Bibliographies thématiques / History of the British photography

Littérature scientifique sur le sujet « History of the British photography »

Auteur : Grafiati
Publié le 25 mai 2024

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Articles de revues sur le sujet "History of the British photography"

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Thompson, Krista. « The Evidence of Things Not Photographed : Slavery and Historical Memory in the British West Indies ». Representations 113, no 1 (2011) : 39–71. http://dx.doi.org/10.1525/rep.2011.113.1.39.

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Slavery and apprenticeship came to an end in the British West Indies in 1838, the year photography was developed as a fixed representational process. No photographs of slavery in the region exist or have been found. Despite this visual lacuna, some recent historical accounts of slavery reproduce photographs that seem to present the period in photographic form. Typically these images date to the late nineteenth century. Rather than see such uses of photography as flawed, or the absence of a photographic archive as prohibitive to the historical construction of slavery, both circumstances generate new understandings of slavery and its connection to post-emancipation economies, of history and its relationship to photography, and of archival absence and its representational possibilities.
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Koole, Simeon. « Photography as Event : Power, the Kodak Camera, and Territoriality in Early Twentieth-Century Tibet ». Comparative Studies in Society and History 59, no 2 (avril 2017) : 310–45. http://dx.doi.org/10.1017/s0010417517000068.

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AbstractThis article rethinks the nature of power and its relation to territory in the photographic event. Focusing on thousands of photographs taken during the British Younghusband Expedition to Lhasa between 1903 and 1904, it reorients understandings of photography as either reproducing or enabling the “negotiation” or contestation of power inequalities between participants. It shows how, in the transitory relations between Tibetans, Chinese, and Britons during and after photographic events, photography acted as a means by which participants constituted themselves as responsible agents—as capable of responding and as “accountable”—in relation to one another and to Tibet as a political entity. Whether in photographs of Tibetans protesting British looting or of their “reading” periodicals containing photographs of themselves, photography, especially Kodak photography, proposed potential new ways of being politically “Tibetan” at a time when the meaning of Tibet as a territory was especially indeterminate. This article therefore examines how the shifting territorial meaning of Tibet, transformed by an ascendant Dalai Lama, weakening Qing empire, and Anglo-Russian competition, converged with transformations in the means of visually reflecting upon it. If photography entailed always-indeterminate power relations through which participants constituted themselves in relation to Tibet, then it also compels our own rethinking of Tibet itself as an event contingent on every event of photography, rather than pre-existing or “constructed” by it.
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Tom, Martin, et Balaji Ranganathan. « Beyond the Frame : Exploring Dimensions of Colonial Photography in India ». Shanlax International Journal of Arts, Science and Humanities 11, no 3 (1 janvier 2024) : 91–97. http://dx.doi.org/10.34293/sijash.v11i3.6913.

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The paper “Beyond the Frame: Exploring Dimensions of Colonial Photography in India” delves into the multifaceted dimensions of photography’s inception in India during the colonial era. Investigating photography as both an art form and a technological import by the British, it explores its role in representing and often misrepresenting India and its people. Focusing on early pioneers such as the Daniel brothers, Fox Talbot, Louis Daguerre, and Monsieur Montaino, the paper discusses the challenges of early photographic techniques and their evolution. It highlights figures like Linnaeus Tripe, John Murray, and Samuel Bourne, emphasizing their impact on documenting India’s landscapes, monuments, and social narratives during moments of historical significance like the 1857 revolt. Furthermore, the paper examines the colonial gaze inherent in early ethnographic photography and discusses the emergence of Indian photographers like Raja Deen Dayal. Overall, it underscores photography’s pivotal role in representing colonial power dynamics and cultural narratives in India, amalgamating art history, media theory, and postcolonial studies.
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Seggerman, Alex Dika. « Scholarly Rigour in Gelatin Silver : K. A. C. Creswell’s Photographs of Islamic Architecture ». International Journal of Islamic Architecture 13, no 1 (1 janvier 2024) : 41–73. http://dx.doi.org/10.1386/ijia_00129_1.

