Train Your Gaze by
Focusing on the presence of the photographer's gaze as an integral part of constructing meaningful images, Roswell Angier combines theory and practice, to provide you with the technical advice and inspiration you need to develop your skills in portrait photography.Fully updated to take into account advances in creative work and photographic technology, this second edition also includes stunning new visuals and a discussion on the role of social media in the practice of portraiture.Each chapter includes a practical assignment, designed to help you explore various kinds of portrait photography and produce a range of different styles for your creative portfolio.
The genius of photography : how photography has changed our lives by
Exploring the key events and the key images that have marked the development of photography, this title examines the evolution of photography in its wider context: social, political, economic, technological and artistic.
The Pleasures of Good Photographs by
If looking at photographs is a pleasurable activity, it is pleasurable in a complex, transformative, frequently unsettling sense. It is not pleasure unalloyed, for no profound pleasure is pure...Like many truly enriching pleasures...photography has its dark, troubling, even dangerous aspects. -Gerry Badger The Pleasures of Good Photographs is an intellectual and aesthetic excursion led by Gerry Badger, one of the field's eminent critics and popular writers and the author of more than a dozen books including both volumes of The Photobook: A History. In this new volume of essays, Badger offers insight into some of his favorite images, artists and themes, drawing upon nearly three decades of experience writing and thinking about photography. With deep discernment and a readable blend of scholarly finesse and wit, Badger elucidates works by dozens of photographers, from Dorothea Lange and Eugène Atget to Martin Parr, Luc Delahaye, Susan Lipper and Paul Graham. Among the broader topics discussed are the photobook, where Badger believes photography sings its loudest and most complex song, and Photoshop's role in art-making. An interlude at the heart of the book pairs the author's evocative meditations with nearly a dozen particular images. Alongside some of Badger's classics, The Pleasures of Good Photographs showcases primarily new essays, making it an important addition to the canon of photographic writing.
Photography: the key concepts by
This updated and expanded edition provides a thorough grounding in the the place of photography in our society and a guide to the extraordinary range of photographic genres. Since its introduction nearly 200 years ago, photography has become part of everyday life, a position consolidated by the recent development of digital imaging and manipulation. Now with two new chapters on amateur snapshots and theories of 'looking', this book explains the extraordinary power of photography to confirm identity, sell products, reshape the real, visualise the news and to record and communicate the personal moment. With 80 new illustrations, this second edition explores in more detail the international and cultural diversity of this fascinating and pervasive media. An ideal guide for students, it introduces the key theoretical and critical concepts of documentary, portraiture, landscape, still life, art, amateur, institutional and global photography.
Ways of seeing by
Based on the BBC television series, John Berger's Ways of Seeing is a unique look at the way we view art, published as part of the Penguin on Design series in Penguin Modern Classics.'Seeing comes before words. The child looks and recognizes before it can speak.''But there is also another sense in which seeing comes before words. It is seeing which establishes our place in the surrounding world; we explain that world with words, but word can never undo the fact that we are surrounded by it. The relation between what we see and what we know is never settled.' John Berger's Ways of Seeing is one of the most stimulating and influential books on art in any language. First published in 1972, it was based on the BBC television series about which the Sunday Times critic commented- 'This is an eye-opener in more ways than one- by concentrating on how we look at paintings . . . he will almost certainly change the way you look at pictures.' By now he has.If you enjoyed Ways of Seeing, you might like Susan Sontag's On Photography, also available in Penguin Modern Classics.
In the Face of History by
From the First World War to the Cold War, the sexual revolution to the Velvet Revolution, communism to capitalism, the 20th Century was marked by sweeping historical events and changes. In the Face of History brings together 22 of the greatest photographers of this period, whose works collectively map out a century of European experience. Published to accompany a major new exhibition at The Barbican, In the Face of History charts the history of European photography from 1900 to the present day, and features early masters such as Eugène Atget, André Kertész and Josef Sudek, alongside well-known figures such as Brassaï, Robert Doisneau and Wolfgang Tillmans. The book also includes less publicised photographers from the former Eastern bloc, with many works reproduced for the first time. All of the photographers are distinguished by a closeness to their subject matter, and some of them depict these subjects during times of great conflict. André Kertész carried his camera to the front as a conscript in the Austro Hungarian army, and documented the harsh realities of life as a soldier in the Great War. Henryk Ross was the official photographer of the Lodz ghetto in Poland in the Second World War, but also produced a series of clandestine and shocking images of life inside. In the Face of History also features photographers who have depicted the subtler currents of social and cultural change. Brassaï depicted the 'secret Paris' of the 1930s, with its brothels and drinking dens, while Christer Strömholm photographed a community of transsexuals in the same city two decades later. Similarly, contemporary photographers such as Jitka Hanzlová and Wolfgang Tillmans throw light on changes taking place in Europe in the era of globalisation. In the Face of History includes texts by the curators Kate Bush and Mark Sladen, an essay by the eminent photography historian and curator Martin Harrison, and texts on the individual photographers by a range of leading writers and commentators.
