ABSTRACT
When considered from a historical perspective, photography is the first reproductive medium to have anticipated its own critique and position against other media.1 Before there were any discussions about the scientific purpose of photographic recording procedures, and even before debates over the artistic value of these images, one thing is remarkable: from its very beginning, the history of photography has been a matter of both images and texts. With respect to the first photographic procedures, from the moment of their disclosure, what can be shown and what we can see was formed by a discursive order that has been guided by a multiplicity of texts. And on this stage of media history, behind the scenes as it were, doubt plays a decisive role.
