The history of photographic representations of Romani and Sinti people is marked by extreme social inequality between those who stood in front of the camera and those who operated it.

A famous photo by André Kertész from 1921, analyzed by Roland Barthes in “camera lucida” (1980), shows how much the photographic figure of the “gypsy” functions as a wishful idea and projection.

From the mid-19th century onwards, photography played a central role in the visual representation of the minority. The photographic positions of photographers, their perspectives, interests, and photographic results varied greatly over the years.

Until the mid-20th century, there were very few photographs that challenged the established visual regime regarding Roma and Sinti. Three of these images, which suggest alternative visual solutions, are presented here as examples.