Legislation on benefit sharing dates back to 1992 and the commandment of the UNConvention on Biological Diversity, hence implementation still has few cases to fall back on(CBD, 1992). The case study of the project ProBenefit presented by the thesis highlights howlack of deliberation can undermine a democratic process. The objective of the thesis is thatProBenefit’s attempt to implement the standards of the CBD on access and benefit sharingwill highlight not only problems met by this specific project, but difficulties that generallymeet democratic processes in contexts of high inequality. To define if the project ProBenefitsucceeded in carrying out a deliberative process the project will be analyzed by the criteria:access to information, representation, legitimacy and involvement.The population in the project area of ProBenefit had a long history of social marginalization,which made it hard for foreign projects to gain legitimacy. The lack of independentorganizations and the late establishment of the project, which resulted in time shortage, madeit impossible to prevent the distrust of the local population. The failure of the projectcoordinators to ensure active participation of all stakeholders resulted in a late and lowinvolvement of the local participants. The absence of independent organization also madedemocratic legitimacy of the process questionable. Even if ProBenefit had a vision ofdemocratic deliberation the project was unable to break down the prevailing unequal powerdistribution which resulted in an unsustainable process and failure. The conclusion of thethesis is that the attainment of deliberation foremost depends on how a project deals with theexisting distribution of power and how it succeeds in involving all stakeholders.

While the role of photography in enforcing hegemonic ideologies has been amply studied, this thesis addresses the under-researched topic of how photography undermined dominant narratives in specific historical circumstances. I argue that, in the later part of the long nineteenth century, photographs were used to represent the natural world in contexts where their functions were uncertain and their capacities not clearly defined, and that these hesitations allowed for the expression of resistances to dominant social attitudes towards nature. I analyse how these divergences were articulated through three independent case studies, each addressing a corpus of photographs which has been marginalised in scholarly discourse. The case studies all concern photographs of vegetation. The first one discusses photographs produced around Fontainebleau during the Second French Empire, commonly understood as auxiliary materials for Barbizon painters, and argues that they were in fact autonomous representations, reflecting marginal modes of experiencing nature which resisted its prevailing construction as spectacle. The second case study examines a photographic series depicting Amazonian vegetation, published between 1900 and 1906, and shows how, in attempting to satisfy conflicting ideological demands, these photographs undermined the hierarchies enforced upon the natural world by colonial science. The third case study analyses photographs from an early twentieth-century environmentalist treatise, and demonstrates how, while the author's discourse seemingly complied with conventional attitudes towards nature, the photographs instituted an ethical stance opposed to early conservation's aesthetic focus and anthropocentrism. Throughout the case studies, I argue that the photographs were consubstantial to the emergence of these resistances; that dissenting representations stemmed from a tension between their producers' lived experience and the ideological frameworks which informed each context; and that this process engendered remarkable formal innovations, which are not usually associated to non-artistic images. I contend that radical renewals of visual expression occur in all representational contexts, as image producers adapt their tools or forge new ones according to circumstances, and that more attention must be paid to such visual innovations outside the field of artistic production.