This is the final version. Available from Cambridge University Press via the DOI in this record ; This chapter takes up the literary reverberations of two types of photography – still and moving – in the nineteenth and twentieth centuries. The invention and popularization of still photography in the nineteenth century posed a challenge to all existing forms of representation, visual or otherwise: Whereas earlier forms offered necessarily imperfect, inexact, and approximate renderings of depicted subjects, the detached “camera eye” promised total transparency, accuracy, and objectivity. With the invention of silent film and, later, talkies, the camera extended its dominion of objective representation into further dimensions and modalities. Carver reads work by William Empson, William James, W. H. Auden and others to argue that cameras served “not only to make the visible world familiar, as early inventors hoped they might do, but also to make it strange.”