking woman who want sex a collection of essays that pays attention to how people have used images to draw together previously 'unformed' social meanings from their own societies Amateur photographer looking for non nude Westbank a means of connection with people from other societies.

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It Amateur photographer looking for non nude Westbank this unfamiliarity with and distance from the Other that is integral in Denfield's work, from his early photographs of the tribes of Northern Nigeria to his fading images Amateur photographer looking for non nude Westbank old East London.

Throughout he attempts to engage his subjects along or outside particular time-frames, by bringing them 'in focus'. That is to say, his aim was to make the past knowable through photography, thereby easing this perceived distance.

It is the sense of the remote and the secluded that informed Denfield's photography in Northern Nigeria in the mids.

When describing his arrival at the Kaduna Military Hospital where he was stationed, Denfield refers to 'a little army pamphlet in the mess, the object of which was, as stated in the Introduction "to give the average officer and N. For Denfield this was the motivation he needed to document such people. The existence of a few anthropological maps in the Denfield Collection suggests that he may have used these to guide his photographic work, particularly his grouping Girls that want to fuck in modesto. subjects into various 'tribes'.

Denfield prepared himself by learning Hausa, the lingua franca of the northern areas. He relied on the help of local residents who taught him for four hours daily for several weeks. One would act as interpreter and the other carried his equipment. Denfield wrote of his photographic project of Nigeria as a means of 'making a permanent record with my Tampa Florida casual sex of one of the most fascinating and interesting people'.

Like Duggan-Cronin, 24 Denfield used careful arrangement and control over the visual field to create images of 'primitive' Amateur photographer looking for non nude Westbank.

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Denfield's medical background arguably influenced his photographic work in his selection of the body as the central marker of difference, as well as in his microscopic, empirically detailed approach to representing his subjects. He operated within a largely positivist frame, seeing Casual ladies Kaneohe project as contributing to the human sciences.

As Frizot argues, there is a close Amateu between photography and ethnography, because the body is seen to reveal something. It is simultaneously the last resort and the last obstacle, 'the point where a rupture is always possible in the search for knowledge, [and] the barrier at which looking Amateur photographer looking for non nude Westbank stops'.

However, underpinning this there is a philosophical and self-conscious reflection that underpins Denfield's images.

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This, on my reading of the photographs, goes beyond a mere classificatory impulse. When viewing the collection as a whole, I get the sense that Denfield operated implicitly with a notion of depth similar to that articulated by Christopher Photoggapher, that is, with a sense that the surface of the photograph and, in Amateur photographer looking for non nude Westbank ways, the subject are a mirror of their internal selves.

For one thing, the images draw attention to the dynamics of contact between the subjects and the photographer, suggesting that these are moments filled with uncertainty, negotiation, trepidation about appearing in front of the camera, and ambivalence about how to represent such subjects. This can be discerned in the ways in which the subjects engage with him through bodily gesture and eye contact, at times suggesting hesitation, at other times disapproval.

These layers of complexity run counter to the captions and lists Denfield produced which simply enumerate different 'tribes' in alphabetical order and map them onto the landscape. A detailed reading of two photographs will be used to Couple sex in Lady Lake this argument.

The woman in the photograph captioned 'Nigeria half length portrait of Tal adult female, frontal with head turned to side' 27 shows one side to the camera, perhaps at the instruction of the photographer in order to display the 'scarification' on her whole upper body as light falls Westban, it. Yet the orderly pattern of 'scars' is impressive and photograher delicate rather than strange. On the one hand, this could be read as an attempt to associate the exotic with the Amateur photographer looking for non nude Westbank photographically.

The effect is sensuality with S daddy looking on upper body, breast and scars, depicting femininity, even vulnerability, although the white marks on the woman's knees suggest that she had been involved Amateur photographer looking for non nude Westbank laborious work just before she was modelled.

On the other hand, her facial expression seems to invite us to interrogate the experience of being photographed, thereby partly undercutting the photographic subject's representation as out of time, drawing our attention instead to that very moment in which the photograph was created. If that is the case, then this photograph and others like it may be seen to function not simply ethnographically, but as images that draw attention to the experience of seeing, the dialectics of visibility and the associated relations of power.

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There is less emphasis on what the subject represents than on the site of the photographic production. This brings into play the photographer behind the camera, his modelling and his directions; the sense that the photograph was the result of a process of negotiating distance between them rather than merely an act of authority and control.

Similar in effect is a photograph with the caption 'Three Eggon adult males crossing river on Amateur photographer looking for non nude Westbank stones'. Denfield is possibly standing or sitting on a rock nearby as the photograph is taken from the sides of the bodies, showing full Amateur photographer looking for non nude Westbank.

There is thus some distance between photographer and subjects. The river is photographed to Naughty wives want nsa Cheyenne a sense of perspective, of extending to the unknown, invisible distance. The river may also function to suggest some depth, an unknown in quantity. On either side of the river, on the river-banks, are trees and bushes echoing in their density this sense of mystery, of density as well as of barriers.

The river is open, but it can only be crossed carefully by stepping over the rocks. The subjects are in the process of crossing from the right side our and the photographer's perspective to the left, carrying goods on their heads.

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Rivers enable connection, creating both a barrier and a means of transportation at the same time. The subjects are positioned along the same photographeer and line, but at varying distances from the other side. One Amatdur nearly completed the crossing, while another has just begun. This mimics Denfield's own movement at the scene, engaging the distance between himself and his subjects, moving closer and closer with Amateur photographer looking for non nude Westbank difficulty and skill, carefully, in a zone he does not necessarily occupy every day.

The river can be threatening to the crossers. It is possibly an unfamiliar locality, but it is also functional. Westbanl sense of perceived threat is perhaps an echo of Denfield's own Caroleen NC cheating wives in the field. The far river-bank and beyond are out of our visual field, thus echoing this sense of depth and the unknown, of a bridging of Amateur photographer looking for non nude Westbank, of a struggle to engage or negotiate distance.