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This article critically considers the aesthetics, process, and distribution of K. A. C. Creswell’s photographic collections of Islamic architecture. Creswell (1879–1974), a British university professor in Cairo from 1931 until his death, is considered one of the founders of the field of Islamic architectural history. As a young scholar in the 1910s, he took thousands of photographs of Islamic architectural sites, mainly in Egypt, which he then duplicated and deposited into major institutions of art historical study: Harvard University, the Victoria and Albert Museum, the Villa I Tatti, the Ashmolean Museum, and the American University in Cairo. While he strove to objectively document historical sites through photography, Creswell also inadvertently captured aspects of everyday life in the city of Cairo. These slips of modernity in his photographs highlight how he ‘personally re-created’ distinctive study images that are not solely documents of architecture. His choice of camera, lens, angle, shutter speed, lens filter, cropping, and printing generated an identifiable photographic style that marked these images within the field of art historical study. These five photographic collections, spread across three continents, thus exhibit how photography facilitated the incorporation of the field of Islamic art into the wider field of art history.
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Sarsby, Jacqueline. « Exmoor Village Revisited : Mass-Observation's ‘Anthropology of Ourselves’, the ‘Feel Good Factor’ in Wartime Colour Photography and the Photograph as Art or Social Document ». Rural History 9, no 1 (avril 1998) : 99–115. http://dx.doi.org/10.1017/s0956793300001461.

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In 1988, HTV made a series of programmes about a Somerset village called Luccombe. Their starting point was the Mass-Observation survey carried out over forty years before and described in Exmoor Village. No mention was made of the larger project - the ‘wholesome’ British export, for which the survey and perhaps even more importantly, the photographs, were commissioned. The difficulties of producing and reproducing fine-quality colour photographs at that time, however, suggest that the social investigators and the photographer were pursuing widely differing goals. The different approaches of social documentary photography and pictorial photography may not be obvious in a beautiful print, embedded in an anthropological text, but the use of photographs, which were essentially reconstructions of idealised village life disguised as documents, indicates how much importance the Ministry of Information attached to exporting the image of the wholesome, ‘traditional', English rural community.
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Brown, Terry M. « Transcending the colonial gaze : Empathy, agency and community in the South Pacific photography of John Watt Beattie1 ». Journal of New Zealand & ; Pacific Studies 8, no 2 (1 décembre 2020) : 151–70. http://dx.doi.org/10.1386/nzps_00035_1.

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For three months in 1906, John Watt Beattie, the noted Australian photographer – at the invitation of the Anglican Bishop of Melanesia, Cecil Wilson – travelling on the church vessel the Southern Cross, photographed people and sites associated with the Melanesian Mission on Norfolk Island and present-day Vanuatu and Solomon Islands. Beattie reproduced many of the 1500-plus photographs from that trip, which he sold in various formats from his photographic studio in Hobart, Tasmania. The photographs constitute a priceless collection of Pacific images that began to be used very quickly in a variety of publications, with or without attribution. I shall examine some of these photographs in the context of the ethos of the Melanesian Mission, British colonialism in the Solomon Islands, and Beattie’s previous photographic experience. I shall argue that Beattie first exhibited a colonial gaze of objectifying his dehumanized exotic subjects (e.g. as ‘savages’ and ‘cannibals’) but with increased familiarity with them, became empathetic and admiring. In this change of attitude, I argue that he effectively transcended his colonial gaze to produce photographs of great empathy, beauty and longevity. At the same time, he became more critical of the colonial enterprise in the Pacific, whether government, commercial or church.
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van Leeuwen, Theo, et Adam Jaworski. « The discourses of war photography ». Journal of Language and Politics 1, no 2 (10 juillet 2003) : 255–75. http://dx.doi.org/10.1075/jlp.1.2.06lee.

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Photography has a long history of (de-)legitimation of wars. In this paper we examine the visual rhetoric of two newspapers, the British Guardian and the Polish Gazeta Wyborcza in their representation of the Palestinian-Israeli war in October 2000. Although both newspapers have access to the same (agency) photographs, their images differ. Both papers show the Palestinians to be the main victims of the war. However, Gazeta Wyborcza depicts the Palestinians predominantly as “terrorists” and deflects any military responsibility from the Israelis by not including any photographs of the Israeli soldiers. The Guardian shows the Palestinians predominantly as romanticised, lone heroes against the Israeli military might, although the Israeli military force is vague and de-personalised. Furthermore, both newspapers differ in their representation of the war in political terms choosing different images of local and international politicians.
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Brooke, Stephen. « Revisiting Southam Street : Class, Generation, Gender, and Race in the Photography of Roger Mayne ». Journal of British Studies 53, no 2 (avril 2014) : 453–96. http://dx.doi.org/10.1017/jbr.2014.10.

