ABSTRACT From the late nineteenth century, photography was inseparable from archaeological fieldwork, and object photography in particular was crucial to the creation and circulation of the archaeological artefact. Which objects were selected for photography, how they were photographed, and what then happened to both object and photograph: these interrelated aspects of ‘the object habit’ require further interrogation in order to situate the historical acts of knowledge production through which archaeologists, museum curators, and a wider public have apprehended the material remains of the ancient past. In this paper, I draw on examples of object photography in Egyptian archaeology from the 1850s onwards, and in particular, the archive formed during the 1920s excavation of the tomb of Tutankhamun. Like the objects themselves, photographs were destined to circulate between field and museum, and the photographic requirements of these complementary spaces arguably influenced both the ‘look’ of object photographs and the way the photographs were themselves used and catalogued, not only at the time of a given excavation, but subsequently. As this paper argues, colonial-era formations of knowledge about the object endure in the archive, obscuring the social and material practices through which photography operated.

中文翻译：

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摄影档案中的物品：埃及考古学中的田野与博物馆之间

摘要 从 19 世纪后期开始，摄影就与考古田野工作密不可分，尤其是实物摄影对于考古文物的创作和流通至关重要。哪些物体被选择用于摄影，它们是如何拍摄的，物体和照片发生了什么：“物体习惯”的这些相互关联的方面需要进一步询问，以定位考古学家、博物馆馆长通过的知识生产的历史行为，并且更广泛的公众已经了解了古代历史的物质遗骸。在本文中，我借鉴了 1850 年代以来埃及考古学中实物摄影的例子，特别是 1920 年代图坦卡蒙墓发掘过程中形成的档案。就像物体本身一样，照片注定要在实地和博物馆之间流通，这些互补空间的摄影要求可以说影响了实物照片的“外观”以及照片本身的使用和编目方式，不仅在特定的挖掘时间，而且随后。正如本文所论证的那样，关于该物体的殖民时代知识结构在档案中持续存在，掩盖了摄影运作的社会和物质实践。