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Libros sobre el tema "Photographic theory"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 12 de febrero de 2022

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1

Photographic sensitivity: Theory and mechanisms. New York: Oxford University Press, 1995.

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2

Current, Ira. Photographic color printing: Theory and technique. Boston: Focal Press, 1987.

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3

Current, Ira B. Photographic color printing: Theory and technique. Boston: Focal Press, 1987.

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4

Photography: History and theory. New York, NY: Routledge, 2012.

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5

Beckett, Stephen L. Theory of the gum dichromate photographic process: History and technique. [Derby: University of Derby], 1993.

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6

Heidtmann, Frank. Bibliographie der Photographie: Deutschsprachige Publikationen der Jahre 1839-1984 : Technik, Theorie, Bild = Bibliography of German-language photographic publications, 1839-1984 : technology, theory, visual. 2a ed. München: Saur, 1989.

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7

Benjamin, Barthes, and the singularity of photography. New York: Continuum, 2012.

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8

Bill, Anthes, ed. Reframing photography: Theory and practice. Abingdon, Oxon: Routledge, 2010.

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9

Durden, Mark y Jane Tormey, eds. The Routledge Companion to Photography Theory. New York : Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9781315727998.

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10

Glendinning, Peter. Color photography: History, theory, and darkroom technique. Englewood Cliffs, N.J: Prentice-Hall, 1985.

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11

Color photography: History, theory, and darkroom technique. Englewood Cliffs, N.J: Prentice-Hall, 1985.

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12

Fournier, Richard A. y Ronald J. Hall, eds. Hemispherical Photography in Forest Science: Theory, Methods, Applications. Dordrecht: Springer Netherlands, 2017. http://dx.doi.org/10.1007/978-94-024-1098-3.

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13

1971-, Coppola Sofia y Weber Bruce 1946-, eds. Lost Angeles. Göttingen: Edition 7L, 2004.

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14

Hughes, Andrew. Dominant wave theory. London: Booth-Clibborn, 2006.

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15

Public space: Cultural, political theory : street photography : an interpretation. Amsterdam: SUN, 2011.

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16

Theorie van de straat =: Theory of the street. Rotterdam: NAi Uitgevers, 2007.

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17

1958-, Westgeest Helen, ed. Photography theory in historical perspective: Case studies from contemporary art. Chichester, West Sussex: Wiley-Blackwell, 2011.

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18

Woodman, Francesca. Francesca Woodman: Photographic work. [U.S.]: [Wellesley College Museum and Hunter College Art Gallery], 1986.

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19

Prodger, Phillip. Darwin's camera: Art and photography in the theory of evolution. Oxford: Oxford University Press, 2009.

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20

Smith, Elizabeth A. T., 1958- y Museum of Contemporary Art (Chicago, Ill.), eds. Chicago (American cities). Chicago: Museum of Contemporary Art, 2006.

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21

Richard, Whelan y Greenough Sarah 1951-, eds. Stieglitz on photography: His selected essays and notes. New York: Aperture, 2000.

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22

Julian, Cox, Gowin Emmet 1941-, Callahan Eleanor, High Museum of Art y Rhode Island School of Design., eds. Eleanor. Atlanta: High Museum of Art, 2007.

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23

James, Th. Fundamentals of Photographic Theory. Morgan & Morgan, Inc., 2000.

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24

Basic Critical Theory for Photographers. Focal Press, 2005.

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25

Grange, Ashley la. Basic Critical Theory for Photographers. Taylor & Francis Group, 2015.

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26

Photographic Theory: An Historical Anthology. Wiley-Blackwell, 2014.

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27

United States. National Aeronautics and Space Administration., ed. Theory of wide-angle photometry from standard stars. [Washington, DC]: National Aeronautics and Space Administration, 1990.

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28

Theory of wide-angle photometry from standard stars. [Washington, DC]: National Aeronautics and Space Administration, 1990.

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29

Reading Photographs An Introduction The Theory And Meaning Of Images. Bloomsbury Publishing PLC, 2013.

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30

Realistic Image's In Writing: Ideas of photographic realism. Richard Morris, 2012.