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AbstractThis article examines pictures taken by the British photographer Roger Mayne of Southam Street, London, in the 1950s and 1960s. It explores these photographs as a way of thinking about the representation of urban, working-class life in Britain after the Second World War. The article uses this focused perspective as a line of sight on a broader landscape: the relationship among class, identity, and social change in the English city after the Second World War. Mayne's photographs of Southam Street afford an examination of the representation of economic and social change in the postwar city and, not least, the intersections among class, race, generation, and gender that reshaped that city.
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Mandler, P. « Shadow Sites : Photography, Archaeology, and the British Landscape, 1927-1955 ». English Historical Review CXXIII, no 503 (1 août 2008) : 1084–85. http://dx.doi.org/10.1093/ehr/cen216.

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Attewell, Nadine. « Looking in Stereo : School Photography, Interracial Intimacy, and the Pulse of the Archive ». Asian Diasporic Visual Cultures and the Americas 4, no 1-2 (4 mars 2018) : 19–44. http://dx.doi.org/10.1163/23523085-00401002.

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This article examines the visual genre of the school photograph in order to reflect on the promise of transcolonial methodologies for thinking about the history of race and belonging in Canada. It focuses on four photographs of schoolchildren taken at around the same time in a range of locations across the British Empire. All feature Chinese children in close proximity to black, South Asian, or white peers. Seeking to understand how the photographs resonate with one another as representations of encounters between Asian and other racialized child subjects—divisions of class, location, and migration history notwithstanding—I develop a transcolonial methodology that is attentive to the (counter)institutional workings of rhythm and repetition as engines of community formation. Such a practice, I suggest, allows for rhythms to emerge that resist alignment with the pedagogical dictates of national time, as exemplified by national celebrations of Canada 150.
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Thèses sur le sujet "History of the British photography"

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Belknap, Geoffrey David. « 'From a photograph' : photography and the periodical print press 1870-1890 ». Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609850.

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Downs, J. « Ministers of 'the Black Art' : the engagement of British clergy with photography, 1839-1914 ». Thesis, University of Exeter, 2019. http://hdl.handle.net/10871/35917.

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This thesis examines the work of ordained clergymen, of all denominations, who were active photographers between 1839 and the beginning of World War One: its primary aim is to investigate the extent to which a relationship existed between the religious culture of the individual clergyman and the nature of his photographic activities. Ministers of 'the Black Art' makes a significant intervention in the study of the history of photography by addressing a major weakness in existing work. Taking an interdisciplinary approach, the research draws on a wide range of primary and secondary sources such as printed books, sermons, religious pamphlets, parish and missionary newsletters, manuscript diaries, correspondence, notebooks, biographies and works of church history, as well as visual materials including original glass plate negatives, paper prints and lantern slides held in archival collections, postcards, camera catalogues, photographic ephemera and photographically-illustrated books. Through close readings of both textual and visual sources, my thesis argues that factors such as religious denomination, theological opinion and cultural identity helped to influence not only the photographs taken by these clergymen, but also the way in which these photographs were created and used. Conversely, patterns also emerge that provide insights into how different clergymen integrated their photographic activities within their wider religious life and pastoral duties. The relationship between religious culture and photographic aesthetics explored in my thesis contributes to a number of key questions in Victorian Studies, including the tension between clergy and professional scientists as they struggled over claims to authority, participation in debates about rural traditions and church restoration, questions about moral truth and objectivity, as well as the distinctive experience and approaches of Roman Catholic clergy. The research thus demonstrates the range of applications of clerical photography and the extent to which religious factors were significant. Almost 200 clergymen-photographers have been identified during this research, and biographical data is provided in an appendix. Ministers of the Black Art aims at filling a gap in scholarship caused by the absence of any substantial interdisciplinary research connecting the fields of photohistory and religious studies. While a few individual clergymen-photographers have been the subject of academic research - perhaps excessively in the case of Charles Dodgson - no attempt has been made to analyse their activities comprehensively. This thesis is therefore unique in both its far-ranging scope and the fact that the researcher has a background rooted in both theological studies and the history of photography. Ecclesiastical historians are generally as unfamiliar with the technical and aesthetic aspects of photography as photohistorians are with theological nuances and the complex variations of Victorian religious beliefs and practices. This thesis attempts to bridge this gulf, making novel connections between hitherto disparate fields of study. By bringing these religious factors to the foreground, a more nuanced understanding of Victorian visual culture emerges; by taking an independent line away from both the canonical historiography of photography and more recent approaches that depict photography as a means of social control and surveillance, this research will stimulate further discussion about how photography operates on the boundaries between private and public, amateur and professional, material and spiritual.
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Hatfield, Philip John. « Colonial copyright and the photographic image : Canada in the frame ». Thesis, Royal Holloway, University of London, 2011. http://repository.royalholloway.ac.uk/items/bd29e8fa-4880-f95d-24ea-53198345eb7f/8/.

