The study of photography has never been more important. A look at today's digital world reveals that a greater number of photographs are being taken each day than at any other moment in history. Countless photographs are disseminated instantly online and more and more photographic images are earning prominent positionsand garnering record pricesin the rarefied realm of top art galleries.
Reflecting this dramatic increase in all things photographic, A Companion to Photography presents a comprehensive collection of original essays that explore a variety of key areas of current debate around the state of photography in the twenty-first century. Essays are grouped and organized in themed sectionsincluding photographic interpretation, markets, popular photography, documents, and fine artand provide comprehensive coverage of the subject. Representing a diversity of approaches, essays are written by both established and emerging photographers and scholars, as well as various experts in their respective areas.
A Companion to Photography offers scholars and professional photographers alike an essential and up-to-date resource that brings the study of contemporary photography into clear focus.
Author(s): Stephen Bull
Edition: 1
Publisher: Wiley-Blackwell
Year: 2020
Language: English
Pages: 568
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
