The status of photographs in the history of museum collections is a complex one. From its very beginnings the double capacity of photography - as a tool for making a visual record on the one hand and an aesthetic form in its own right on the other - has created tensions about its place in the hierarchy of museum objects. While major collections of 'art' photography have grown in status and visibility, photographs not designated 'art' are often invisible in museums. Yet almost every museum has photographs as part of its ecosystem, gathered as information, corroboration or documentation, shaping the understanding of other classes of objects, and many of these collections remain uncatalogued and their significance unrecognised. This volume presents a series of case studies on the historical collecting and usage of photographs in museums. Using critically informed empirical investigation, it explores substantive and historiographical questions such as what is the historical patterning in the way photographs have been produced, collected and retained by museums? How do categories of the aesthetic and evidential shape the history of collecting photographs? What has been the work of photographs in museums? What does an understanding of photograph collections add to our understanding of collections history more broadly? What are the methodological demands of research on photograph collections? The case studies cover a wide range of museums and collection types, from art galleries to maritime museums, national collections to local history museums, and international perspectives including Cuba, France, Germany, New Zealand, South Africa and the UK. Together they offer a fascinating insight into both the history of collections and collecting, and into the practices and poetics of archives across a range of disciplines, including the history of science, museum studies, archaeology and anthropology.

One of the few books about photography to come out of the continent and where the majority of contributors are African and work on the continent.

Going beyond photography as an isolated medium to engage larger questions and interlocking forms of expression and historical analysis, Ambivalent gathers a new generation of scholars based on the continent to offer an expansive frame for thinking about questions of photography and visibility in Africa. The volume presents African relationships with photography – and with visibility more generally – in ways that engage and disrupt the easy categories and genres that have characterised the field to date.

Contributors pose new questions concerning the instability of the identity photograph in South Africa; ethnographic photographs as potential history; humanitarian discourse from the perspective of photographic survivors of atrocity photojournalism; the nuanced passage from studio to screen in postcolonial digital portraiture; and the burgeoning visual activism in West Africa.

Set in rural Ireland, against the background of the on-course gambling operating at the many local race meetings held throughout the country, this book combines the photographs of Bruce Gilden with the story-telling of Dermot Healy. It seeks to create a portrait of this aspect of rural Irish life.

"In This We Hear the Light," is a exceptional collection of Cuba theme poetry by award winning poet, John B. Lee, - without a doubt some of his most outstanding work, juxtaposed by an equally splendid assembly of Cuba theme photography by Richard M. Grove. The poems and photographs represent the inspiration from many years of travelling in Cuba. Since first traveling to Cuba, John B. Lee came to love the island and to admire her people. "In This We Hear the Light," is an ekphrastic project, its literary efforts are beautifully complemented by Grove's exquisite photographs. The poems and the photographs aspire to capture something more deeply felt than the reflections of a mere tourist. Poetry and photography both hold the deep felt mysteries that come from understanding Cuba on an intimate and cherished level.

By offering a new way of thinking about the role of politically engaged art, Susan Best opens up a new aesthetic field: reparative aesthetics. The book identifies an innovative aesthetic on the part of women photographers from the southern hemisphere, who against the dominant modes of criticality in political art, look at how cultural production can be reparative. The winner of the Art Association of Australia and New Zealand best book award in 2017, Reparative Aesthetics contributes an entirely new theory to the interdisciplinary fields of aesthetics, affect studies, feminist theory, politics and photography. Conceptually innovative and fiercely original this book will move us beyond old political and cultural stalemates and into new terrain for analysis and reflection.

Focusing on fine art and documentary photography, this book provides a diverse and inclusive version of photography history and its contemporary manifestations. Through 40 interviews with and profiles of photographers from underrepresented communities—those of African, Asian, Latino, Native American, Pacific Islander and Aleutian heritage, and other indigenous communities—this collection turns on its head homogenous visual culture. Essential reading for photography students and practitioners, this book celebrates the diversity of the real world with fascinating accounts of artists and the broad range of their challenges and successes: aspirations, photo series and photobooks, earning a living, discrimination, photography education, photographic practice, technical conversations, and more.

Twin Towers Remembered This visual essay of photographs of the World Trade Center, starting in 1974 to the year 2000, was posible due to recent developments on the war on terror. We give heartfelt thanks to President Obama and his administration, for liberating me and many others by bringing to justice the perpetrators of these attacks. So, on the 10th anniversary we all can remember the way it was. Photographs and introduction by visual Artist F. A. Rodriguez.

Dive deep into the world of sharks, the most fascinating and misunderstood marine animals on the planet, in this stunning new edition of The Shark Handbook, written by Shark Week expert, Dr. Greg Skomal. Did you know that a whale shark's spots are as unique as a fingerprint? Or that sharks can go into a trance when flipped upside down? Or that the Megallodon's mouth was 6 feet across? With The Shark Handbook, jump into brand new facts about these fierce sea creatures! Explore all of the orders of sharks, such as: - Ground sharks - Great white sharks - Mackerel sharks - Carpet sharks - and more! Learn about over 400 profiles of every shark in existence, from the first sharks living about 445 million years ago to the ones lurking in the ocean deep today. Starring spectacular, full-color photography that makes these jaw-dropping sharks come to life, this is the perfect gift for the shark enthusiast in your life. Dr. Greg Skomal, PhD is an experienced aquarist and Marine Fisheries Biologist at Martha's Vineyard Fisheries, Division of Marine Fisheries, Massachusetts. He's been keeping saltwater aquariums since childhood and has shared his extensive knowledge with viewers of National Geographic, the Discovery Channel, NBC's Today, and other media.