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 Encyclopedia of Twentieth-Century Photography explores the vast international scope of twentieth-century photography and explains that history with a wide-ranging, interdisciplinary manner. This unique approach covers the aesthetic history of photography as an evolving art and documentary form, while also recognizing it as a developing technology and cultural force. This Encyclopedia presents the important developments, movements, photographers, photographic institutions, and theoretical aspects of the field along with information about equipment, techniques, and practical applications of photography. To bring this history alive for the reader, the set is illustrated in black and white throughout, and each volume contains a color plate section. A useful glossary of terms is also included.

Maarten Vanvolsem explains how the strip technique can tell a different story of time and space in photographic images, a story that leads to new expressions and experiences of time and movement.

Inspired Photography is packed with creative ideas to enable any photographer - from enthusiast to professional - to push their work in new directions. Divided into actions, city scenes, the great outdoors, inspiring images and photographic subjects, the book describes 189 sources of inspiration that stimulate creativity and help photographers get more from their passion. You'll discover: - New subjects to shoot in the city, the countryside, the center, and the suburbs. - Original ideas to build on and personalize. - Long-term projects that will keep you and your photography inspired for months. - Quick ideas for instant photographic fun. - Concepts, styles, approaches and techniques that you've never considered with suggestions to get started and resources for further research. - And much, much more. Filled with practical suggestions and exciting ideas, Inspired Photography helps to keep your explorations in photography fresh, challenging and always creative.

This book examines the photography’s unique capacity to represent time with a degree of elasticity and abstraction. Part object-study, part cultural/philosophical history, it examines the medium’s ability to capture and sometimes "defy" time, while also traveling as objects across time-and-space nexuses. The book features studies of understudied, widespread, practices: studio portraiture, motion studies, panoramas, racing photo finishes, composite college class pictures, planetary photography, digital montages, and extended-exposure images. A closer look at these images and their unique cultural/historical contexts reveals photography to be a unique medium for expressing changing perceptions of time, and the anxiety its passage provokes.

This innovative collection demonstrates the profound effects of feeling on our experiences and understanding of photography. It includes essays on the tactile nature of photos, the relation of photography to sentiment and intimacy, and the ways that affect pervades the photographic archive. Concerns associated with the affective turn—intimacy, alterity, and ephemerality, as well as queerness, modernity, and loss—run through the essays. At the same time, the contributions are informed by developments in critical race theory, postcolonial studies, and feminist theory. As the contributors bring affect theory to bear on photography, some interpret the work of contemporary artists, such as Catherine Opie, Tammy Rae Carland, Christian Boltanski, Marcelo Brodsky, Zoe Leonard, and Rea Tajiri. Others look back, whether to the work of the American Pictorialist F. Holland Day or to the discontent masked by the smiles of black families posing for cartes de visite in a Kodak marketing campaign. With more than sixty photographs, including twenty in color, this collection changes how we see, think about, and feel photography, past and present. Contributors. Elizabeth Abel, Elspeth H. Brown, Kimberly Juanita Brown, Lisa Cartwright, Lily Cho, Ann Cvetkovich, David L. Eng, Marianne Hirsch, Thy Phu, Christopher Pinney, Marlis Schweitzer, Dana Seitler, Tanya Sheehan, Shawn Michelle Smith, Leo Spitzer, Diana Taylor

Featuring thirty-two pages of full-color examples, this under-$25 guide is the perfect digital photography reference for serious amateurs as well as nonprofessional photographers who use a digital camera on the job Walks readers through the entire digital photography workflow, from shooting photos and editing them in the digital darkroom to cataloging, printing, and publishing images online Topics covered include selecting cameras, printers, and accessories; mastering basic digital camera techniques; getting great results when shooting sports, nature, landscapes, and people; and working with Photoshop and other image-editing and image-management software Features step-by-step tutorials, full-color before-and-after images, and a companion Web site with bonus sample images plus a mini take-along field guide that readers can print out

It is a sign of the accepted evidentiary status of photographs that historians regularly append them to their accounts, Amos Morris-Reich observes. Very often, however, these photographs are treated as mere illustrations, simple documentations of the events that transpired. Scholars of photography, on the other hand, tend to prioritize the photographs themselves, relegating the historical contexts to the background. For Morris-Reich, however, photography exists within reality; it partakes in and is very much a component of the history it records. Morris-Reich examines how photography affects categories of history and experience, how it is influenced by them, and the ways in which our understanding of the relationship between history and photography can be theorized and reoriented. Morris-Reich here turns to five twentieth-century cases in which photography and Jewish history intersect: Albert Kahn’s utopian attempt to establish a photographic archive in Paris in order to advance world peace; the spectacular failed project of Helmar Lerski, the most prominent photographer in British Mandate Jewish Palestine; photography in the long career of Eugen Fischer, a Nazi professor of genetics; the street photography of Robert Frank; and the first attempt to introduce photography into the study of Russian Jewry prior to World War I, as seen from the post-Holocaust perspective of the early twenty-first century. Illustrated with nearly 100 images, Photography and Jewish History moves beyond a focus on Jewish photographers or the photographic representation of Jews or Jewish visibility to plumb the deeper and more significant registers of twentieth-century Jewish political history.

Photography Theory presents forty of the world's most active art historians and theorists, including Victor Burgin, Joel Snyder, Rosalind Krauss, Alan Trachtenberg, Geoffrey Batchen, Carol Squiers, Margaret Iversen and Abigail Solomon-Godeau in animated debate on the nature of photography. Photography has been around for nearly two centuries, but we are no closer to understanding what it is. For some people, a photograph is an optically accurate impression of the world, for others, it is mainly a way of remembering people and places. Some view it as a sign of bourgeois life, a kind of addiction of the middle class, whilst others see it as a troublesome interloper that has confused people's ideas of reality and fine art to the point that they have difficulty even defining what a photograph is. For some, the whole question of finding photography's nature is itself misguided from the beginning. This provocative second volume in the Routledge The Art Seminar series presents not one but many answers to the question what makes a photograph a photograph?