Place : an introduction by
Thoroughly revised and updated, this text introduces students ofhuman geography and allied disciplines to the fundamental conceptof place, combining discussion about everyday uses of the term withthe complex theoretical debates that have grown up around it. ? A thoroughly revised and updated edition of thishighly successful short introduction to place ? Features a new chapter on the use of place innon-geographical arenas, such as in ecological theory, art theoryand practice, philosophy, and social theory ? Combines discussion about everyday uses of the term?place? with the more complex theoretical debates thathave grown up around it ? Uses familiar stories drawn from the news, popularculture, and everyday life as a way to explain abstract ideas anddebates ? Traces the development of the concept from the 1950sthrough its subsequent appropriation by cultural geographers, andthe linking of place to politics
Photography : a very short introduction by
Photographs are an integral part of our daily lives from sensationalist images in tabloid papers and snapshots, to art photograpy displayed in galleries and sold through international art markets. In this thought-provoking exploration of the subject, Edwards combines a sense of the historicaldevelopment of photography with an analysis of its purpose and meaning within a wider cultural context. He interrogates the way we look and think about photographs, and considers such issues as truth and recording, objectivity and fine art, identity and memory.
Land and Environmental Art by
The traditional landscape genre was radically transformed in the 1960s when many artists stopped merely representing the land and made their mark directly in the environment. Drawn by vast, uncultivated spaces of desert and mountain as well as by post-industrial wastelands, artists such as Michael Heizer, Nancy Holt and Robert Smithson moved earth to create colossal primal symbols. Others punctuated the horizon with man-made signposts, such as Christo's Running Fence and Walter de Maria's The Lightning Field. For Richard Long, journeys became works of art while Dennis Oppenheim immersed his entire body in the contours of the land. Survey Brian Wallis discusses the key artists, works and issues that define Land Art historically, as well as its later ramifications. WorksThis book fully documents the 1960s Land Art movement and surveys examples of Environmental Art to the present day. Earthworks, environments, performances and actions by artists ranging from Ana Mendieta in the 1970s and 80s to Peter Fend in the 1990s are illustrated with breathtaking photographs, sketches and project notes. Documents Jeffrey Kastner has compiled an invaluable archive of statements by all the featured artists alongside related texts by art historians, critics, philosophers and cultural theorists including Jean Baudrillard, Edmund Burke, Guy Debord, Michael Fried, Dave Hickey, Rosalind Krauss, Lucy R Lippard, Thomas McEvilley and Simon Schama.
100 Ideas That Changed Photography by
This compelling book chronicles the most influential ideas that have shaped photography from the invention of the daguerreotype in the early 19th century up to the digital revolution and beyond. Entertaining and intelligent, it provides a fascinating resource to dip into. Arranged in a broadly chronological order to show the development of photography, the ideas that comprise the book include innovative concepts, cultural and social incidents, technologies, and movements. Each idea is presented through lively text and arresting visuals, and explores when the idea first evolved and its subsequent impact on photography.
