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The paper was provoked by viewing various selections of the photos taken by Bourdieu in Algeria in the late 1950s and early 1960s. The paper is divided into two parts. The first part considers three stages in the production and consumption of Bourdieu's photos. The possibility that the third of these stages – the gallery display of Bourdieu's photos in the present – might be a betrayal of the sociology of photography and of art galleries that Bourdieu attempted in the 1960s leads to the discussion of the second part of the paper. Part 2 first contextualises the work on photography undertaken within the Centre de Sociologie Européenne in the early 1960s and then, secondly, discusses the emergence of divergent sociologies of photography in the work of Bourdieu and Passeron. The purpose of the discussion is to ask which of the theories of photography which developed in association with Bourdieu's photographic activity now enables us better to respond to Bourdieu's photographic products. [ABSTRACT FROM AUTHOR]

Today Pierre Bourdieu is well known as one of the most important social scientists of the 20th century. One of the outstanding qualities of his work has been his innovative combination of different methods and research strategies as well as his analytical skills in interpreting the obtained data (his ‘sociological gaze’). In this paper, we attempt to retrace the development of an extraordinary way of doing social research and show the benefit of Bourdieu's visual sociology for his empirical fieldwork and sociological theory. The article particularly stresses the significance of his photographic archive, which has long been ignored within the appreciation of Bourdieu's work. Studying Bourdieu's photography gives access to his œuvre in several new ways: not only can we understand how Bourdieu became an unconventional sociologist practicing his craft in the midst of a colonial war. Bourdieu's visual anthropology also offers an insight into the status nascendi of Bourdieu's sociology in all its elementary forms and contents. Through his photography Boudieu demonstrated the concepts of ‘habitat and habitus’, the material and symbolic living conditions of the Algerian population. [ABSTRACT FROM AUTHOR]