"The girls were rebelling. The girls were acting out. The girls had run away from home, that much was clear." -Rebecca Bengal In her collection Strange Hours, the writer Rebecca Bengal considers over a century of photography that has defined our relationship to the medium. Through generous and in-depth essays, profiles, reviews, and interviews, Bengal contemplates photography's narrative power, from the radical intimacy of Nan Goldin's New York demimonde to Justine Kurland's pictures of rebel girls on the open road. Bengal brings us closer to several pioneering artists and the personal, political, and poetic stories that surround their photographs. She travels with Alec Soth in Minneapolis, searching for the houses where Prince once lived, and revisits Chauncey Hare's 1979 protest against the Museum of Modern Art. She speaks with Dawoud Bey about his evocative early portraits in Brooklyn and explores Diana Markosian's cinematic take on her family's immigration to the US. Throughout Strange Hours, Bengal's prose is attentive to the alchemy of experience, chance, and pioneering vision that has always pushed photography's potential for unforgettable storytelling.

The world's most universally admired politician is celebrated in words and images that span the globe. Internationally renowned photographer Antoinette Haselhorst has captured Nelson Mandela on camera on numerous occasions. This unique book is a reflection on the man himself, and his significance on the global stage.
Haselhorst combines her outstanding portraiture of Mandela with a series of tributes from celebrities, as well as lesser-known persons, creating a moving and colourful record of the emotions felt around the world for this very special individual.
Produced under licence from the "Nelson Mandela Children's Fund "(who receive a royalty for every book sold), "Reflections on Nelson Mandela" is the only officially sanctioned book of its kind ever to be published.

Birds' eggs are true wonders of the natural world: they are strong enough to protect the embryo as it grows and to withstand incubation by the parent, yet sufficiently fragile to allow the chick to hatch. Little wonder that the enormous diversity of avian eggs - the amazing range of shapes, sizes, colours, textures and patterns - has long fascinated us. Since boyhood, the renowned landscape photographer Colin Prior has had a passion for wild birds. For him, birds are the embodiment of nature, and fundamentally enrich the experience of being outdoors. This stunning new book presents Prior's remarkable images of birds' eggs side by side with his dramatic photographs of the birds' natural habitats. At a time when many human influences are having an adverse impact on the environment, these habitats are equally fragile and vulnerable to change. Loss of habitat is, in turn, a major factor in the decline of wild bird populations. It has been illegal to take any birds' eggs from the wild in Great Britain since 1954, and since 1982 it has been against the law to possess the egg of any wild bird. The eggs featured in this book belong to the National Museum of Scotland in Edinburgh, which holds one of the world's largest collections of birds' eggs. The eggs were collected legally during the late 19th and early 20th centuries and bequeathed to the museum by private collectors. Prior set up a studio at the museum and spent five weeks photographing more than 300 eggs using the latest digital technology. Each photograph is a compilation of between 40 and 80 separate exposures that were then blended into a single image using specialist software. The final image is an exquisite, almost three-dimensional rendition of the egg, pin-sharp from the front to the back. The eggs vary in size from that of the tiny goldcrest, the UK's smallest bird, to that of the mute swan. In his introduction, Prior describes how his love of the natural world was nurtured by the endless hours he spent in the countryside around the Glasgow suburb where he grew up; how he overcame the technical challenges of photographing the eggs; how the featured eggs were selected from the museum's collection; and how the photography of each bird's habitat was completed. In his essay, the Scottish environmentalist Professor Des Thompson reflects on the state of nature and the relationship between nesting and habitats. In the main part of the book, the birds' eggs are arranged into chapters according to the species found in a particular habitat, such as 'Mountain and Moorland' and 'Seashore and Estuary'. The caption beneath each egg details the common and scientific name of the bird, the date the egg was collected, the size of the clutch, and the egg's dimensions. Each egg is presented in a diptych with a photograph of the bird's habitat, painstakingly captured at a time of year when the dominant colours of the landscape most closely resemble those of the egg. Fragile - the culmination of ten years' work - not only showcases the inherent beauty of birds' eggs, but also serves as a powerful reminder to protect the birds' natural habitats and thereby the birds themselves.

