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| Photography is clearly not a mirror of daily life: that images are constructions is especially obvious in19th-century studio portrait photography. This book explores how indigenous Iranian photographers constructed their own realities in contrast to how foreign photographers constructed Iranians’ realities. Through an in-depth comparative visual analysis of 19th-century Iranian portrait photography and Persian painting the author arrives at the insight that aesthetic preferences correlate with socio-cultural habits and practices in writing reading and looking. Subsequently she advocates for a place in a global history of photography for those unknown local photo histories (such as the Iranian one) and for the indigenous photographers who produced them |
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