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Geoffrey Batchen - Negative/Positive: A History of Photography

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Geoffrey Batchen Negative/Positive: A History of Photography
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Negative/Positive: A History of Photography: summary, description and annotation

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As its title suggests, Negative/Positive begins with the negative, a foundational element of analog photography that is nonetheless usually ignored, and uses this to tell a representative, rather than comprehensive, history of the medium.

The fact that a photograph is split between negative and positive manifestations means that its identity is always simultaneously divided and multiplied. The interaction of these two components was often spread out over time and space and could involve more than one person, giving photography the capacity to produce multiple copies of a given image and for that image to have many different looks, sizes and makers. This book traces these complications for canonical images by such figures as William Henry Fox Talbot, Kusakabe Kimbei, Dorothea Lange, Man Ray, Seydou Keta, Richard Avedon, and Andreas Gursky. But it also considers a number of related issues crucial to any understanding of photography, from the business practices of professional photographers to the repetition of pose and setting that is so central to certain familiar photographic genres. Ranging from the daguerreotype to the digital image, the end result is a kind of little history of photography, partial and episodic, but no less significant a rendition of the photographic experience for being so.

This book represents a summation of Batchens work to date, making it be essential reading for students and scholars of photography and for all those interested in the history of the medium

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Negative/Positive
As its title suggests, Negative/Positive begins with the negative, a foundational element of analogue photography that is nonetheless usually ignored, and uses this to tell a representative history of the medium.
The fact that a photograph is split between negative and positive manifestations means that its identity is always simultaneously divided and multiplied. The interaction of these two components was often spread out over time and space and could involve more than one person, giving photography the capacity to produce multiple copies of a given image and for that image to have many different looks, sizes, and makers. This book traces these complications for canonical images by such figures as William Henry Fox Talbot, Kusakabe Kimbei, Dorothea Lange, Man Ray, Seydou Keta, Richard Avedon, and Andreas Gursky. But it also considers a number of related issues crucial to any understanding of photography, from the business practices of professional photographers to the repetition of pose and setting that is so central to certain familiar photographic genres. Ranging from the daguerreotype to the digital image, the end result is a kind of little history of photography, partial and episodic, but no less significant a rendition of the photographic experience for being so.
This book represents a summation of Batchens work to date, making it essential reading for students and scholars of photography and for all those interested in the history of the medium.
Geoffrey Batchen is Professor of History of Art at the University of Oxford. His books include Burning with Desire: The Conception of Photography (1997), Each Wild Idea: Writing, Photography, History (2001), Emanations: The Art of the Cameraless Photograph (2016), and Apparitions: Photography and Dissemination (2018).
Negative/Positive
A History of Photography
Geoffrey Batchen
NegativePositive A History of Photography - image 1
First published 2021
by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
and by Routledge
52 Vanderbilt Avenue, New York, NY 10017
Routledge is an imprint of the Taylor & Francis Group, an informa business
2021 Geoffrey Batchen
The right of Geoffrey Batchen to be identified as the author of this work has been asserted by them in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers.
