In this book, Osborne demonstrates why and how photography as photography has survived and flourished since the rise of digital processes, when many anticipated its dissolution into a generalised system of audio-visual representations or its collapse under the relentless overload of digital imagery. He examines how photography embodies, contributes to, and even in effect critiques how the contemporary social world is now imagined, how it is made present and how the concept and the experience of the Present itself is produced. Osborne bases his discussions primarily in cultural studies and visual cultural studies. Through an analysis of different kinds of photographic work in distinct contexts, he demonstrates how aspects of photography that once appeared to make it vulnerable to redundancy turn out to be the basis of its survival and have been utilised by much important photographic work of the last three decades.

Over a six-month period, Swiss artist Georg Gatsas photographed many of the artists living in New York's Lower Manhattan. Sparked by the history of the area as a haven for creativity, Gatsas produced a historical document in the tradition of social photographer Jacob Riis--charting places, people and moments that seem otherwise bound for oblivion.

In Digital Image Systems, Claus Gunti examines the antagonizing reactions to digital technologies in photography. While Thomas Ruff, Andreas Gursky and Joerg Sasse have gradually adopted digital imaging tools in the early 1990s, other photographers from the Dusseldorf School have remained faithful to film-based technologies. By evaluating the aesthetic and discursive preconditions of this situation and by extensively analyzing the digital work of these three photographers, this book shows that the digital turn in photography was anticipated by the conceptualization of images within systems, and thus offers new perspectives for understanding the "digital revolution".

Hardcore racing fanatics and casual daytrippers alike will be entertained and educated by an insider's view of the early history of the America's Cup. Highlighting this history are previously unpublished photographs of Edwin Levick and his sons from the first 10 America's Cup races. These evocative photographs are complemented by the personal anecdotes and insights of author Gary Jobson, a tactician on two winning America's Cup boats. Levick's photographs, housed at the Mariners' Museum in Newport News, Virginia, offer a rare and exciting look at sailing's premier race.

"If you're a professional photographer, you must own this book." --David Hume Kennerly, Pulitzer Prize winner, former White House photographer, University of Arizona presidential scholar The All-in-One Resource for Photographers at All Levels In The Law (in Plain English)(R) for Photographers, Leonard D. DuBoff and Sarah J. Tugman walk readers through the legal landscape of the photography business. In easy-to-understand terms and with plenty of examples, this comprehensive resource covers everything from organizing a business to privacy rights to copyright questions. Clearly outlined chapters will help readers to: Comprehend intellectual property laws Identify defamation and libel Distinguish rights of privacy and publicity Navigate censorship and obscenity rules Understand photo licenses and restrictions Organize a photography business Draft strong contracts and resolve disputes Properly file taxes and take advantage of deductions Select and utilize insurance plans Prepare an estate plan To master the legal side of the business, all photographers need to have this essential guide in their libraries.

One of the most captivating and provocative artists of the Sensation generation, Richard Billingham (b. 1970) came to prominence in the late 1990s with his visceral photobook Ray's a Laugh, a slice of everyday life in a high-rise sink estate in the British West Midlands. This book is the first comprehensive discussion of Billingham's art practice. Articulating the socio-historical, aesthetic, geographical as well as anthropological aspects of Billingham's art, the book situates his work within the British neorealist tradition in visual art, cinema and televisual culture. Beginning with the first photographic studies of his father in the early 1990s, Cashell argues that these sympathetic, haunting images prefigure the later development of his thematic concerns. Significant consideration is also given to Billingham's cinematic oeuvre, including his recent feature-length autobiographical film, Ray & Liz, which substantially clarifies the complex continuity of his developing aesthetic vision. Illustrated throughout with colour and black and white reproductions, Photographic Realism: The Art of Richard Billingham combines investigative research with interviews and studio conversations, providing a subtle and sophisticated critical evaluation of the artist's key photographic and film-based works from the 1990s to the present.

