Abstract

This article suggests itself as a movement towards a theory of thinking in photography – that is to say, of thinking photographs. The notion of art as related to thinking is by no means a contemporary one. Within this tradition that has its roots in the advent of modernity, artworks – and particularly paintings – have long been viewed as a form of both thought and thinking. Photography’s place within this tradition, however, is not an easy one. Many of the philosophical accounts surrounding thinking in painting focus on the devices through which painting is said to be thinking. Hubert Damisch and Gilles Deleuze offer the two most comprehensive accounts on this topic, but are the thinking devices proposed by them applicable to photography? Through the discussion of these theories, this article maps the existing philosophical landscape vis-à-vis the thinking image: locating photographic thought within that landscape is the first step towards understanding the peculiarities of photographic thinking.