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Stephen Bull - A Companion to Photography

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The study of photography has never been more important. A look at todays 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.

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Table of Contents List of Illustrations Chapter 2 Chapter 3 Chapter 4 - photo 1
Table of Contents
List of Illustrations
  1. Chapter 2
  2. Chapter 3
  3. Chapter 4
  4. Chapter 5
  5. Chapter 6
  6. Chapter 9
  7. Chapter 13
  8. Chapter 14
  9. Chapter 15
  10. Chapter 18
  11. Chapter 20
  12. Chapter 21
  13. Chapter 22
  14. Chapter 24
  15. Chapter 25
  16. Chapter 26
  17. Chapter 27
  18. Chapter 28
Guide
Pages
A Companion to Photography

Edited by Stephen Bull

This edition first published 2020 2020 John Wiley Sons Ltd All rights - photo 2

This edition first published 2020
2020 John Wiley & Sons Ltd

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by law. Advice on how to obtain permission to reuse material from this title is available at http://www.wiley.com/go/permissions.

The right of Stephen Bull to be identified as the author of the editorial material in this work has been asserted in accordance with law.

Registered Office(s)
John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, USA
John Wiley & Sons Ltd, The Atrium, Southern Gate, Chichester, West Sussex, PO19 8SQ, UK

Editorial Office
9600 Garsington Road, Oxford, OX4 2DQ, UK

For details of our global editorial offices, customer services, and more information about Wiley products visit us at www.wiley.com.

Wiley also publishes its books in a variety of electronic formats and by printondemand. Some content that appears in standard print versions of this book may not be available in other formats.

Limit of Liability/Disclaimer of Warranty
While the publisher and authors have used their best efforts in preparing this work, they make no representations or warranties with respect to the accuracy or completeness of the contents of this work and specifically disclaim all warranties, including without limitation any implied warranties of merchantability or fitness for a particular purpose. No warranty may be created or extended by sales representatives, written sales materials or promotional statements for this work. The fact that an organization, website, or product is referred to in this work as a citation and/or potential source of further information does not mean that the publisher and authors endorse the information or services the organization, website, or product may provide or recommendations it may make. This work is sold with the understanding that the publisher is not engaged in rendering professional services. The advice and strategies contained herein may not be suitable for your situation. You should consult with a specialist where appropriate. Further, readers should be aware that websites listed in this work may have changed or disappeared between when this work was written and when it is read. Neither the publisher nor authors shall be liable for any loss of profit or any other commercial damages, including but not limited to special, incidental, consequential, or other damages.

Library of Congress CataloginginPublication Data

Names: Bull, Stephen, 1971 editor.
Title: A companion to photography / edited by Stephen Bull.
Description: Hoboken, NJ, USA : WileyBlackwell, 2020. | Includes bibliographical references and index. |
Identifiers: LCCN 2018060332 (print) | LCCN 2018061636 (ebook) | ISBN 9781118598795 (Adobe PDF) | ISBN 9781118598801 (ePub) | ISBN 9781405195843 (hardback)
Subjects: LCSH: Photographic criticism. | PhotographyPhilosophy. | Photography, Artistic. | BISAC: PHOTOGRAPHY / Criticism.
Classification: LCC TR185 (ebook) | LCC TR185 .C66 2019 (print) | DDC 770dc23
LC record available at https://lccn.loc.gov/2018060332

Cover Design: Wiley
Cover Image: Hannah Starkey MirrorUntitled, September 2015 (Courtesy of Maureen Paley, London)

List of Figures
The cover of William Shepperley's A History of Photography (1929). Source: Sabine T. Kriebel.
Notice in Erich Stenger's The History of Photography: Its Relationship to Civilization and Practice (1939). Source: Sabine T. Kriebel.
Yasuzo Nojima Nude torso (1930). Source: The National Museum of Modern Art, Kyoto. Reproduced with permission.
Lionel Wendt (19001944). Untitled. n.d. Gelatin silver print. Source: Christopher Pinney.
Documentation of the making of Towards a Promised Land by Wendy Ewald. Photograph by Pete Mauney. Source: Courtesy of Wendy Ewald.
Documentation of the making of Open Shutters by Eugenie Dolberg. Source: Courtesy of Eugenie Dolberg.
Cover of Austerlitz by W.G. Sebald (2001). 63
Susie Freeman, Liz Lee, and David Critchley, Cradle to Grave installation at the British Museum (2005). Source: Susie Freeman, Liz Lee and David Critchley. Image courtesy of Susie Freeman.
William Henry Fox Talbot Crossed Muslin (18521858). Source: National Media Museum/Science & Society Picture Library. Reproduced with permission.
Child recycling. Source: Fotolia.com.
Recycling at school. Source: Fotolia.com.
Boy and wind turbines. Source: Fotolia.com.
Man in green office. Source: Fotolia.com.
A Boots photographic services advert, aimed at women, from 1918. Source: Courtesy of Alliance Boots Archive and Museum Collection.
A Boots photographic services advert, aimed at women, from 1998. Source: Courtesy of Alliance Boots Archive and Museum Collection.
Maybelline, The Eraser advert (2011). Source: L'Oral UK and Ireland. Reproduced with permission.
Julia Roberts, Lancme, Teint Miracle advert (2011). Source: L'Oral UK and Ireland. Reproduced with permission.
Viviane Sassen, Kinee Diouf for An Other Magazine Fall/Winter 20132014. Styled by Mattias Karlsson. Source: Courtesy of Viviane Sassen.
R.H. Allan (2014). Caged Serenity. Source: Rachel Hope Allan. Image courtesy of Rachel Hope Allan. On the edges of each photograph that comprise the diptych we can see exact same simulated (digital) emulsion marks, which on a traditional analog Tintype would be different and unique to each photograph: on Hipstamatic, they are the same on every image, produced by a computer algorithm.
R.H. Allan (2013). Ladydrive #1 (Installation Image). Source: Rachel Hope Allan. Image courtesy of Rachel Hope Allan. 1120 Digital Chromogenic prints, dimensions variable. Simulation and repetition are key tropes in App photography.320
Uta Barth From and of time. (Untitled 00.4), 2000; LightJet prints in artist frames; Diptych, 3590inch (88.9228.6cm) overall; Edition of 2, 2 Aps. Source: Uta Barth. Reproduced with permission.
Laura Letinsky Untitled #54, from Hardly More Than Ever series, 2002. Source: Laura Letinsky. Reproduced courtesy of the artist.
Walker Evans (American, 19031975). Tin Building, Moundville, Alabama, 1936. Gelatin silver print (1936). 1723.2cm (6 11/169 1/8inch). The J. Paul Getty Museum, Los Angeles.
Sarah Pickering, Denton Underground Station from Public Order (2003). Source: Sarah Pickering. Reproduced with permission.
Mishka Henner, Unknown site, Noordwijk aan Zee from the series
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