Chloe Dewe Mathews - Shot at dawn by
Stills: Scotland's Centre for Photography, Edinburgh, 8 November 2014-25 January 2015, Ivorypress, Madrid, 26 May - 16 July 2016
A History of Photography. From 1839 to the Present by
George Eastman's career developed in a particularly American way. The founder of Kodak progressed from a delivery boy to one of the most important industrialists in American history, and a crucial innovator in photographic history. Eastman died in 1932, and left his house to the University of Rochester. Since 1949 the site has operated as an international museum of photography and film, and today holds the largest collection of its kind in the world, containing over 400,000 images and negatives--among them the work of such masters as Alfred Stieglitz, Edward Steichen, and Ansel Adams. Home also to 23,000 cinema films, five million film stills, one of the most important silent film collections, technical equipment and a library with 40,000 books on photography and film, the George Eastman House is a pilgrimage site for researchers, photographers, and collectors from all over the world. This volume curates the most impressive images from the collection in chronological order to offer an incomparable overview of photographic history. About the series Bibliotheca Universalis -- Compact cultural companions celebrating the eclectic TASCHEN universe!
Only Human by
A major new book on Martin Parr explores the photographer's most enduring subject - people - as never before By turns witty, surprising, and ingenious, Martin Parr's photographs reveal the eccentricities of modern life with affection and insight. This book - published to coincide both with Parr's 2019 exhibition at London's National Portrait Gallery and also the date the UK will leave the EU - examines what it means to be human at a time of both change and retrospection. Bringing together new work from the last decade, Only Human explores the concepts of Britishness and national identity through the rituals and habits of everyday life.
Picturing Place: photography and the geographical imagination by
The advent of photography opened new worlds to 19th-century viewers, who became able to visualize themselves, their immediate surroundings, their communities, and the world beyond. The geographical imagination--the ability to know the world and situate oneself in space and time--fostered the expectations and applications of photographic technologies, and photographic technologies expresses the form and reach of the geographical imagination. This dialectic is the basis of this collection of intriguing essays, which explore the diverse ways in which the relationship manifested.
The rings of Saturn by
"A fictional account of a walking tour through England's East Anglia, Sebald's home for more than twenty years, The Rings of Saturn explores Britain's pastoral and imperial past. Its ten strange and beautiful chapters, with their curious archive of photographs, consider dreams and reality. As the narrator walks, a company of ghosts keeps him company - Thomas Browne, Swinburne, Chateaubriand, Joseph Conrad, Borges - conductors between the past and present. The narrator meets lonely eccentrics inhabiting tumble-down mansions, and hears of the furious coastal battles of two world wars. He tells of far-off China and the introduction of the silk industry to Norwich. He walks to the now forsaken harbor where Conrad first set foot on English soil and visits the site of the once-great city of Dunwich, now sunk in the sea, where schools of herring swim. As the narrator catalogs the transmigration of whole worlds, the reader is mesmerized by change and oblivion, survival and memories. Blending fiction and history, Sebald's art is as strange and beautiful as the rings of Saturn, created from fragments of shattered moons."--Publisher's description.
Survivors in Ukraine by
A powerful and haunting visual record, Stephen Shore's portraits highlight the resilience and hope of Ukraine's Holocaust survivors. Stephen Shore, one of the most influential photographers living today, traveled to the Ukraine in 2012 and again in 2013, just prior to the current political upheaval, to visit 35 survivors, most of whom are women. In the photographs of the survivors and their homes, Shore visually explores their collective experience as seen through quotidian details, and leaves open the question as to how the history of the Holocaust informs the viewer's reception of the portraits. The book's 200 digital color photographs are organized to create intimate portraits of their individual and collective experiences whilst maintaining the unsentimental formal order of his photography. An essay by Jane Kramer, who has written The New Yorker's Letter from Europe since 1981, will situate the survivors and their stories in the historical context of Ukraine's modern history with a particular emphasis in the place of Jews within that history. An important cultural document, Survivors in Ukraine sits between the traditions of the diaristic colour photobook that Shore himself pioneered with Uncommon Places (1982) and American Surfaces (2005), and that of the 'concerned' photographer using the camera as witness to conflict and other historic events.
The Disciplinary Frame by
Photography can seem to capture reality and the eye like no other medium, commanding belief and wielding the power of proof. In some cases, a photograph itself is attributed the force of the real. How can a piece of chemically discolored paper have such potency? How does the meaning of a photograph become fixed? In The Disciplinary Frame, John Tagg claims that, to answer these questions, we must look at the ways in which all that frames photographyOCothe discourse that surrounds it and the institutions that circulate itOCodetermines what counts as truth. The meaning and power of photographs, Tagg asserts, are discursive effects of the regimens that produce them as official record, documentary image, historical evidence, or art. Teasing out the historical processes involved, he examines a series of revealing case studies from nineteenth-century European and American photographs to Depression-era works by Walker Evans, Dorothea Lange, and Margaret Bourke-White to the conceptualist photography of John Baldessari. Central to this transformative work are questions of cultural strategy, the growth of the state, and broad issues of power and representation: how the discipline of the frame holds both photographic image and viewer in place, without erasing the possibility for evading, and even resisting, capture. Photographs, Tagg ultimately finds, are at once too big and too small for the frames in which they are enclosedOCoalways saying more than is wanted and less than is desired.