Library catalog records often do not adequately describe the contents of books or of the illustrative materials they contain, and as a result, it is often difficult to locate drawings or photographs (and far more difficult to find specific ones). Equally troublesome to historians is finding material on individual Indians scattered through numerous books. This work remedies these twin problems as they relate to books about the Great Plains Indian tribes. The index has two uses: it guides students, researchers and general readers to photographs, drawings, maps and other illustrative materials that appear in selected books about Native Americans published within the last 75 years. And it guides researchers to more than 1,200 biographical references to individuals found in these books. Tribes covered include the Arapahoe, Cheyenne, Crow, Gros Ventre, Kiowa, Omaha, Pawnee, Sioux, and Winnebago, among many others.

This is the first publication that narrates the significant contributions of Greek women in the various genres of the arts in a historical perspective from antiquity to contemporary Greece. It discusses Greek women in the disciplines of music, the visual arts, poetry and literature, film and theatre, and history. The historical roles of Greek women in music are examined including the first woman composer with preserved music that is a Byzantine-Greek. Readers will discover that it was a Greek woman philosopher who influenced the formation of Socrates' thinking and that the Iliad and Odyssey were actually written by a Hellenic woman but were later appropriated by Homer. Classic and contemporary Greek female writers are in the foreground as well as the modern art music and popular music by Greek women composers. The roles of Greek women in drama are examined and the significant works of contemporary Greek women artists are recognized.

Revealing that nineteenth-century photography goes beyond the functional to reflect the aesthetic, intellectual, and cultural concerns of the time, this study proposes that each photographic image of architecture be studied both as a primary visual document and an object of aesthetic inquiry. This multi-faceted approach drives Architecture in Nineteenth-Century Photographs: Essays on Reading a Collection. Despite three decades of post-colonial, post-structuralist and gender-conscious criticism, the study of architectural photography continues to privilege technical virtuosity. This volume offers a thematic exploration of the material, and a socio-historical examination that allows consideration of questions that have not been addressed comprehensively before in a single publication. Themes include exoticism and "armchair tourism"; the absence of women from architectural photography; the role of photographs as commodities; vernacular architecture and the picturesque; and historic preservation, urban renewal, and nationalism. Micheline Nilsen analyzes photographs from France and England"the two countries where photography was invented"and from around the world, representing a corpus of over 10,000 photographs from the Janos Scholz Collection of Nineteenth-Century Photographs of the Snite Museum of Art at the University of Notre Dame.

This book explores the effects of the Instagram platform on the making and viewing of art. Authors Lachlan MacDowall and Kylie Budge critically analyse the ways Instagram has influenced artists, art spaces, art institutions and art audiences, and ultimately contemporary aesthetic experience. The book argues that more than simply being a container for digital photography, the architecture of Instagram represents a new relationship to the image and to visual experience, a way of shaping ocular habits and social relations. Following a detailed analysis of the structure of Instagram - the tactile world of affiliation ('follows'), aesthetics ('likes') and attention ('comments') - the book examines how art spaces, audiences and aesthetics are key to understanding its rise. The book will be of interest to scholars working in art history, design, digital culture, cultural studies, sociology, education, business, media and communication studies.

This book offers an analysis of the socio-historical conditions of the rise of postwar Italian photography, considers its practices, and outlines its destiny. Antonella Russo provides an incisive examination of Neorealist photography, delineates its periodization, traces its instances and its progressive popularization and subsequent co-optation that occurred with the advent of the industrialization of photographic magazines. This volume examines the ethno(photo)graphic missions of Ernesto De Martino in the deep South of Italy, the key role played by the Neorealist writer and painter Carlo Levi as "ambassador of international photography", and the journeys of David Seymour, Henry Cartier Bresson, and Paul Strand in Neorealist Italy. The text includes an account the formation and proliferation of Italian photographic associations and their role in institutionalizing and promoting Italian photography, their link to British and other European photographic societies, and the subsequent decline of Neorealism. It also considers the inception of non-objective photography that thrived soon after the war, in concurrence with the circulation of Neorealism, thus debunking the myth identifying all Italian postwar photography with the Neorealist image. This book will be particularly useful for scholars and students in the history and theory of photography, and Italian history.

A unique insight into the work of photo-journalist during the pandemic and Black Lives Matter movement. Written in an accessible style for students of photojournalism and media studies, as well as a general readership interested in these events and how they played out in the media. Includes interviews with award-winning photographers and journalists from the USA, Argentina and China.

