Heritage, Photography, and the Affective Past critically examines the production, consumption, and interpretation of photography across various heritage domains, from global image archives to the domestic arena of the family album. Through original ethnographic and archival research, the book sheds new light on the role photography has played in the emergence, expansion, and articulation of heritage in diverse sociocultural contexts. Drawing on wide-ranging experience across the heritage sector and two international case studies - Angkor in Cambodia and the town of Famagusta, Cyprus - the book makes a major contribution to our understanding of the role photography has played and continues to play in shaping experiences and conceptualisations of heritage. One of the core aims of the book is to problematise and potentially redirect the varied usages of photography within current practice, usages which remain woefully undertheorised, despite their often-central role in shaping heritage. Ultimately, by focusing attention on a hitherto underexamined aspect of the heritage phenomenon, namely its manifold interconnections with photography, this book provides fresh insight to the making and remaking of the past in the present, and the alternative heritages that might come into being around emergent photographic forms and approaches. Heritage, Photography, and the Affective Past uses photography as a method of enquiry as well as a tool of documentation. It will be of interest to scholars and students of heritage, photography, anthropology, museology, public archaeology, and tourism. The book will also be a valuable resource for heritage practitioners working around the globe.

The second half of the 19th century was a time of extensive political upheaval in central east Europe that saw the negotiation of conflicting territorial claims in the region by the Russian, Austrian and Prussian empires. The post-WW1 settlement gave rise to the formation of the independent nation states of Poland, Lithuania, Ukraine, Latvia and Belarus. Less well know is that this same period was also an era of keen photographic activity. During this time of empire-, state- and nation-building, cultural heritage was a potent vehicle and a provider of collective memory and identity.This innovative account analyses the relationship between politics, history, cultural heritage and photography in central east Europe between 1859 and 1945. To understand the work photographs 'do' in the construction of cultural heritage, the author analyses a wide range of little-known photographic archives created by contemporary professional and amateur photographers. Their work was extensively exploited in contemporary debates, appearing in albums, books, journals, exhibitions, museum exhibits, postcards and newspapers aimed at both scientific and popular and national and international publics. An extensive analysis of how photographic practices and outcomes were applied, borrowed, copied, appropriated and transmitted shows how photography was used to exert or subvert power, on the one hand, and as a tool in constructing and negotiating group identities on the other. By weaving photography and its patterns of making, dissemination and archival survival through major historical narratives, this volume reveals the centrality of photography and visual discourse at pivotal moments of modern history.

This alternative study of archive and photography brings many types of image assemblages into view, always in relation to the regulated systems operating within the institutional milieu. The archive catalogue is presented as a critical tool for mapping image time, and the language of image description is seen as having a life, a worth and an aesthetic value of its own. Functioning at the intersection of text and image, the book combines media culture, archival techniques, and contemporary discourse on art and conceptual writing.

This book grapples with fundamental questions about the evolving nature of pictorial representation, and the role photography has played in this ongoing process. These issues are explored through a close analysis of key themes that underpin the photography practice of Canadian artist Jeff Wall and through examining important works that have defined his oeuvre. Wall's strategic revival of 'the picture' has had a resounding influence on the development of contemporary art photography, by expanding the conceptual and technical frameworks of the medium and introducing a self-reflexive criticality. Naomi Merritt brings a new and original contribution to the scholarship on one of the most significant figures to have shaped the course of contemporary art photography since the 1970s and shines a light on the multilayered connections between photography and art. This book will be of interest to scholars in the history of photography, art and visual culture, and contemporary art history.

The Joy of Photoshop is the long-awaited book from the social media sensation James Fridman. Have you ever taken a seemingly perfect picture only to have it ruined by one tiny detail? Photoshop master James Fridman is only too happy to help, even if he sometimes takes requests a little too literally. The Joy of Photoshop contains James's best-loved and funniest image alterations. From the woman who wished to look like a mermaid, to super-fans who want to be edited into their favourite movies, his followers never get quite what they asked for. Including plenty of never-before-seen pictures, this meme-tastic book will have you in stitches!

