hotography appear to have evolved as a consequence of the fact that, early in the evolutionary cycle of photography as applied chemical/light technique, "picture-making itself"
also became a subject. Working with a medium which called so much in art and representation into question, photographers found themselves attending, even if in passing, to the spe cial conditions which obtained in their medium (Jeffrey 10).
The range of cultural, axiological, and epistemological possibilities enabled by the technical practicalities of photography thus can be interpreted as one important cultural impact of photography. Indeed, metaphysical concerns, i.e., concerns about what is real and not merely beautiful or true (= accurately recorded], seem to have intruded upon the history of photography from its very early stages. Such intrusion, according to Jeffrey, was problematic, a consequence of the unique ability of the photograph to record "disinterestedly in despite of its operator's intentions" (13). This ability was also a limitation to the degree the photographer cou
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