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Under Colonial Copyright Law, the British Museum Library acquired a substantial collection of Canadian photographs between 1895 and 1924, taken by a variety ofamateurs and professionals across Canada. Due to the agency of individual photographers, the requirements of copyright legislation and the accumulating principleof the archive, the Collection displays multiple geographies and invites variousinterpretations. Chapter 1 discusses the development of Colonial Copyright Law and its application to photographic works, examining the extent to which the collection was born of an essentially colonial geography of knowledge. The chapter outlines the theoretical underpinnings of the thesis in relation to scholarship on colonial regulation, visual economies and Canadian historical geography. Chapter 2 presents an overview of the evolution of the Collection and provides a discussion of research strategy, focussing on how its diverse contents may inform understandings of Canada's changing landscape, cities and people. The substantive core of the thesis examines the contents and genres represented in the collection through a series of linked studies. Chapter 3 considers the photographic representation of Canadian cities, focussing on the use of the camera in Victoria and Toronto to explore the political and commercial aspects of urban change. Chapter 4 explores the interaction of the camera and the railroads, two technologies at the cutting edge of modernity, examining how photography both promoted the railway and depicted the impact of railway disasters. Chapter 5 explores the visual economy of the photographic image through the medium of the postcard, with reference to the Canadian National Exhibition and the Bishop Barker Company of aviators. Chapter 6 considers a variety of views of Native American peoples, the result of the intersection of various photographic impulses with Colonial Copyright Law. The final chapter returns to the Collection as a whole to consider its agency in the digital age.
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Tomas, David. « An ethnography of the eye : authority, observation and photography in the context of British anthropology 1839-1900 ». Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=75671.

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Anthropological classics such as E. H. Man's On the Aboriginal Inhabitants of the Andaman Islands (1883) and A. R. Radcliffe-Brown's The Andaman Islanders (1922) are generally regarded as products of an emergent nineteenth century social science. These anthropological classics were accepted by contemporaries as authoritative statements in their authors' fields of competence, and the ethnographic 'pictures' of the aborigines they presented were accepted as accurate descriptions of indigenous life. The following thesis argues for an alternative approach to the history of the production of anthropological knowledge. It begins by exploring the gradual codification of observational practices in the nineteenth century British anthropology. The codification of ethnographic observation is examined in the case of anthropological manuals published between 1840 and 1892, and their methodological impact on the possibilities of data collection are discussed. Ethnographic observation is then approached from the point of view of media use, and the relationship between drawing and photography is discussed in relation to nineteenth century physical and cultural anthropology. The codification of ethnographic observation and the anthropological use of various representational media are the problematic for an intensive exploration of the production of anthropological knowledge in the Andaman Islands. The approach adopted focuses on unacknowledged strategies and marginalized knowledge which were nevertheless directly implicated in the production of ethnographic texts. Following this approach, the discipline of Anthropology comes to seem less an isolated intellectual activity, and more a residue of broad social, cultural, and political processes. Drawing on this perspective, the works of Man and Radcliffe-Brown on the Andaman Islanders are treated as the culmination of a history of representation that is built on and incorporates administrative strategies, representational media and s
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Atkinson, Elizabeth Susan. « The formative years : the evolution of photography's role in British periodical advertising during the 1920's and 1930's ». Thesis, Royal College of Art, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.295775.