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31

Hanna, Erika. Snapshot Stories. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198823032.001.0001.

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During the twentieth century, men and women across Ireland picked up cameras, photographing days out at the beach, composing views of Ireland’s cities and countryside, and recording political events as they witnessed them. Indeed, while foreign photographers often focused on the image of Ireland as a bucolic rural landscape, Irish photographers—snapshotter and professional alike—were creating and curating photographs of Ireland which revealed more complex and diverse images of Ireland. Snapshot Stories explores these stories. It examines a diverse array of photographic sources, including family photograph albums, studio portraits, and the work of photography clubs and community photography initiatives, alongside the output of those who took their cameras into the streets to record violence and poverty. It shows how Irish men and women used photography in order to explore their sense of self and society, and examines how we can use these images to fill in the details of Ireland’s social history. Through exploring this rich array of sources, it asks what it means to see—to look, to gaze, to glance—in modern Ireland, and explores how conflicts regarding vision and visuality have repeatedly been at the centre of Irish life.
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32

Bultemeier, Kaye Irene. PHOTOGRAPHIC INQUIRY OF THE PHENOMENON PREMENSTRUAL SYNDROME WITHIN THE ROGERIAN DERIVED THEORY OF PERCEIVED DISSONANCE. 1993.

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33

Australasian Nature Photography 10. CSIRO Publishing, 2013. http://dx.doi.org/10.1071/9781486300648.

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The bioregion of Australia, New Zealand, Antarctica and New Guinea possesses a unique natural heritage stretching back over 80 million years since the break-up of the great southern continent of Gondwana. The South Australian Museum and Australian Geographic focus on enhancing a general knowledge of this extraordinary legacy by encouraging photography of the region’s nature and wilderness, and promoting an annual competition to find the Australian Geographic ANZANG Nature Photographer of the Year. Australasian Nature Photography: ANZANG Tenth Collection presents the finest photographs submitted to the 2013 Australian Geographic ANZANG Nature Photographer of the Year competition. Each photograph is accompanied by technical information as well as anecdotes about how the picture was taken, which will stimulate yet further interest in the flora and fauna and their conservation in the region.
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34

Photographic literature: An international bibliographic guide to general and specialised literature on photographic processes; techniques; theory; chemistry; physics; apparatus; materials & applications; industry; history; biography; aesthetics. Mansfield, Conn: Maurizio Martino, 9941.

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35

Hornby, Louise. Still There. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190661229.003.0005.

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This chapter argues that Woolf develops a theory of photography in her writing that describes how the world emerges within a photographic economy of light, separate from an observing subject. Photography does not reproduce the world; it develops a world through the action of light and independent of an observer. This emergent world, refusing economies of production and control, is suspended in time. The theory of photography embedded in Woolf’s writing draws on the earliest kinds of photographs—cameraless images—that formalize a conception of photography as “light-writing.” Severing the bonds between subjectivity and vision, photography adheres to a notion of objectivity that extirpates the human subject in favor of a vision of the world absent an experiencing self, a world written in terms of exposure, development, and emergence. In Woolf’s writing, the light encloses the world, stilling it, protecting it, and becoming a foil for the absent mother.
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36

Fay, Jennifer. Antarctica and Siegfried Kracauer’s Extraterrestrial Film Theory. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190696771.003.0006.

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`Siegfried Kracauer’s film and photographic theory along with cinematic records of early Antarctic exploration explain how this utterly inhospitable continent (Antarctica) and this media theory advance an alternative and denaturalized history of the present. Cinema has the capacity to reveal an earth outside of human feeling and utility without sacrificing the particularity that gets lost in scientific abstraction. And Antarctica, for so long outside of human history altogether, simply numbs feeling and refuses to yield to human purpose. It is also a continent on which celluloid encounters its signifying limits. Kracauer, this chapter argues, helps us to imagine an estranged and selfless relationship to an inhospitable or even posthospitable earth that may not accommodate us.
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37

Australasian Nature Photography 08. CSIRO Publishing, 2011. http://dx.doi.org/10.1071/9780643106802.

