Photography and photographs Books

Trade ReviewThe presence of photographs disrupts historical practice, and creates opportunities to re-think our relationship with the past. This is the argument Edwards, one of the world’s leading photo historians, makes in this immensely powerful, dazzlingly learned, and eminently readable book. A must-read for every student of history! * Maiken Umbach, Professor of Modern History, University of Nottingham, UK *This is a provocative exploration of the subtle synergies between photographs and historical sensibility, written by a major historian of photography. Above all, it is a plea to think afresh about how photographs have radically reshaped our understandings of time, space and history in irreversible ways. * Paul Betts, Professor of Modern European History, St Antony’s College, University of Oxford, UK *Through photographs, Edwards shoulders a multiplicity of conceptual and methodological threads–time, scale, presence, context, materiality–that all historians should approach with a new level of consciousness in their practice. Here, photographs are the alibi to address the real silences of history, opening floodgates of potentiality for its future practice. * Patricia Hayes, DSI/NRF SARChI Chair in Visual History & Theory, University of the Western Cape, South Africa *Photographs and the Practice of History is a profound reflection on how photographs have defined our relationship to the past and its implications in the present, from the foremost scholar in the field. Deftly written and alive with questions on the nature of history itself, this is a book every historian, and anyone who works with photographs, should read. * Christina Riggs, Professor of the History of Visual Culture, Durham University, UK *Table of ContentsPreface Acknowledgements Introduction 1. Inscription 2. Distance 3. Scale 4. Event 5. Presence 6. Context 7. Materiality 8. Digital Bibliographic Afterword Selected Reading List of Images Notes Index

Read more less

Book SynopsisAlexa Neale is Leverhulme Early Career Research Fellow in Historical Criminology at the University of Sussex, UK. She is currently researching crime narratives and the meaning of evidence in a project titled Black Books: The Institutional Memory of Hanging and Mercy at the Home Office'.Trade ReviewIn her forensic analysis of hitherto unseen photographs of domestic interiors that were crime scenes, Alexa Neale reveals the part they played in imagined narratives of murder presented in courtrooms. Her microhistories of individual cases, each framed by a compelling imaginative vignette, go beyond the crimes in question and give new insights into social class, gendered and racial identities revealed in the spaces and material culture of 20th century Londoners’ homes. * Deborah Sugg Ryan, Professor of Design History and Theory, University of Portsmouth, UK *An immersive, clear-eyed account of Neale’s encounter with the criminal archive. Trial transcripts, criminal case files, media reportage, ephemera and, most importantly, photographs found in police prosecution records are read along – and against – the grain. Neale teaches us how deftly these materials were used to create powerful prosecution narratives, and also how to read them now: as evidence of home life, relationships, lives and secrets. Bringing imaginative methodological approaches to her fascinating sources, Neale’s work is a microhistory made from the surviving remnants of criminal records. Her reading of forensic photographs is lucid, original and a major contribution to the field. * Katherine Biber, Professor of Law, University of Technology Sydney, Australia *In this compelling and challenging study of crime scene photography, Alexa Neale shows how the camera shaped how crime and the law were perceived and represented in modern Britain. Photographing Crime Scenes in 20th-Century London is an astute analysis, bringing together cultural history, legal history and the social history of crime. Neale’s book also uses the camera’s lens to tell a series of fascinating stories about private and public life in twentieth-century London, from a louche mews in Knightsbridge to the dark alleys of Limehouse. * Stephen J Brooke, Professor of History, York University, Canada *A trailblazing title which opens up this visual world to the crime, cultural and media historian. Through a critical analysis of crime scene photography and narrative this book persuades criminal historians to look at the visualisation of crime in new and exciting ways. * David Nash, Professor of History, Oxford Brookes University, UK *Table of ContentsList of Illustrations 1. Introduction: Encountering crime scenes 2. ”Isn't Dinner Ready?”: Spatialising working-class home and marriage in Camden3. 'She Wore No Ring': Picturing sexual jealousy and provocation in Bloomsbury4. "The Love Hut": Perverting public/private boundaries in Knightsbridge 5. "Murder Story": Telling 'Ripper' tales in Limehouse and beyond 6. ‘Joseph Aaku's Cat’: Imagining home and race in St. Pancras 7. "We've really hit the jackpot now, doll": Changing lives in North Kensington 8. Conclusion: A place through crimeBibliography Index

Read more less

Book SynopsisAlthough astronomical CCD cameras can be very costly, digital cameras – the kind you use on holiday – on the other hand, are relatively inexpensive.Trade ReviewOn the first edition (2006): Buick, an experienced amateur astronomer, uses his own images... to illustrate a variety of equipment... [N]ovice imagers can rest assured that the images here are what the beginner can realistically expect to achieve... I enjoyed this book, and learned from it too. --Peter Grego, in Popular Astronomy, July-September 2006 The color images he has produced – there are over 300 of them in the book – are of breathtaking quality. His book is more than a manual of techniques (including details of how to make a low-cost DIY camera mount) and examples; it also provides a concise photographic atlas of the whole of the nearside of the Moon – with every image made using a standard digital camera – and describes the various lunar features, including the sites of manned and robotic landings. --eBook30.comTable of ContentsNote on the Second Edition by Philip Pugh.- Foreword by Sir Patrick Moore.- Preface.- Chapter 1: Introduction.- Chapter 2: Choosing Your Equipment.- Chapter 3: Setting Up.- Chapter 4: Photographing the Phases of the Moon.- Chapter 5: Identifiying Regions of the Moon.- Chapter 6: Techniques for Photographing the Moon.- Chapter 7: Photographing Lunar Events.- Chapter 8: Processing Lunar Images.- Chapter 9: Solar System Moons.- Chapter 10: Photographing the Planets.- Chapter 11: The Sun.- Chapter 12: Transits.- Chapter 13: And What Else?.- Chapter 14: A Few Final Words.- Appendix.- Glossary.- Index.