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Worman, Sarah E. Ms. « "Mirror With a Memory" : Photography as Metaphor and Material Object in Victorian Culture ». Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu149151628521588.

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Dahmani, Taous Rose. « Faire scène : stratégies d'émergence et d'institutionnalisation des photographes noirs britanniques dans la longue décennie 80 ». Electronic Thesis or Diss., Paris 1, 2023. http://www.theses.fr/2023PA01H082.

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Durant la décennie 1980, des photographes non-blancs et des femmes photographes Noirs imaginent des formes d’opposition à un milieu qui les ignore obstinément. Individuellement et collectivement, les photographes Noirs se confrontent aux multiples dénégations au moyen de gestes de résistance. Ensemble, mais seuls, ils vont faire scène. Instigateurs d’une multitude d’actes, ils deviennent agents de leur réalisation en tant qu’artistes-photographes. La scène produit un empouvoirement et l’empouvoirement façonne la scène. Cette thèse raconte les stratégies mises en place pour défier le statu quo. Cette thèse propose ainsi d’analyser la formation de cette scène à travers deux gestes fondamentaux : la publication (première partie) et l’exposition (deuxième partie). Dans un premier temps, l’étude des objets imprimés révèlent les mécanismes d’exclusion et d’inclusion de ces individus et indique leur rôle essentiel à la rencontre, aux échanges, à l’expérimentation, au débat, à l’élaboration théorique et la monstration des productions. À cet effet, nous examinons trois magazines de photographes : Camerawork, Ten.8 et Polareyes ; et commentons l’absence de livres de photographes. Dans un deuxième temps, l’étude de la nécessité de montrer son travail sur des cimaises, à travers des expositions, nous permet d’identifier une attitude du « faire soi-même » où les artistes deviennent commissaires et coordinateurs d’espaces de monstration. La thèse se termine sur l’institutionnalisation de la scène à travers l’analyse de l’évolution de l’Association des Photographes Noirs vers la création d’une organisation, Autograph ABP. À travers ces deux axes principaux, cette thèse appréhende l’émergence d’une scène malgré une société qui s’oppose à elle et fait le récit de sa lente inclusion dans le monde de la photographie britannique de la seconde moitié du XXe siècle
During the long 1980s, non-white photographers and Black women photographers imagined forms of opposition to a milieu that consistently ignored them. Individually and collectively, Black photographers challenged continual denial with gestures of resistance. Together, and on their own they made their scene. Instigators of a multitude of acts, they became the agents of their being recognised as artist-photographers. The scene produced an empowerment which in turn shaped that scene. This thesis recounts the strategies they put in place to challenge the status quo. The creation of this scene occurred through two fundamental axes: firstly publications; and secondly exhibitions. In the first place, the study of printed matter reveals the mechanisms of exclusion and inclusion of these individuals, and indicates their essential role in encounters, exchanges, experimentation, debate, theoretical elaboration and the display of visual productions. To this end, we examine three photographers' magazines: Camerawork, Ten.8 and Polareyes; and comment on the absence of photographers' books. In the second place, our study of the need to show work on walls, through exhibitions, enables us to identify a "Do It-Yourself" attitude in which artists become curators and coordinators of spaces. The thesis concludes on the institutionalization of the scene through the history of the Association of Black Photographers as an organization. Our pivot is the emergence of a scene despite a society opposed to it, and tells the story of its slow inclusion in the world of British photography in the second half of the 20th century
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Brinsford, Julian. « Citizens of the secret machine : elements towards a Bakhtinian history of photographic representations of the British working classes in the twentieth century ». Thesis, University of Sussex, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.360577.

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Hacking, Juliet Louise. « Photography personified : art and identity in British photography 1857-1869 ». Thesis, Courtauld Institute of Art (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.266787.

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Rough, William W. « Walter Richard Sickert and the theatre c.1880-c.1940 ». Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/1962.