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The bioregion of Australia, New Zealand, Antarctica and New Guinea possesses a unique natural heritage stretching back over 50 million years since the break-up of the great southern continent of Gondwanaland. The South Australian Museum focuses on enhancing a general knowledge of this extraordinary legacy by encouraging photography of the region’s nature and wilderness, and promoting an annual competition to find the Nature Photographer of the Year. Australasian Nature Photography: ANZANG Eighth Collection presents the finest photographs submitted to the competition. Each photograph is accompanied by technical information as well as anecdotes about how the picture was taken, which will stimulate yet further interest in the flora and fauna and their conservation in the region.
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38

Australasian Nature Photography 09. CSIRO Publishing, 2012. http://dx.doi.org/10.1071/9780643108271.

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The bioregion of Australia, New Zealand, Antarctica and New Guinea possesses a unique natural heritage stretching back over 50 million years since the break-up of the great southern continent of Gondwanaland. The South Australian Museum focuses on enhancing a general knowledge of this extraordinary legacy by encouraging photography of the region’s nature and wilderness, and promoting an annual competition to find the Nature Photographer of the Year. Australasian Nature Photography: ANZANG Ninth Collection presents the finest photographs submitted to the competition. Each photograph is accompanied by technical information as well as anecdotes about how the picture was taken, which will stimulate yet further interest in the flora and fauna and their conservation in the region.
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39

McCoy, Michael. Reef and Rainforest. CSIRO Publishing, 2010. http://dx.doi.org/10.1071/9780643100589.

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Reef and Rainforest is a photographic portrayal of marine and terrestrial life in one of the world's most biodiverse regions – the tropics of north-eastern Australia, together with the South Pacific nations of Solomon Islands and Papua New Guinea. The photographs were taken over a period of more than 30 years while the author was living in the Solomon Islands and northern Australia. They depict life on the coral reefs, in the rainforests and in adjacent tropical savannahs. From detailed macro studies to sweeping scenics and aerials, the photographs are impressive for both their technical/compositional expertise and the unique insight they provide into the behavioural nuances of marine and terrestrial wildlife. Almost all the wildlife images are of free-living, non-posed subjects, photographed as they were encountered. Along with the stunning photography, the detailed and reflective captions are drawn from the author’s experiences. Reef and Rainforest conveys the richness and diversity of the natural world with maximum visual impact.
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40

Finnegan, Cara A. The Presence of Unknown Soldiers and Imaginary Spirits. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039263.003.0002.

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This chapter analyzes close readings of photographs of the battlefield dead at Antietam, published accounts of photographs of unknown soldiers, and public commentary and trial transcripts related to the practice of spirit photography. Such photographs posed considerable reading problems for viewers who were unaccustomed to the idea of photographic representations of death and the afterlife. In a time of national crisis, grief, and trauma, viewers made sense of such images by drawing on their recognition of photography's capacity to produce presence. The chapter first provides an overview of Civil War photography before turning to photographs of unknown soldiers at the Battle of Antietam. It also considers how the most permanent of absences were seemingly erased by the mysterious appearance of the apparent spirits of deceased family and friends in photographic portraits. During a period in which the collective grief of the “republic of suffering” vividly animated public life, those who read both war and spirit photographs recognized the medium's capacity for producing presence in the face of the most traumatic of absences.
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41

Feeling photography. Duke University Press Books, 2014.

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42

Warburton, Nigel. Photography. Editado por Jerrold Levinson. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199279456.003.0036.

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Photography is the most widespread form of visual communication using still images. Since its invention the medium has not changed substantially, or at least not until the recent invention of digital photography. The uses to which photography has been put and the conventions surrounding those uses have, however, evolved significantly. Those analytic philosophers who have written about still photography have for the most part focused on quite a narrow range of topics. Their main concern has been to characterize the nature of the causal link between object photographed and photographic image.
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43

Finnegan, Cara A. Photography’s Viewers, Photography’s Histories. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039263.003.0006.