This summer, Aperture presents a special issue focused on the relationship between photography, urbanism, and activist trajectories from Delhi. The issue explores multiple incarnations of the city's photographic culture, from O. P. Sharma's experimental works from the 1960s to Aditi Jain's intimate tableaux of Delhi's trans community today. Interviews with revered writer Arundhati Roy and with Bangladesh's best-known photojournalist, Shahidul Alam, illuminate sites of protest in the city and throughout South Asia. Skye Arundhati Thomas revisits Sheba Chhachhi's feminist staged portraits from the 1980s and '90s. Featuring a cross section of dynamic image-makers and thinkers, such as Jyoti Dhar, Sunil Gupta, Ishan Tankha, and Anshika Varma, and emerging voices Uzma Mohsin and Prarthna Singh, the issue is a distinctive meditation on regionalism, politics, and identity, through archival and contemporary photographic viewpoints.

Anniversary issue features seven original commissions by leading photographers and artists, and seven essays about Aperture's legacy by award-winning writers and critics This fall, Aperture celebrates seventy years in print with an issue that explores the magazine's past while charting its future. Reflecting on the founding editors' original mission and drawing on Aperture's global community of photographers, writers, and thinkers, this issue features seven original artist commissions as well as seven essays by some of the most incisive writers working today--each engaging with the magazine's archive in distinct ways. Among the original artist commissions, Inaki Bonillas selects iconic images and texts from the Aperture's archive from the 1950s to produce open-ended narrative collages. Dayanita Singh reflects on the 1960s and the family album as a serious photographic form. Yto Barrada enacts sculptural interventions to issues and spreads from the 1970s, using remnants of the late artist Bettina Grossman's color paper cutouts. Mark Steinmetz draws inspiration from the magazine's Summer 1987 issue, "Mothers & Daughters," to compose a photo essay of his wife, the photographer Irina Rozovsky, and their daughter Amelia. Considering the matrix of censorship, art, and religion in the 1990s, John Edmonds creates a tableau about family, faith, and grief. Hannah Whitaker explores the turn of the century, and the ways in which our anxieties about technology create speculative worlds. And Hank Willis Thomas draws on Aperture's issues from the 2010s to create a series of collages that reference traditional quilt patterning, revivifying history and remixing the present. Looking back upon Aperture's legacy, Darryl Pinckney reconsiders the photographer and editor Minor White, whose vision shaped the magazine for nearly two decades, beginning in the 1950s. Olivia Laing writes about the 1960s and the tensions between reportage and artistry in the work of Dorothea Lange, W. Eugene Smith, and others. Geoff Dyer revisits to the 1970s, which he considers a decade of new ideas and deeper reflection on the medium, looking into the works of William Eggleston and Ralph Eugene Meatyard. Brian Wallis looks back at the politics, art, identity, and the "culture wars" of the 1980s, while Susan Stryker reflects on Aperture's archive from the 1990s and its foregrounding of identity beyond the gender binary, evoking Catherine Opie, Elaine Reichek, and Aperture's pathbreaking "Male/Female" issue. Lynne Tillman illustrates how photographers searched for the tangible in an increasingly digital world in the 2000s, and the Pulitzer Prize-winning critic Salamishah Tillet shows how the photo album became a source of connection and narrative amid the information overabundance of the 2010s.

Dieses Buch prasentiert erstmals das Werk des Kurators, Kunstkenners und Kulturvermittlers Claus Friede als proaktiv schreibenden, uberraschend vielseitigen und versatilen Autor. Ein Textkorpus von 85 reprasentativen Beitragen aus den vergangenen 30 Jahren (1990-2020) illustriert Friedes breit angelegtes Themenspektrum aus den Bereichen Kunst, Musik, Film, Literatur und Kultur. Pragnant zeichnen sie seine intellektuelle und mediale Wende von der analogen zur digitalen Welt nach. Der zweite Buchteil lenkt den "fremden" Blick auf Friedes Schaffen aus der Perspektive diverser Kollegen und Freunde. Ein ausfuhrlicher biobibliographischer Anhang sowie reichhaltiges Bildmaterial runden den prismatischen Einblick in die transkulturellen Wirkungskreise von Claus Friede ab.