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Prior to his career as a painter, Walter Richard Sickert (1860-1940) was employed for a number of years as an actor. Indeed the muse of the theatre was a constant influence throughout Sickert’s life and work yet this relationship is curiously neglected in studies of his career. The following thesis, therefore, is an attempt to address this vital aspect of Sickert’s œuvre. Chapter one (Act I: The Duality of Performance and the Art of the Music-Hall) explores Sickert’s acting career and its influence on his music-hall paintings from the 1880s and 1890s, particularly how this experience helps to differentiate his work from Whistler and Degas. Chapter two (Act II: Restaging Camden Town: Walter Sickert and the theatre c.1905-c.1915) examines the influence of the developing New Drama on Sickert’s works from his Fitzroy Street/Camden Town period. Chapter three (Act III: Sickert and Shakespeare: Interpreting the Theatre c.1920-1940) details Sickert’s interest in the rediscovery of Shakespeare as a metaphor for his solution to the crisis in modern art. Finally, chapter four (Act IV: Sickert’s Simulacrum: Representations and Characterisations of the Artist in Texts, Portraits and Self-Portraits c.1880-c.1940) discusses his interest in the concept of theatrical identity, both in terms of an interest in acting and the “character” of artist and self-publicity. Each chapter analyses the influence of the theatre on Sickert’s work, both in terms of his interest in theatrical subject matter but also in a more general sense of the theatrical milieu of his interpretations. Consequently Sickert’s paintings tell us much about changing fashions, traditions and interests in the British theatre during his period. The history of the British stage is therefore the backdrop for the study of a single artist’s obsession with theatricality and visual modernity.
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Livres sur le sujet "History of the British photography"

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Percy, Colin-Thomè, dir. Images of British Ceylon : Nineteenth century photography of Sri Lanka. Singapore : Times Editions, 2000.

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The making of English photography : Allegories. University Park, Pa : Pennsylvania State University Press, 2006.

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Thackray, Susanne. British fairgrounds : A photographic history. Norwich : Encompass, 1993.

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1960-, Pauli Lori, et McElhone John, dir. 19th-century British photographs from the National Gallery of Canada. Ottawa : National Gallery of Canada, 2011.

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Mail, Daily, dir. A photographic history of British football. Bath : Parragon, 2011.

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Picturing empire : Photography and the visualization of the British Empire. London : Reaktion Books, 1997.

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Picturing empire : Photography and the visualization of the British Empire. Chicago : University of Chicago Press, 1997.

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Martin, Harrison. Young meteors : British photojournalism, 1957-1965. London : Jonathan Cape, 1998.

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Elwall, Robert. Photography takes command : The camera and British architecture, 1890-1939. [London] : RIBA Heinz Gallery, 1994.

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1947-, Schaaf Larry J., Metropolitan Museum of Art (New York, N.Y.) et National Gallery of Art (U.S.), dir. Impressed by light : British photographs from paper negatives, 1840-1860. New York : Metropolitan Museum of Art, 2007.

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Chapitres de livres sur le sujet "History of the British photography"

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Seldon, Sir Anthony, et Raymond Newell. « Photography in British Political History ». Dans What Political Science Can Learn from the Humanities, 153–80. Cham : Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-51697-0_7.

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Roberts, Gordon. « History and development ». Dans Mastering Photography, 1–21. London : Macmillan Education UK, 1995. http://dx.doi.org/10.1007/978-1-349-13506-6_1.

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Raymond, Claire. « Reclaiming History ». Dans Photography and Resistance, 165–79. Cham : Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-96158-9_9.

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Friedman, Avner, et David S. Ross. « History of Photography ». Dans Mathematics in Industry, 3–6. Berlin, Heidelberg : Springer Berlin Heidelberg, 2003. http://dx.doi.org/10.1007/978-3-642-55755-2_2.

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Nasim, Omar W. « Hybrid photography in the history of science ». Dans Hybrid Photography, 11–27. Abingdon, Oxon ; New York : Routledge, 2021. : Routledge, 2021. http://dx.doi.org/10.4324/9781003157854-3.

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Loubere, Philip A. « Photography and Film ». Dans A History of Communication Technology, 153–85. New York, NY : Routledge, 2021. : Routledge, 2021. http://dx.doi.org/10.4324/9780429265723-9.