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This book has investigated how viewer engagement with photography happens at the local, historically specific level. It has shown how, from the Civil War to the Great Depression, photography shaped a collective consciousness that enabled viewers to negotiate anxieties of the period, from war, poverty, and economic depression to national identity and citizenship. By closely reading traces of viewers' encounters with photography, the book has written a rhetorical history of photographic viewership showing that viewers were active agents who used their experiences of photography to deliberate about issues of common concern. This conclusion reflects on what such project tells us about the nature of the viewer, how it challenges our definitions of what a photograph is, and how the rhetorical study of viewership enriches our histories of photography. It argues that viewership is not the same in all places and situations; rather, it emerges from the photographic encounter in ways that are simultaneously contextual, communal, contestable, and contingent.
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44

Elkins, James. Photography Theory. Routledge, 2013. http://dx.doi.org/10.4324/9780203944141.

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45

Clark, Catherine E. “C’était Paris en 1970”. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190681647.003.0006.

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In 1970, a new generation of municipal officials worked with the FNAC, a camera and electronics store that was also a major player on the French cultural scene, to organize an enormous amateur photo contest to document the French capital. Called “C’était Paris en 1970,” this competition asked participants to produce a comprehensive archive of Paris during the month of May. Their submissions provide remarkable access to how their makers understood older photographs as historical documents, how they imagined photography could picture the passage of time, and how, in turn, they imagined their own photos might one day be seen. These photos help take stock of how a century of photographic production, collection, and circulation had influenced the historical imagination.
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46

Lindsey, Rachel McBride. Documentary Photography and the Visual Politics of Race and Religion. Editado por Paul Harvey y Kathryn Gin Lum. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190221171.013.5.

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The photographs of twentieth-century photographer Roy DeCarava are a rich case study for mapping the visual theater of race and religion in twentieth-century America. Despite visual similarities in his photographs to contemporary documentary photographers, DeCarava contended that claims to document race in fact worked to invest power in the “madness” of “skin color.” Such a statement echoes the teachings of prophets of black urban religion who incorporated critiques of racial classification into their theological visions. Such visual regimes of race and religion were not limited to persons of African descent. Lewis Hine’s photographs of European immigrants arriving on Ellis Island and Dorothea Lange’s photographs of Japanese American internees were also part of the visual politics of race and religion. By structuring the twentieth century’s ascendant visual regimes around DeCarava, this chapter explores how the technologies, aesthetics, and politics of photography shaped the moral theater of race and religion.
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47

Yacavone, Kathrin. Benjamin, Barthes and the Singularity of Photography. Bloomsbury Publishing Plc, 2013.

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48

Hornby, Louise. The Instant and the Series. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190661229.003.0004.

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This chapter argues that Muybridge’s photographs of human and animal locomotion underwrite a pace for modernism that negotiates the iterative terms of the instant and the series, constructing an account of time that pivots on the accumulation of separated fragments. The chapter brings the form of instantaneous photography to bear on James Joyce’s exploration of sequentiality and pace in Ulysses. The many walks in Joyce’s novel are photographic (what he calls a “discrete succession of images”), and their singular strides point to Charlie Chaplin, the modernist paragon of the jerky walk. Chaplin’s walk is both a cinematic signature and an insistence on photography—more specifically, an insistence on imitating Muybridge’s studies of motion. By making static awkwardness a condition of time and of walking, Joyce’s novel and Chaplin’s mechanized body each read as a product of film yet hold continuity and the cinema at bay by their stilled paces.
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49

Gabor Szilasi: Photographies/Photographs 1954-1996. McGill-Queen's University Press, 1998.

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50

Mar, Tracey Banivanua. The Contours of Agency. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037153.003.0005.

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This chapter examines photographs of Pacific Island women laboring in fields in Queensland in the late 1890s, arguing that colonial photography can be a critical means of filling archival silences. It reflects on how we may read this photography in layers, both as a candid snapshot of the physical world of the past, as well as a more subtle register of that world's ideological composition. This is significant in the context of colonial histories in the western Pacific and Australia where indigenous and colonized women's labor, and their contribution to colonial and colonized societies, has been subjected to the violence of a structural amnesia. Photography offers not only visual evidence of a barely told history of Pacific Islander women's labor as told through the agency of their physical presentation. In addition, the medium itself, the photograph and its visual language, points in interesting ways to the discursive contours that shaped indigenous and colonized women's agency.
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