This essential reference for photography students explains how to become part of the professional community. By defining professional photography today, and exploring what is expected of professional photographers, the book demystifies this often-misunderstood and misjudged career track. The easily accessible text provides readers with valuable information, inspiration, and education on topics including developing your photographic voice, finding your area of specialization, exploring the moving image, building a website, and understanding self-presentation, promotion, legal aspects, and marketing. It also features inspirational projects for students to embark on their education in photography.

In the middle of the nineteenth century a sympathetic relationship between art, science and technology laid the groundwork for photography to flourish, including camera obscura and the panorama. This is a lavishly produced book on the eventful first thirty years of photography in Scotland - around 1840 - 70. The photographers whose work is discussed include David Octavius Hill, Robert Adamson, James Valentine, Thomas Annan and George Washington Wilson plus practitioners not previously mentioned in any publication. Julia Margaret Cameron's encounter with Scotland is also described as is the work of Scottish photographers abroad.

This innovative text bridges media theory, psychology, and interpersonal communication by describing how our relationships with media emulate the relationships we develop with friends and romantic partners through their ability to replicate intimacy, regularity, and reciprocity. In research-rich, conversational chapters, the author applies psychological principles to understand how nine influential media technologies-theatrical film, recorded music, consumer market cameras, radio, network and cable television, tape cassettes, video gaming, and dial-up internet service providers-irreversibly changed the communication environment, culture, and psychological expectations that we then apply to future media technologies. With special attention to mediums absent from the traditional literature, including recorded music, cable television, and magnetic tape, this book encourages readers to critically reflect on their own past relationships with media and consider the present environment and the future of media given their own personal habits. 20th Century Media and the American Psyche is ideal for media studies, communication, and psychology students, scholars, and industry professionals, as well as anyone interested in a greater understanding of the psychological significance of media technology, usage, and adoption across the past 150 years.

This innovative text bridges media theory, psychology, and interpersonal communication by describing how our relationships with media emulate the relationships we develop with friends and romantic partners through their ability to replicate intimacy, regularity, and reciprocity. In research-rich, conversational chapters, the author applies psychological principles to understand how nine influential media technologies-theatrical film, recorded music, consumer market cameras, radio, network and cable television, tape cassettes, video gaming, and dial-up internet service providers-irreversibly changed the communication environment, culture, and psychological expectations that we then apply to future media technologies. With special attention to mediums absent from the traditional literature, including recorded music, cable television, and magnetic tape, this book encourages readers to critically reflect on their own past relationships with media and consider the present environment and the future of media given their own personal habits. 20th Century Media and the American Psyche is ideal for media studies, communication, and psychology students, scholars, and industry professionals, as well as anyone interested in a greater understanding of the psychological significance of media technology, usage, and adoption across the past 150 years.

Race, Representation & Photography in 19th-Century Memphis: from Slavery to Jim Crow presents a rich interpretation of African American visual culture. Using Victorian era photographs, engravings, and pictorial illustrations from local and national archives, this unique study examines intersections of race and image within the context of early African American communities. It emphasizes black agency, looking at how African Americans in Memphis manipulated the power of photography in the creation of free identities. Blacks are at the center of a study that brings to light how wide-ranging practices of photography were linked to racialized experiences in the American south following the Civil War. Jenkins' book connects the social history of photography with the fields of visual culture, art history, southern studies, gender, and critical race studies.

Aperture magazine presents "Celebrations," an issue that considers how photographs envision ceremonies, festivities' and allow us to discover euphoria in the everyday. Throughout the issue, photographers portray exuberance against a backdrop of political strife in Beirut, pursue the thrill of wanderlust, excavate family histories, and respond to the powerful, constant urge to gather. Whether in Kinshasa's vibrant nightlife of the 1950s and '60s or London's sweaty dance floors of our era, jubilation carries on, despite an ongoing, and unpredictable, pandemic. In "Celebrations," Lynne Tillman contributes a survey of landmark images of celebration through the years, by artists from Malick Sidibe and Peter Hujar to LaToya Ruby Frazier. Several profiles and essays-including Alistair O'Neill on Jamie Hawkesworth, Moeko Fuiji on Rinko Kawauchi, Tiana Reid on Shikeith, Mona El Tahawy on Miriam Boulos, and Anakwa Dwamena on Marilyn Nance's views of Lagos, Nigeria during FESTAC '77-reveal the celebratory gestures embedded in vibrant portraiture, serene slants of light, unbound queer desire, and joyous cross-cultural exchange.