Read more less

Book SynopsisElizabeth Edwards is Research Professor of Photographic History and Director of the Photographic History Research Centre, De Montfort University, Leicester, UK.Christopher Morton is Curator of Photograph and Manuscript Collections at the Pitt Rivers Museum, Oxford, UK and Lecturer in Visual and Material Anthropology at the Institute of Social and Cultural Anthropology, University of Oxford, UK.Trade ReviewWhoever suspected that museums’ photography collections could be digitized and then discarded will change their mind after reading this groundbreaking book that brings together leading academics and curators. Anonymous and mostly uncatalogued photographs are restored with not only their biographies, but also a material future, as a key to a broader understanding of collecting history. * Dr Costanza Caraffa, Head of Photo Library, Kunsthistorisches Institut in Florenz, Max Planck Institute, Italy *With breadth of vision and depth of understanding, this editorial collaboration constitutes a critical addition to the self-reflexive literature on museum history and practice, at the same time enlarging the history of photography as a field of study and shifting it onto a robust institutional plane. * Joan M. Schwartz, Professor, History of Photography, Queen’s University, Kingston, Canada *This book is a compilation of essays about collecting and curatorial practices unique to photographic collections. The editors argue that issues related to the technical, ephemeral, and serial qualities of photographs, along with the medium’s relatively short history, have led to their marginalization within museums, yet these collections are ‘increasingly being understood as knowledge-objects in their own right.’ An introductory chapter provides a theoretical and historical overview of the place of photographic collections in the museum setting. Developed as part of an international conference held in Leicester, England, and organized into five topical sections, the essays explore several notable photographic collections, the information value of photographs, the history of collecting photographs, and curatorial practices for photograph collections. Essays detailing how portrait photography solidified Charles Darwin’s professional network and aided his work on evolution, examining photographs documenting revolution in Cuba of the 1950s and 1960s, and creating images of the Maori people of New Zealand illustrate the breath of this volume. It will be of particular interest to students of photographic history and museum professionals. Summing Up: Recommended. Graduate, research, and professional collections. -- P. A. Mohr, independent scholar * CHOICE *Table of ContentsList of Plates and Figures Notes on Contributors Preface 1. Between Art and Information: Introduction, Elizabeth Edwards (De Montfort University, Leicester, UK) and Christopher Morton (Pitt Rivers Museum, Oxford, UK) PART I BECOMING COLLECTIONS 2. Multiple Collections and Fluid Meanings: Alfred Maudslay’s Archaeological Photographs at the British Museum, Duncan Shields (De Montfort University, Leicester, UK) 3. Self Assembled: Isabella Stewart Gardner’s Photographic Albums and the Development of her Museum, 1902-1924, Casey Riley (Boston University, USA) 4. ‘An Invitation to Visit Windermere’: Moments of Departure and Return in the Biography of the Bryan Heseltine Collection, Darren Newbury (University of Brighton, UK) 5. Private to Public: the David MacGregor Maritime Photographic Collection, Eleni Papavasileiou (SS Great Britain Trust, UK) PART II SCIENTIFIC DOCUMENTS 6. Collecting Portraiture, Exhibiting Race: Augustus Pitt-Rivers’s Photographs at the South Kensington Museum, Christopher Morton (Pitt Rivers Museum, Oxford, UK) 7. Collecting Photographs, Constructing Disciplines: the Rationality and Rhetoric of Photography at the Museum of Economic Botany, Caroline Cornish (Royal Holloway, UK) 8. Photographs as Scientific and Social Objects in the Correspondence of Charles Darwin, Geoff Belknap (University of Leicester) and Sophie Defrance (University of Cambridge) PART III SHAPED IN HISTORY 9. Revolutionary photographs: the Museo de la Revolución, Havana, Cuba, Kristine Juncker (De Montfort University, Leicester, UK) 10. Photography in Jersey under German Occupation: the 1940 ‘Order Concerning Open-air Photography’ and Photography at the Société Jersiaise Museum, Gareth Syvret (De Montfort University, Leicester, UK) 11. From Them to Us: Changing Meanings of Photographs of Mäori at Te Papa, Athol Mc Credie (Museum of New Zealand Te Papa Tongarewa) PART IV CURATORIAL PRACTICES 12. Unwrapping the Layers: Translating Photograph Albums into an Exhibition Context, Ulrike Bessel (DASA Working World Exhibition in Dortmund, Germany) 13. To Collect and Preserve Negatives: the Eli Lotar Collection at the Centre Georges Pompidou, Damarice Amao (Paris Sorbonne, France) 14. Looking for Bolton in the Worktown Archive, Caroline Edge (Bolton Museum/University, UK) Index

Read more less

Book Synopsis

Read more less

Book Synopsis

Read more less

Book SynopsisA house without a dog is not a home. Meet Gaspard the Dalmatian who hates the London rain but loves a good sing along to The Antiques Roadshow; jet-setting Rufus and Marni, two wire-haired dachshunds who can often be found sniffing out vintage finds in Brooklyn’s flea markets; or Jack Russell Ollie who enjoys the views of the Eiffel Tower from his gorgeous Parisian apartment. Featuring big dogs, small dogs, countless rescue dogs and even a few champions, these stunning photographs celebrate the joyful, cherished, chaotic, but never dull life that’s lived with dogs. Each image perfectly capturing that unique relationship between us humans and our beloved pets.

Read more less

Book Synopsis

Read more less