Classic Essays on Photography by
Containing 30 essays that embody the history of photography, this collection includes contributions from Niepce, Daguerre, Fox, Talbot, Poe, Emerson, Hine, Stieglitz, and Weston, among others.
War/Photography by
War/Photography surveys both iconic and newly discovered photographs of war and conflict, from daguerreotypes documenting the Crimean and American Civil Wars to digital images made by soldiers in 21st-century Iraq. Accompanying a landmark exhibition opening at the Museum of Fine Arts, Houston, it is generously illustrated with over 525 powerful images and includes texts by some of today's most important scholars of war photography. This ambitious book offers a comprehensive investigation of the relationship between photography and armed conflict. The featured works represent a range of perspectives—from journalists to soldiers to ordinary citizens—and span six continents, yet together they communicate the consummate experience of war: its brutality, humanity, and even humor. The book's essays investigate the immediate impact, dissemination, and historical influence of war photography.
Photography: a Critical Introduction by
Photography: A Critical Introduction was the first introductory textbook to examine key debates in photographic theory and place them in their social and political contexts, and is now established as one of the leading textbooks in its field. Written especially for students in higher education and for introductory college courses, this fully revised edition provides a coherent introduction to the nature of photographic seeing. Individual chapters cover: Key debates in photographic theory and history Documentary photography and photojournalism Personal and popular photography Photography and the human body Photography and commodity culture Photography as art This revised and updated fifth edition includes: New case studies on topics such as: materialism and embodiment, the commodification of human experience, and an extended discussion of landscape as genre. 98 photographs and images, featuring work from: Bill Brandt, Susan Derges, Rineke Dijkstra, Fran Herbello, Hannah Höch, Karen Knorr, Dorothea Lange, Chrystel Lebas, Susan Meiselas, Lee Miller, Martin Parr, Ingrid Pollard, Jacob Riis, Alexander Rodchenko, Andres Serrano, Cindy Sherman and Jeff Wall. Fully updated resource information, including guides to public archives and useful websites. A full glossary of terms and a comprehensive bibliography. Contributors: Michelle Henning, Patricia Holland, Derrick Price, Anandi Ramamurthy and Liz Wells.
Land Matters: landscape photography, culture and identity by
In this major work on landscape photography, extensively illustrated in color and black and white, Liz Wells is concerned with the ways in which photographers engage with issues about land, its representation and idealization. She demonstrates how the visual interpretation of land as landscape reflects and reinforces contemporary political, social, and environmental attitudes. She also asks what is at stake in landscape photography now through placing critical appraisal of key examples of work by photographers working in, for example, the USA, in Europe, Scandinavia and Baltic areas, within broader art historical and political concerns. This illuminating book will interest readers in photography and media, geography, art history, and travel, as well as those concerned with environmental issues.
The Photography Reader by
Following on from its hugely successful first edition, The Photography Reader: History and Theory provides deeper insight into the critical discussions around photography - its production, its uses and its effects. Presenting both the historical ideas and the continuing theoretical debates within photography and photographic study, this second edition contains essays by photographers including Edward Weston and László Moholy-Nagy, and key thinkers such as Walter Benjamin, Roland Barthes and Susan Sontag. Along with its companion text - The Photography Cultures Reader: Representation, Agency and Identity - this is the most comprehensive introduction to photography and photographic criticism. This new edition features: * Over 50 additional photographs * New essays from photographers and academics * Revised introductions, setting ideas and debates in their historical and theoretical context * Sections on Art photography, Documentary and Photomedia. Includes essays by: Jan Baetens, Roland Barthes, Geoffrey Batchen, David Bate, André Bazin, Walter Benjamin, Lynn Berger, Matthew Biro, Osip Brik, Victor Burgin, Hubert Damisch, Edmundo Desnoes, Umberto Eco, Elizabeth Edwards, Steve Edwards, Andy Grundberg, Lisa Henderson, Estelle Jussim, Sarah Kember, Siegfried Kracauer, Rosalind Krauss, Martin Lister, Lev Manovich, Christian Metz, W. J. T. Mitchell, Tina Modotti, László Moholy-Nagy, Wright Morris, Darren Newbury, Daniel Palmer, Marjorie Perloff, Fred Ritchin, Martha Rosler, Steven Skopik, Abigail Solomon-Godeau, Susan Sontag, Lucy Soutter, John Szarkowski, John Tagg, Hilde Van Gelder, Ian Walker, Liz Wells, Edward Weston, Peter Wollen.
