The before-and-after trope in photography has long paired images to represent change: whether affirmatively, as in the results of makeovers, social reforms or medical interventions, or negatively, in the destruction of the environment by the impacts of war or natural disasters. This interdisciplinary, multi-authored volume examines the central but almost unspoken position of before-and-after photography found in a wide range of contexts from the 19th century through to the present. Packed with case studies that explore the conceptual implications of these images, the book's rich language of evidence, documentation and persuasion present both historical material and the work of practicing photographers who have deployed - and challenged - the conventions of the before-and-after pairing. Touching on issues including sexuality, race, environmental change and criminality, Before-and-After Photography examines major topics of current debate in the critique of photography in an accessible way to allow students and scholars to explore the rich conceptual issues around photography's relationship with time andimagination.

We live in an era of abundant photography. Is it then counterintuitive to study photographs that disappear or are difficult to discern? Kate Palmer Albers argues that it is precisely this current cultural moment that allows us to recognize what has always been a basic and foundational, yet unseen, condition of photography: its ephemerality. Through a series of case studies spanning the history of photography, The Night Albums takes up the provocations of artists who collectively redefine how we experience visibility. From the protracted hesitancies of photography's origins, to conceptual and performative art that has emerged since the 1960s, to the waves of technological experimentation flourishing today, Albers foregrounds artists who offer fleeting, hidden, conditional, and future modes of visibility. By unveiling how ephemerality shapes the photographic experience, she ultimately proposes an expanded framework for the medium.

The compulsion to dwell on history on how it is recorded, stored, saved, forgotten, narrated, lost, remembered, and made public has been at the heart of artists' engagement with the photographic medium since the late 1960s. Uncertain Histories considers some of that work, ranging from installations that incorporate vast numbers of personal and vernacular photographs by Christian Boltanski, Dinh Q. Le, and Gerhard Richter to confrontations with absence in the work of Joel Sternfeld and Ken Gonzales-Day. Projects such as these revolve around a photographic paradox that hinges equally on knowing and not knowing, on definitive proof coupled with uncertainty, on abundance of imagery being met squarely with its own inadequacy. Photography is seen as a fundamentally ambiguous medium that can be evocative of the historical past while at the same time limited in the stories it can convey. Rather than proclaiming definitively what photography is, the work discussed here posits photographs as objects always held in suspension, perpetually oscillating in their ability to tell history. Yet this ultimately leads to a new kind of knowledge production: uncertainty is not a dead end but a generative space for the viewer's engagement with the construction of history.

We live in an era of abundant photography. Is it then counterintuitive to study photographs that disappear or are difficult to discern? Kate Palmer Albers argues that it is precisely this current cultural moment that allows us to recognize what has always been a basic and foundational, yet unseen, condition of photography: its ephemerality. Through a series of case studies spanning the history of photography, The Night Albums takes up the provocations of artists who collectively redefine how we experience visibility. From the protracted hesitancies of photography's origins, to conceptual and performative art that has emerged since the 1960s, to the waves of technological experimentation flourishing today, Albers foregrounds artists who offer fleeting, hidden, conditional, and future modes of visibility. By unveiling how ephemerality shapes the photographic experience, she ultimately proposes an expanded framework for the medium.