This article examines the networks that form an archive using variations on a single photograph from the Thomas Rodger studio of St Andrews. Using the concept of a ‘thick thing’, the article charts the trajectories of photographs of Bronze Age funerary urns as they left Rodger’s studio, were collected in albums and used in lectures, and returned to the University of St Andrews Special Collections. Taking just one of Rodger’s photographic assignments as a prism allows us to think about the circulation of many of his photographs both during his lifetime and after, as both the creation of ‘thick things’ and as ‘material performances’ that have since gained the title ‘Early Scottish Photography’ in the St Andrews Special Collections. From a humble object photograph and its variations, the article argues for the agency of the photographs and their studio origins in forming the special collections’ photographic collection, and making, in a very literal sense, the stuff from which we write history.

中文翻译：

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不是一个而是许多：摄影轨迹与历史的创造

本文使用来自圣安德鲁斯 Thomas Rodger 工作室的单张照片的变体检查形成档案的网络。文章使用“厚物”的概念，描绘了青铜时代骨灰盒离开 Rodger 工作室、被收集在相册中并用于讲座，并返回到圣安德鲁斯大学特别收藏馆的照片的轨迹。仅以罗杰的一项摄影任务为棱镜，我们就可以思考他生前和生后的许多照片的流通情况，既是“厚实的东西”的创作，也是后来获得称号的“物质表演”圣安德鲁斯特别收藏中的“早期苏格兰摄影”。从一张不起眼的物体照片及其变体，