Journalism Research in Practice: Perspectives on Change, Challenges, and Solutions is a unique collection of research on journalism written for journalists and wider audiences. Based on scholarship previously published in Journalism Practice, Journalism Studies, and Digital Journalism, authors have updated and rewritten their works to make connections to contemporary issues. These 28 studies include perspectives on modern-day freelancing, digitization, and partisan influences on the press. They appear in four distinct sections: * Addressing Journalism in Times of Social Conflict * Advancements in New Media and Audience Participation * Challenges and Solutions in a Changing Profession * Possibilities for Journalism and Social Change This book is a collection by leading scholars from the field of Journalism Studies who have revisited their previous work with the intent of asking more questions about how journalism looks, works, and is preparing for the future. From coverage on Donald Trump and alt-right media to media trust, verification, and social media, this volume is relevant for practicing journalists today who are planning for tomorrow, students learning about the field and its debates, and scholars and educators looking for approachable texts about complex issues.

Now available for the first time in paperback, Photography and social movements is the first thorough study of photography's interrelationship with social movements. Focusing on photographic production and dissemination during the student and worker uprising in Paris in May 1968, the Zapatista rebellion, and the anti-capitalist protests in Genoa in 2001, the book argues that at times of political uprisings, photographic documentations, often contradictory, strive to prevail in the public domain, extending the political or economic struggle to a representational level. Photography plays a central role in this representational conflict, by either reproducing or challenging stereotypical narratives of protest. This groundbreaking interdisciplinary analysis of a wide range of practices - amateur and professional - and of previously unpublished archival material will add considerably to students', researchers' and scholars' knowledge of both the visual imagery of political movements and the developing history of photographic representation. -- .

"He used his camera like a doctor would use a stethoscope in order to diagnose the state of the heart. His own was vulnerable.", Cartier-Bresson wrote about David Seymour, who liked to be called Chim. Chim is best known as one of the cofounders of photojournalism's famous cooperative Magnum Photos. Weaving Chim's life and work, this book discovers this empathetic photographer who has been called "The First Human Rights Photographer". In 1947, Chim was one of the four cofounders of the Magnum Photos cooperative with Robert Capa, Henri Cartier-Bresson and George Rodger. He also wrote Magnum's 1955 bylaws, which are still in effect today. But he is the only one of those famous photographers who does not have a full biography to his name. This book examines his life and work from Poland to France to the Spanish Civil War, his work for British intelligence during World War II, his reportage on Europe's children after the war, his reportages on Italian actors, illiteracy and religious festivals in Southern Italy, his coverage of Israel's beginnings before his 1956 death during the Suez war. His complex itinerary is emblematic of the displacements and passages of the XXth century.

From the Highlands of Scotland to the plains of northern India, Castles of the World is a beautiful examination of past worlds viewed through strongholds that continue to enrich the modern landscape. They evoke an imagined age of aristocratic warriors and noble aspirations. Presented in a handy, pocket-sized format, arranged chronologically and illustrated with more than 200 colour photographs, Castles of the World examines more than 150 fortifications from across the world, from Cathar castles and Alpine schloesser to Norman keeps and Samurai strongholds. Discover how the 13th-century Eilean Donan Castle in Scotland was destroyed during the Jacobite rebellion of 1719; learn about Turkey's Marmaris Castle, built in 1522 by Suleiman the Magnificent to support his attack on neighbouring Rhodes; and explore the Mughal-constructed Red Fort in Delhi, home of Muslim rulers from 1648 until 1803, and today a symbol of Indian nationalism.