Trademark notice : Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe.
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library
Library of Congress Cataloging-in-Publication Data
A catalog record has been requested for this book
ISBN: 978-0-367-40584-7 (hbk)
ISBN: 978-0-367-40583-0 (pbk)
ISBN: 978-0-429-35681-0 (ebk)
Typeset in Bembo
by Deanta Global Publishing Services, Chennai, India
Contents
Lennart Nilsson (Sweden), Mayola Amici at Work, near Stanleyville, Belgian Congo, 1948 gelatin silver photograph.
Courtesy of TT Nyhetsbyrn, Stockholm
Wayne Miller (USA), Photographer Robert Frank Looking at Negatives in the Home of Wayne Miller while Shooting for his book The Americans, California, USA, 1956 gelatin silver photograph.
Courtesy of Wayne Miller / Magnum Photos
Richard Beard patentee (UK), Portrait of a Man, c. 1843 ninth-plate daguerreotype (negative) 14.5 6.0 cm (open); Richard Beard patentee (UK), Portrait of a Man, c. 1843 ninth-plate daguerreotype (positive) 14.5 6.0 cm (open).
Collection of the author
Secondo Pia (Italy), Detail of Face from the Shroud of Turin, May 28, 1898 gelatin silver photograph from glass negative.
Courtesy of Muse de llyse, Lausanne
Man Ray (USA/France), Noire et Blanche, 1926 gelatin silver photograph 20.6 27.5 cm.
Courtesy of The Elton John Collection/Tate Modern, Man Ray Trust/ADAGP
Man Ray (USA/France), Noire et Blanche, 1926 gelatin silver negative photograph 21.6 27.3 cm.
Courtesy of The Elton John Collection/Tate Modern, Man Ray Trust/ADAGP
William Henry Fox Talbot (England), Latticed Window (with the Camera Obscura), August 1835 photogenic drawing negative 3.6 2.8 cm (image), 6.9 14.9 cm (mount).
Courtesy of National Science and Media Museum, Bradford
Cover: Pictures formed by the action of light, Mechanic and Chemist: A Magazine of the Arts and Sciences, 13 April 1839 ink-on-paper print from wood engravings after photogenic drawings 22.0 13.0 cm.
Courtesy of Alexander Turnbull Library, Wellington
Anna Atkins (England), Laminaria saccharina, c. 1843 cyanotype, from Photographs of British Algae: Cyanotype Impressions 25.5 20.0 cm.
Courtesy of New York Public Library, Spencer Collection
John Beasley Greene (France/Egypt), Pompeys Pillar, Alexandria, 185354 waxed paper calotype negative 30.5 24.5 cm.
Private collection, courtesy of Hans P. Kraus Jr., New York
Eugne Piot (France/Italy), Santa Maria del FioreLe Dme, 1852 waxed paper calotype negative with gouache and red paper 34.0 24.0 cm.
Courtesy of Bibliothque de lInstitut National dHistoire de lArt, Collections Jacques Doucet, Fonds Piot, ng. 030
John Murray (England/India), Nagina Mosque, Agra Fort, India, 185760 waxed calotype paper negative with added pigment 36.8 45.9 cm.
Courtesy of The J. Paul Getty Museum, Los Angeles
Julia Margaret Cameron (India/England/Sri Lanka), Untitled [Madonna and Two Children], 1864 albumen photograph from scratched collodion glass negative, Plate 31 from the George Frederic Watts Album 29.1 22.1 cm (image).
Courtesy of The George Eastman Museum, Rochester
Bla Kolov (Czechoslovakia), Peach stones (from Traces series), 1961 gelatin silver photograph from clich verre negative 21.8 17.6 cm.
Courtesy of Galerie Krobath, Vienna
Justine Varga (Australia), Maternal Line, 2017 chromogenic photograph 160.0 125.0 cm (frame).
Courtesy of the artist, Hugo Michell Gallery, Adelaide and Tolarno Galleries, Melbourne
Charles-Francois Daubigny (France), Vaches lAbreuvoir, plate 18581862, print 1921 salt print photograph from painted glass clich verre negative 16.5 19.9 cm.
Courtesy of The J. Paul Getty Museum, Los Angeles
Len Lye (New Zealand/England/USA), Portrait of W.H. Auden, 1947 gelatin silver photograph 40.5 33.5 cm.Courtesy of Len Lye Foundation Collection, Govett-Brewster Art Gallery, New Plymouth
Planche VI, Grand tat dermographique sur une femme des basses classes, apathique, surmene, dprime, dintelligence obtuse et borne, from Marie Pierre Toussaint Barthelemy, Etude sur le dermographisme ou dermoneurose toxivasomotrice (Paris, 1893). ink-on-paper photomechanical reproduction
Gustave Le Gray (France), Mer Mditerrane, Ste, No 18, 1857 albumen photograph from collodion glass negative 31.8 41.1 cm.
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