The first part of this essential handbook provides an art-business analysis of the market for art photography and explains how to navigate it; the second is an art-historical account of the evolution of art photography from a marginal to a core component of the international fine-art scene. In tracing the emergence of a robust art-world sub-system for art photography, sustaining both significant art-world presence and strong trade, the book shows the solid foundations on which today's international market is built, examines how that market is evolving, and points to future developments. This pioneering handbook is a must-read for scholars, students, curators, dealers, photographers, private collectors and institutional buyers, and other arts professionals.

Travel isn't always about the destination - sometimes, it's about the amazing things you see along the way.

In Photos from the Road you can experience the wide-open spaces of North America, the precarious mountain passes of South and Central America, the green fields and jagged peaks of Asia, the rugged beauty of Australia and New Zealand, the country lanes and city streets of the UK and Europe, and the dusty safari tracks of Africa all for £8.99.

With over 100 images, all taken from the road, this book is sure to inspire you to throw a bag in the boot of your car and hit the road.

It would be unthinkable now to omit early female pioneers from any survey of photography's history in the Western world. Yet for many years the gendered language of American, British and French photographic literature made it appear that women's interactions with early photography did not count as significant contributions. Using French and English photo journals, cartoons, art criticism, novels, and early career guides aimed at women, this volume will show why and how early photographic clubs, journals, exhibitions, and studios insisted on masculine values and authority, and how Victorian women engaged with photography despite that dominant trend. Focusing on the period before 1890, when women were yet to develop the self-assurance that would lead to broader recognition of the value of their work, this study probes the mechanisms by which exclusion took place and explores how women practiced photography anyway, both as amateurs and professionals. Challenging the marginalization of women's work in the early history of photography, this is essential reading for students and scholars of photography, history and gender studies.

Throughout its early history, photography's authenticity was contested and challenged: how true a representation of reality can a photograph provide? Does the reproduction of a photograph affect its value as authentic or not? From a Photograph examines these questions in the light of the early scientific periodical press, exploring how the perceived veracity of a photograph, its use as scientific evidence and the technologies developed for printing it were intimately connected.Before photomechanical printing processes became widely used in the 1890s, scientific periodicals were unable to reproduce photographs and instead included these photographic images as engravings, with the label 'from a photograph'. Consequently, every image was mediated by a human interlocutor, introducing the potential for error and misinterpretation. Rather than 'reading' photographs in the context of where or how they were taken, this book emphasises the importance of understanding how photographs are reproduced. It explores and compares the value of photography as authentic proof in both popular and scientific publications during this period of significant technological developments and a growing readership. Three case studies investigate different uses of photography in print: using pigeons to transport microphotographs during the Franco-Prussian War; the debate surrounding the development of instantaneous photography; and finally the photographs taken of the Transit of Venus in 1874, unseen by the human eye but captured on camera and made accessible to the public through the periodical.Addressing a largely overlooked area of photographic history, From a Photograph makes an important contribution to this interdisciplinary research and will be of interest to historians of photography, print culture and science.

This book presents Peter d'Agostino's World-Wide-Walks project, providing a unique perspective on walking practices across time and place considered through the framework of evolving technologies and changes in climate. Performed on six continents during the past five decades, d'Agostino's work lays a groundwork for considering walks as portals for crossing natural, cultural and virtual frontiers. Broad in scope, it addresses topics ranging from historical concerns including traditional Australian Aboriginal rites of passage and the exploits of explorers such as John Ledyard, to artists' walks and related themes covered in the mass media in recent years. D'Agostino's work shows that the act of walking places the individual within a world of empirical awareness, statistical knowledge, expectation and surprise through phenomena like anticipating unknown encounters around the bend. In mediating the frontiers of human knowledge, walking and other forms of exploration remain a critical means of engaging global challenges, especially notable now as environmental boundaries are undergoing radical and potential cataclysmic change.