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76                          David Rolph


                                 that  ‗[s]pecial  considerations  attach  to  photographs  in  the  field  of
                                 privacy‘.  There  has  been  a  clear  change  in  judicial  approaches  to
                                 photography.  The  reasons  for  this  change  are  the  need  to  overcome  a
                                 glaring deficiency in the common law and the obligation to comply with
                                 human  rights  obligations,  notably  in  the  United  Kingdom  where  the
                                 European Convention on Human Rights has been enacted into domestic
                                 law. This article argues that one of the crucial aspects of this development
                                 of direct privacy protection in the United Kingdom and Australia is  an
                                 implicit,  profound  but  unacknowledged  epistemological  shift  in  the
                                 treatment of photography. Whereas the common law previously treated
                                 the human eye and the camera as equivalent – what one can see one can
                                 photograph – it now treats the human eye and the camera as different.
                                 This article argues that it is only by making this epistemological shift that
                                 one  can  move  from  a  position  where  there  is  no  wrong  in  looking  or
                                 seeing  (and,  by  extension,  photographing)  to  a  position  where
                                 photographing  is  viewed  as  a  distinct  act  from  looking  or  seeing,  and
                                 photographing, recording and disseminating images can be viewed as a
                                 wrong.


                                                     INTRODUCTION

                                 At the outset of Christopher Isherwood‘s Goodbye to Berlin, the narrator
                             famously asserts:

                                    ‗I am  a  camera with  its shutter open, quite passive,  recording,  not
                                 thinking.‘ [Isherwood]

                                 This conflation of the narrator and the narrated and, more importantly, this
                             metaphorical equivalence of the human observer and the mechanical recording
                             device  resonate  with  the  common  law‘s  traditional  approach  to  privacy  and
                             photography. The starting point of the common law is the general proposition
                                                                 1
                             that what one can see, one can photograph.  Therefore, the common law too, at
                             least initially, rested upon an equivalence of the human eye and the camera.
                             Whereas the common law was so certain for so long about this equivalence,
                             Isherwood‘s narrator was not. One may doubt the claim to objectivity, such as
                             it  is,  by  Isherwood‘s  narrator  but  the  metaphor  nevertheless  conveys  his

                             1
                               See also Bernstein v Skyviews & General Ltd [1978] QB 479 at 488 per Griffiths J; Bathurst
                                 City  Council  v  Saban  (1985)  2  NSWLR  704  at  706-08  per  Young  J;  Lincoln  Hunt
                                 (Australia)  Pty  Ltd  v  Willesee  (1986)  4  NSWLR  457  at  461-62  per  Young  J;  Raciti  v
                                 Hughes (1995) 7 BPR 14,837 at 14,840 per Young J.
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