This book explores the territories where manual, graphic, photographic, and digital techniques interfere and interlace in sciences and humanities.
It operates on the assumption that when photography was introduced, it did not oust other methods of image production but rather became part of ever more specialized and sophisticated technologies of representation. The epistemological break commonly set with the advent of photography since the nineteenth century has probably been triggered by photographic techniques but certainly owes much to the availability of a plethora of hybrid media―media that influence the relation of sciences, humanities, and their methods and subjects.
This book will be of interest to scholars in art and visual culture, photography, and history of photography.
Author(s): Sara Hillnhuetter, Stefanie Klamm, Friedrich Tietjen
Series: Routledge History of Photography
Edition: 1
Publisher: Routledge
Year: 2021
Language: English
Pages: 200
Cover
Half Title
Series Page
Title Page
Copyright Page
Table of Contents
List of Illustrations
List of Contributors
Acknowledgments
Foreword
Introduction: where does photography start? And where does it end? A hybrid introduction
PART 1: Hybrid measurement
1 Hybrid photography in the history of science: the case of astronomical practice
2 The map as a photograph: Theodor Scheimpflug’s balloon aerial photogrammetry
3 Seen from above: Wilhelm Halffter’s photographs of 1854, depicting the terrain models of Hermann and Adolph Schlagintweit
4 In order of disappearance: photography, measurement, and art historical practice in nineteenth-century Germany
PART 2: Hybrid materiality
5 “Imageability”: aligning bodies and imaging technologies
6 Beyond retouching: Hans Virchow’s mixed media and his X-ray drawings of the lotus foot
7 From photography to printing: the chronophotography of Etienne-Jules Marey
8 Entangled environments: diorama, photography, and the staging of natural surroundings
9 Reconfiguring the use of photography in archaeology
PART 3: Hybrid reproduction
10 “The camera that takes a face can take a page”: microfilm as a scientific aid
11 Stereo atlases as hybrid knowledge
12 Retouching, staging, and authenticity: early animal photography and the tradition of popular zoological illustration around 1900
13 “Offering pleasures to the eye”: Max Semrau’s Kunst des Altertums (1899), its illustrations, and art history’s ignorance toward reproduction
14 Fantasy of a world without humans
Index
