The Photographic image: the face of Sydney and August Sander's typologies

Research output: Contribution to journalArticlepeer-review


Taking the Face of Sydney – which is a digital composite image – as its point of departure this article begins an investigation into the relation between August Sander’s Weimar facial typologies and the digital Face of Sydney. This leads on to a reflection on the nature of the photographic image in relation to knowledge, technology and time. The conclusion proposed is that the photographic image has to be understood as an entity that is quite distinct from the forms of technicity that allow it to appear. Indeed, in following Roland Barthes, I argue that the photographic image, like the image in general, is uncoded and thus unnamed. The question raised in light of this is: what is the nature of the human in the context of such an approach to the image?
Original languageEnglish
Pages (from-to)191-204
Number of pages14
JournalPhilosophy of photography
Issue number2
Publication statusPublished - 2013


  • autographic traces
  • digital
  • face
  • photographic image
  • punctum
  • typology


Dive into the research topics of 'The Photographic image: the face of Sydney and August Sander's typologies'. Together they form a unique fingerprint.

Cite this