A Companion to Photography

Cover
Title Page
Copyright Page
Contents
List of Figures
Notes on Contributors
Acknowledgments
Chapter 1 Introduction: Photography in the Twenty‐first Century
	Photography in the Twenty‐first Century
	Structure of the Book
	Conclusion
Part I Themes
	Chapter 2 Histories
		References
	Chapter 3 Locating Photography
		From Calcutta to Constantinople
		Terra Infirma: Photography Beyond the Nation
		World System Photography
		Conclusion: Locating Martín Chambi
		Acknowledgement
		References
	Chapter 4 The Participation of Time in Photography
		References
	Chapter 5 Photographic Acts and Arts of Memory
		Memory Rising
		Objects of Memory
		Memories Lost and Found
		Memorable Moments
		Sights of Memory
		Commemoration and Repossession
		Acting the Art
		Family Resemblances
		References
	Chapter 6 The Indexical Imagination
		Semiotics
		Sign-making
		Perception
		Note
		References
	Chapter 7 The Thingness of Photographs
		Some Framings
		Albums and the Material Performance of Narrative
		Photographs and Their Sensory Entanglements
		The Material Archive and Photographic Meaning
		Conclusion
		References
	Chapter 8 Beyond Representation?: The Database-driven Image and the Non-human Spectator
		Introduction
		Photography and the “Algorithmic Turn”
		“Seeing” the Photograph?
		Photography as “Content”
		Extracting Meaning from “Content”
		Metadata and Tagging: Re‐writing the Image as Text
		The Meaning Machine?
		Pattern Recognition and Non‐verbal Orderings
		Conclusion
		Notes
		References
Part II Interpretation
	Chapter 9 Semiotics
		Exposing the Construction of Photographs
		People, Roles, and Modality in Photographs
		Modality and the Modification of Photographs
		Peircean Semiotics, Emotion, and the Status of the Photograph
		References
		Further Reading
	Chapter 10 A Culture of Texts
		“Nature’s” Marks
		Imitations
		The Multiple Medium
		The Photograph as “Text”
		Dismantling the System
		A Liminal View
		References
		Further Reading
	Chapter 11 Psychoanalysis and Photography: Mary Kelly and Cindy Sherman
		Mary Kelly
		Cindy Sherman
		References
	Chapter 12 Reviewing the Gaze
		The Gaze in Theory and History
		The Gaze: Optical, Linguistic, Haptic
		The Gaze and the Look
		Psychoanalysis, the Gaze, and the Photograph
		Three Historical Moments
		In the Realm of the Senses
		Three Theoretical and Historical Moments
		Ethics, Politics, and the Gaze
		The Gaze as Civil Contract
		References
Part III Markets
	Chapter 13 Marketing Photography: Selling Popular Photography on the British High Street
		Marketing Mass Photography: The Debates
		Mass-Marketing Photography: Kodak as the Founding Model
		The Rise of the High Street Photographic Chemist in Britain
		Stratifying the Market: Advertising Photography to the Man‐in‐the‐Street
		From Labcoat to Laptop: Changing Identities for Photographic Providers
		Prescriptive and Policed Esthetics: The Role of Business in Shaping Photographic Practice
		Visual Economies: The Hidden Financial Dominance of Commercial Developing and Printing
		Duping and Knowing, Prescription and Resistance: Marketing’s Effects
		Acknowledgments
		References
		Further Reading
	Chapter 14 Advertising and Photography: Rhetoric and Representation
		Advertising: Information and Persuasion
		Photography: Documentary and Persuasion
		Barthes on the Newspaper Photograph
		Barthes on the Advertising Photograph
		Derrida, Barthes, and Photography
		Advertising, Photography, Rhetoric, and Representation
		Conclusion
		References
		Further Reading
		Websites
	Chapter 15 Fashion’s Image: The Complex World of the Fashion Photograph
		The Changing World of the Fashion Photograph
		Fashion as Image
		What Is a Fashion Photograph?
		How Fashion Works in the Street Style Blog
		Is Fashion Photography Art?
		Conclusion
		Acknowledgments
		Notes
		References
		Further Reading
	Chapter 16 Value Systems in Photography
		Notes
		References
		Further Reading
Part IV Popular Photography
	Chapter 17 Snapshot Photography: History, Theory, Practice, and Esthetics
		History
		Theory
		Practice
		Esthetics
		Conclusion
		Note
		References
		Further Reading
	Chapter 18 Mobile Photography
		The Problem with “Mobile Photography”
		The Research Area
		A Mobile History
		Mobility-As-Transience
		Networked Photography
		Conclusion [Mobile Meaning]
		Notes
		References
		Further Reading
	Chapter 19 Famous for a Fifteenth of a Second: Andy Warhol, Celebrity, and Fan Photography
		Andy Warhol as Fan
		Andy Warhol as Artist
		Andy Warhol as Celebrity
		Conclusion
		References
		Further Reading
	Chapter 20 Boring Pictures: Photography as Art of the Everyday
		Art of the Everyday
		The Photograph
		Noticing Things
		Tactical Resistance
		Everyday Aesthetics
		The Sensible
		Conclusion
		References
		Further Reading
Part V Documents
	Chapter 21 “Things As They Are”: The Problematic Possibilities of Documentary
		References
		Further Reading
	Chapter 22 Citizens’ Photojournalism
		Champions and Opponents
		Precedents and Legacies
		Art,Photography and the Internet
		Conclusion
		References
		Further Reading
	Chapter 23 Seeing Is Not Believing: On the Irrelevance of Looking in the Age of Operational Images
		The Unseen Image
		The Irrelevance of Looking
		The Operational Image
		Where, Then, to Look?
		Conclusion
		References
		Further Reading
	Chapter 24 Travel Books, Photography, and National Identity in the 1950s and 1960s, : seen through the prism of the LIFE World Library
		References
		Further Reading
Part VI Art
	Chapter 25 Photography’s Conflicting Modernisms and Modernities
		Photography’s Conflicting Modernisms and Expanded Modernities
		Photographic Modernism and the Avant-Gardes
		American Modernism
		Modernism Expanded/Modernism from Below
		Modernism without Borders and Late Modernism
		Notes
		References
	Chapter 26 Spectacle and Anti‐spectacle: American Art Photography and Consumer Culture
		Consumer Photography: The Bad Art Photography of Ed Ruscha and John Baldessari
		The Cultic Power of Images: Richard Prince and Louise Lawler
		From the Ideal to the Real: Philip‐Lorca diCorcia’s and Larry Sultan’s Post‐Documentary
		Conclusion
		Notes
		References
		Further Reading
	Chapter 27 What Can Photography Do?: Considerations on Photography’s Potential as Contemporary Art
		What Has Photography Done?
		What Can Photography Do?
		Conclusion
		References
		Further Reading
	Chapter 28 Practicing Desires: Authorship in Contemporary Photographic Art
		A Very Brief Survey of the Artist Photographer as Author
		Roundtable Discussion, London, November 2011 (Chair: Fergus Heron)
		Joachim Schmid in Conversation with Stephen Bull, London, November 2011
		Conclusion
		References
		Further Reading
Index
EULA