There is a symbiotic connection between photography and science; they are always there. Photography was first published in science in 1839 by François Arago. This is the rhetoric of love and objectivity that scientists loved in the middle of the XIX century. In fact, the close connection between photography and science prevented him from seeking the status of fine art. This photography has a close and long connection with science, it has been used by artists for decades, playing on the concepts of objectivity, reality, documentary and shooting. The author draws attention to the special place, similarities and differences of photography in science and art. Instead of writing a questionnaire, the paper looks at different ideas in history, looks at debates from different historical perspectives, and considers the paradigm of “art history” applied differently to photography. Contradictory rhetoric deals with passivity and control, mechanical and creative rhetoric, and shows how each is used in its place, but always emphasizes the origins, transmission and differences of science and art. The dual nature of photography has aroused the interest of artists and makes it valuable for science.

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Notes
Although François Arago is fully responsible for the first publication of the dagerotype, the original text shows that only part of it is said. Biot’s statement was accepted decades later by astronomer Jules Janssen, who may or may not have known that the biot used an analogy.

[2] I am indebted to the historians of the Max Planck Institute of History, to my colleagues in the Lorraine epic, and especially to those who worked on the Historical Sciences Competition to develop my ideas about photography and competition. The joint volume of this work will be in the future.

[3] The interest in this evidence can be traced to the spread of writing, which began in 1992 with the introduction of the concept of “mechanical objectivity” by Lorraine Dastan and Peter Gallison. Then they worked out their position in Chapter 3 of the Epic and in Gallison. 2007.

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