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(1) A. Young, Voyage en France （1787），引自Sabine Melchior-Bonnet, The Mirror: A History, p. 85。
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(2) Sabine Melchior-Bonnet, The Mirror: A History, p. 85.
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(3) 这批照片最早的集中展示是1989年在维多利亚和阿尔伯特博物馆举行的《克莱门蒂娜·哈瓦登子爵夫人：摄影师》（Clementina, Viscountess Hawarden
:Photographer）展，随后巡展到纽约现代美术馆（The Museum of Modern Art）、洛杉矶盖蒂美术馆（J. Paul Getty Museum）与巴黎的奥赛博物馆（Musée d’Orsay）。重要出版物包括：Domestic Idylls，Malibu, CA: The J. Paul Getty Museum, 1990;Clementina, Lady Hawarden: Studies From Life 1857-1864，New York: Aperture Foundation, 1999。最近的一本有关哈瓦登夫人的专书是Carol Mavor的Becoming
:The Photographs pf Clementina, ViscountessHawarden, Durham: Duke University Press, 1999。作者从“色情”（eroticism）角度分析哈瓦登夫人的摄影作品，因此和此处讨论的关系不大。
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(4) Virginia Dodier, Clementina, Lady Hawarden: Studies From Life 1857-1864.Denville, NJ.: Aperture, 1999, p. 21.
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(5) 不排除照片中的女子是摄影家的姐姐安妮，但多迪尔认为从身形来看应该确是摄影家本人。在笔者看来，照片本身显示的人物和相机的关系也支持这个结论。
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(6) Heather Brink-Roby，“Psyche: Mirror and Mind in Vanity Fair，”ELH 80.1（Spring 2013）, pp. 125-147.
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(7) Heather Brink-Roby，“Psyche: Mirror and Mind in Vanity Fair，”ELH 80.1（Spring 2013）, p.126.
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(8) 原文中的“自由人”（Freemen）应为“自由人管理局”（Freedmen’s Bureau）的简称。
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(9) 此处根据https://en.wikipedia.org/wiki/White_slave_propaganda提供的信息。
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(10) David Donald等， Civil War and Reconstruction，New York: Norton, 2001, p. 229。
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(11) 关于朱拉隆功的政治生命，参见陈鸿瑜，《泰国史》（增订本），台北：商务印书馆，2015年，第184—209页。
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(12) 一份很有深度的对暹罗内宫制度的分析是Tamara Loos，“Sex in the Inner City: The Fidelity between Sex and Politics in Siam”, The Journal of Asian Studies, vol.64, no. 4（Nov., 2005）, pp. 881-909。
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(13) Phonsiri Bunranakhet，“Nangnai: Chiwit thang sangkhom lae botbat nai sangkhom Thai samai ratchakan thi 5”[Inner Palace Women: Social Lives and Roles in Thai Society during the Reign of Rama V]. Master’s thesis, Thammasat University, 1997, p. 56.
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(14) Malcolm Smith，A Physician at the Court of Siam. Reprint, Kuala Lump: Oxford University Press, 1982, p. 56.
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(15) Leslie Woodhouse,“A Very ‘Modern’ Matron: Phra Rachya Dara Rasami as Promoter and Preserver of Lan Na Culture in Early Twentieth-Century Siam”, online book chapter, https://lesliecastrowoodhouse.com/listing-02/; idem,“Concubines with Cameras: Royal Siamese Consorts Picturing Femininity and Ethnic Difference in Early 20th Century Siam”, Trans Asia Photography Review 2.2（Spring 2012）: Women’s Camera Work: Asia. http://hdl.handle.net/2027/spo.7977573.0002.202
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(16) 参阅Tamara Loos，“Sex in the Inner City: The Fidelity between Sex and Politics in Siam,”pp. 889-891。
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(17) 根据Leslie Woodhouse,“Concubines with Cameras: Royal Siamese Consorts Picturing Femininity and Ethnic Difference in Early 20th Century Siam”。个别事实参考了Mary Ellen Snodgrass, Women’s Art of the British Empire, Lanham : Rowman & Littlefield, 2020, p. 30。
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(18) “Information about Thai Arts!”. Thailand.com. 20 August 2013.
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(19) 关于她的身世和艺术活动，见Leslie Woodhouse,“A Very ‘Modern’ Matron: Phra Rachya Dara Rasami as Promoter and Preserver of Lan Na Culture in Early Twentieth-Century Siam”。
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(20) Joachim K. Bautze, Unseen Siam: Early Photography 1860–1910，Bangkok
:River Books, 2017.这本对早期暹罗摄影的详细介绍所包括的摄影师基本都是欧洲人。
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(21) Leslie Woodhouse,“Concubines with Cameras: Royal Siamese Consorts Picturing Femininity and Ethnic Difference in Early 20th Century Siam,”note 42.参阅Eric Jones, Wives, Slaves and Concubines: A History of the Female Underclass in Dutch Asia，DeKalb, IL.: Northern Illinois University Press, 2010。
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(22) Anek Nawikkamune，History of Early Thai Photography，Bangkok: Sara Khadi Publishing, 2005.
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(23) Leslie Woodhouse,“Concubines with Cameras: Royal Siamese Consorts Picturing Femininity and Ethnic Difference in Early 20th Century Siam.”
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(24) 许多书中把他的英文名错写为John Hepburn Dudgeon。John Hepburn Dudgeon实有其人，但是从未去过中国。参见R. G. Tiedemann, ed., Handbook of Christianity in China, vol. 2, Leiden: Brill, 2009, p.356, note 4。
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(25) 德贞，《脱影奇观》原序，北京，同治十二年（1873）版，“元”册，第1页上。此项材料由摄影史研究者徐婷婷告知，特此致以谢意。
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