Emphasizing the medium's reception among several Chinese constituencies, this book explores photography's impact within new discourses on science, as well as its effects in social life, visual modernity and the media during China's transition from imperial to republican government. General knowledge and academic teaching of early modern Chinese visual culture stops short of fitting photography into the larger context of visual practices and theories. This study redraws the boundaries by making photography the central concern within changing priorities of visual representation and its functions during a period of major cultural and political change. No other study draws on such intimate familiarity with the early glamour of photography as science, commerce and communication in the various local conditions of China's cities and towns. Joining a body of critical writing that examines photography's histories outside the familiar confines of the West, this book looks beyond the tourist and imperialist gazes of photographer-adventurers from the Western powers and Japan. It defines instead the Chinese priorities of photographic vision that are abundantly evident in surviving photographs as well as in records as various as technical manuals and personal inscriptions. Local practices and local knowledge are the keys to explain the highly successful indigenization of a medium as globalizing as photography with reference to Chinese society's own terms and practices. This book will be of particular interest to scholars in art and visual culture, the history of photography and Asian art.

In What Photography Is, James Elkins examines the strange and alluring power of photography in the same provocative and evocative manner as he explored oil painting in his best-selling What Painting Is. In the course of an extended imaginary dialogue with Roland Barthes's Camera Lucida, Elkins argues that photography is also about meaninglessness--its apparently endless capacity to show us things that we do not want or need to see--and also about pain, because extremely powerful images can sear permanently into our consciousness. Extensively illustrated with a surprising range of images, the book demonstrates that what makes photography uniquely powerful is its ability to express the difficulty--physical, psychological, emotional, and aesthetic--of the act of seeing.

After Photography examines the myriad ways in which the digital revolution has fundamentally altered the way we receive visual information, from photos of news events taken by ordinary people on cell phones to the widespread use of image surveillance. In a world beset by critical problems and ambiguous boundaries, Fred Ritchin argues that it is time to begin energetically exploring the possibilities created by digital innovations and to use them to better understand our rapidly changing world.

Ritchin one of our most influential commentators on photography investigates the future of visual media as the digital revolution transforms images into a hypertextual medium, fundamentally changing the way we conceptualize the world. Simultaneously, the increased manipulation of photographs makes photography suspect as reliable documentation, raising questions about its role in recounting personal and public histories. In the tradition of John Berger and Susan Sontag, Ritchin analyzes photography's failings and reveals untapped potentials for the medium."

Isms: Understanding Photography packs an enormous amount of detail into a handy, attractive guide tracing the evolution of photography through a series of interconnected trends, groups, themes and movements - from the invention of the photographic process to the post-internet age. Organised chronologically, this is a uniquely international, comprehensive guide to photography with concise, readable and jargon-free but scholarly insight into major photographers, movements and themes of the past 170 years. In an age where photography is of more resonance and interest than ever before, Isms: Understanding Photography offers an in-depth and clear exposition of photography for the interested general reader or student.

This revised second edition of the best-selling handbook provides practical, actionable insights on how to establish a successful photography business in the current climate. Written from the perspective of a photographer's agent, this book offers the perfect viewpoint to honestly assess what works, what doesn't, and why some photographers succeed where others fail. Packed with useful templates and advice from leading photographers and commissioners working in all areas of the profession today, industry expert Lisa Pritchard covers all of the essentials: preparing the best portfolio and website; marketing yourself; getting clients; costing and producing shoots; finding representation; financing and running your business; navigating contracts and legal obligations; and more. Updated to take account of shifts in the industry and the increasing importance of digital marketing and social media, this book provides fresh insight and inspiration for the budding and established professional. This book is essential reading for anyone who wants to be a professional photographer - whether studying to become one, thinking of a change of career, or wanting to know how to improve their existing photography business.

The Handbook of Photography Studies is a state-of-the-art overview of the field of photography studies, examining its thematic interests, dynamic research methodologies and multiple scholarly directions. It is a source of well-informed, analytical and reflective discussions of all the main subjects that photography scholars have been concerned with as well as a rigorous study of the field's persistent expansion at a time when digital technology regularly boosts our exposure to new and historical photographs alike. Split into five core parts, the Handbook analyzes the field's histories, theories and research strategies; discusses photography in academic disciplinary and interdisciplinary contexts; draws out the main concerns of photographic scholarship; interrogates photography's cultural and geopolitical influences; and examines photography's multiple uses and continued changing faces. Each part begins with an introductory text, giving historical contextualization and scholarly orientation. Featuring the work of international experts, and offering diverse examples, insights and discussions of the field's rich historiography, the Handbook provides critical guidance to the most recent research in photography studies. This pioneering and comprehensive volume presents a systematic synopsis of the subject that will be an invaluable resource for photography researchers and students from all disciplinary backgrounds in the arts, humanities and social sciences.