The photography cultures reader : representation, agency and identity by
The Photography Cultures Reader: Representation, Agency and Identity engages with contemporary debates surrounding photographic cultures and practices from a variety of perspectives, providing insight and analysis for students and practitioners. With over 100 images included, the diverse essays in this collection explore key topics, such as: conflict and reportage; politics of race and gender; the family album; fashion, tourism and surveillance; art and archives; social media and the networked image. The collection brings together essays by leading experts, scholars and photographers, including Geoffrey Batchen, Elizabeth Edwards, Stuart Hall, bell hooks, Martha Langford, Lucy R. Lippard, Fred Ritchin, Allan Sekula and Val Williams. The depth and scope of this collection is testament to the cultural significance of photography and photographic study, with each themed section featuring an editor¿s introduction that sets the ideas and debates in context. Along with its companion volume ¿ The Photography Reader: History and Theory ¿ this is the most comprehensive introduction to photography and photographic criticism. Includes essays by: Jan Avgikos, Ariella Azoulay, David A. Bailey, Roland Barthes, Geoffrey Batchen, David Bate, Gail Baylis, Karin E. Becker, John Berger, Lily Cho, Jane Collins, Douglas Crimp, Thierry de Duve, Karen de Perthuis, George Dimock, Sarah Edge, Elizabeth Edwards, Francis Frascina, Andr¿unthert, Stuart Hall, Elizabeth Hoak-Doering, Patricia Holland, bell hooks, Yasmin Ibrahim, Liam Kennedy, Annette Kuhn, Martha Langford, Ulrich Lehmann, Lucy R. Lippard, Catherine Lutz, Roberta McGrath, Lev Manovich, Rosy Martin, Mette Mortensen, Fred Ritchin, Daniel Rubinstein, Allan Sekula, Sharon Sliwinski, Katrina Sluis, Jo Spence, Carol Squiers, Theopisti Stylianou-Lambert, Ariadne van de Ven, Liz Wells, Val Williams, Judith Williamson, Louise Wolthers and Ethan Zuckerman.
Surface: land/water and the visual arts by
This book is a collection of six papers from the 2004 Land/Water and Surface symposium. These works contribute both to contemporary academic debates within artist and curatorial practices, and to understanding within related areas of experience and knowledge. Central themes include: sustainability; representation of change, journey, place and visual practice; West Country and regional specificity. There is particular focus on coast as a littoral space, and interest in exploring relations between site-theme-art process-narrative. The collection also includes material about the Land/Water Research group, the programme for the 2005 symposium and speaker biographies illustrations, and a poem by Thomas A Clark written especially for the occasion.
Change : land/water and the visual arts by
Landscape stories / Jem Southam -- Cannon balls and cannibals : reflecting on the evolution of an artwork / Louise Short -- Bargoed tip : the history of a slag heap / Derrick Price -- Being there : the ramblings of a landscape painter / Michael Porter -- Interlaced frames : place as a sequence of events / Kate Mellor -- Ghosting : (in)visibility and absence of Trinidad landscapes / Roshini Kempadoo.
Relic : land/water and the visual arts by 
Fictions: Land/Water and the visual arts by
Contents: Time before clocks and the interstellar imagination / Jem Finer -- Figureheads over time / Liz Nicol -- The middle of nowhere, the centre of everywhere / Andrew Cross -- The body in the landscape: land art, birth and burial / Ben Tufnell -- Performed photography: the map is not the terrain / Paul Jeff -- A case study / Lesley Kerman.