The Visual Dictionary of Photography provides clear definitions of key terms and concepts, backed up by hundreds of illustrative examples. Covering practical terms, it deals with the terminology of both digital and traditional photography. David Prakel has produced an invaluable resource for anyone interested in photography, lens-based media and related visual arts. This book serves not only to explain terms and words but also acts as a source of inspiration, encouraging exploration through understanding.Over 250 terms are explained and contextualised, with concise definitions accompanied by illustrations and examples taken from historical and contemporary photography.The dictionary covers analogue terms still in current usage as well as modern digital terminology such as Raw format and High dynamic range. It also defines a wide variety of practical terms, including ISO speed, Backlighting and Noise, as well as conceptual terms and photographic styles, ranging from Photojournalism to Distortion.

Photography is a ubiquitous part of the public sphere. Yet we rarely stop to think about the important role that photography plays in helping to define what and who constitute the public. Photography and Its Publics brings together leading experts and emerging thinkers to consider the special role of photography in shaping how the public is addressed, seen and represented.This book responds to a growing body of recent scholarship and flourishing interest in photography's connections to the law, society, culture, politics, social change, the media and visual ethics.Photography and Its Publics presents the public sphere as a vibrant setting where these realms are produced, contested and entwined. Public spheres involve yet exceed the limits of families, interest groups, identities and communities. They are dynamic realms of visibility, discussion, reflection and possible conflict among strangers of different race, age, gender, social and economic status. Through studies of photography in South America, North America, Europe and Australasia, the contributors consider how photography has changed the way we understand and locate the public sphere. As they address key themes including the referential and imaginative qualities of photography, the transnational circulation of photographs, online publics, social change, violence, conflict and the ethics of spectatorship, the authors provide new insight into photography's vital role in defining public life.

In What Photography Is, James Elkins examines the strange and alluring power of photography in the same provocative and evocative manner as he explored oil painting in his best-selling What Painting Is. In the course of an extended imaginary dialogue with Roland Barthes's Camera Lucida, Elkins argues that photography is also about meaninglessness--its apparently endless capacity to show us things that we do not want or need to see--and also about pain, because extremely powerful images can sear permanently into our consciousness. Extensively illustrated with a surprising range of images, the book demonstrates that what makes photography uniquely powerful is its ability to express the difficulty--physical, psychological, emotional, and aesthetic--of the act of seeing.

Part of a series of exciting and luxurious Flame Tree Notebooks. Combining high-quality production with magnificent fine art, the covers are printed on foil in five colours, embossed, then foil stamped. And they're powerfully practical: a pocket at the back for receipts and scraps, two bookmarks and a solid magnetic side flap. These are perfect for personal use and make a dazzling gift. This example features Golden Buddha. Like in many other statues of Buddha, the spiritual leader is shown in the lotus position used in meditation. As one of the basic teachings of Buddhism, meditation is a way of gaining insight into one's mind and achieving inner calm. The practice has now spread widely, being utilised in yoga or even as a technique to reduce the effects of depression and anxiety.

Those born since the digital revolution, seem to have the hardest time re-imagining the role of photography in the world today. Thinking of photography as a visual language is the approach this book adopts to addresses this challenge.Considering photography in this way develops the metaphor of 'learning a language' when attempting to explain what photography can be, and what it can give a student in transferable creative and life skills. This begins with challenging the pre-conception that successful photography is defined by the successful single image or 'the good photograph'.The book emphasises the central role of narrative and visual storytelling through a technique of 'photosketching' to develop the building blocks of visual creativity and ultimately to craft successful bodies of photographic work.New Ways of Seeing explains how to both learn and teach photography as a visual language, appropriate for both professionals and students working today.

David Bate examines automatism and the photographic image, the Surrealist passion for insanity, ambivalent use of Orientalism, use of Sadean philosophy and the effect of fascism of the Surrealists. The book is illustrated wtih a wide range of surrealist photographs.

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.