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Miles, Melissa. « Photography, time and history ». Dans Photography, Truth and Reconciliation, 79–106. London ; New York : Bloomsbury Visual Arts, an imprint of Bloomsbury Publishing, Plc. 2019. : Routledge, 2020. http://dx.doi.org/10.4324/9781003103820-4.

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Miles, Melissa. « Photography, history and place ». Dans Photography, Truth and Reconciliation, 107–35. London ; New York : Bloomsbury Visual Arts, an imprint of Bloomsbury Publishing, Plc. 2019. : Routledge, 2020. http://dx.doi.org/10.4324/9781003103820-5.

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Pasquali, Paola. « History of Medical Photography ». Dans Photography in Clinical Medicine, 47–72. Cham : Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-24544-3_4.

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Pavlidis, George. « A Brief History of Photography ». Dans Foundations of Photography, 81–162. Cham : Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-06252-0_2.

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Actes de conférences sur le sujet "History of the British photography"

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Bruce, Dr. « Catastrophe at Farnborough : How the Death of John W. C. "Pee Wee" Judge on 11 September 1970 at the SBAC Air Show in a Wallis WA-117 Autogyro Changed British Popular Rotorcraft History ». Dans Vertical Flight Society 75th Annual Forum & Technology Display. The Vertical Flight Society, 2019. http://dx.doi.org/10.4050/f-0075-2019-14618.

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At 1414 hours on 11 September 1970 John W. C. "Pee Wee" Judge lost control of a Wallis WA-117 autogyro and plunged to his death in front of the viewing stand at the Society of British Aerospace Companies (SBAC) air show at Farnborough. From loss of control until the fatal impact was less than 7 seconds, and as the aircraft was the center of attention (including HRH Queen Elizabeth II), it was photographed from different angles by high quality cine film cameras which enabled extensive analysis. The official accident report would not be issued for 3 and half years, essentially confirming Wing Commander Ken Wallis' own conclusions based on a frame-by-frame viewing of the films - the end result was that Wallis, the most famous autogyro pilot and popularizer since his stellar performance with his WA-116 autogyro "Little Nellie" in the 1967 James Bond film You Only Live Twice, exited from public life and pursued "the autogyro as a working aircraft" for the next 42 years. Although he would later assume the ceremonial role as "Patron of the British Rotorcraft Society" and of The Norfolk and Suffolk Aviation Museum, he steadfastly refused to facilitate construction of his autogyros by amateur builders. (Two unsuccessful models, the Wombat and the Dingbat, would eventually be built by others, the result of what Wallis would label "eyeball engineering"). His sui generis status as a 'developer' had allowed him to develop the most advanced autogyro models (and begin dominating world records for the next three decades), but the British popular rotorcraft movement would not see any benefits, and never recover from the impact in public perception and governmental skepticism as to the safety of the small autorotational aircraft.
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Lauzzana, Raymond. « An Art History Installation Of Electronic Still Photography ». Dans 1988 Los Angeles Symposium--O-E/LASE '88, sous la direction de Ronald J. Clouthier, Gary K. Starkweather, Andrew G. Tescher et Thomas L. Vogelsong. SPIE, 1988. http://dx.doi.org/10.1117/12.944694.

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Endelman, Lincoln L. « Hubble Space Telescope : mission, history, and systems ». Dans 19th Intl Congress on High-Speed Photography and Photonics. SPIE, 1991. http://dx.doi.org/10.1117/12.23985.

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SATO, Mayuka. « Representations of British women at the British Empire Exhibition, 1924–1925 ». Dans 10th International Conference on Design History and Design Studies. São Paulo : Editora Edgard Blücher, 2016. http://dx.doi.org/10.5151/despro-icdhs2016-02_004.

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Hoffmann, Rüdiger. « Photography and cinematography at the Hamburg Phonetics Laboratory. Part 1 : photography and cinematography of the larynx ». Dans Fifth International Workshop on the History of Speech Communication Research (HSCR 2022). ISCA : ISCA, 2022. http://dx.doi.org/10.21437/hscr.2022-6.

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Tikhonov, Igor'. « Role of photography in studies of the history of archaeology ». Dans Monuments of archaeology in studies and photographs (in the memory of Galina Vatslavna Dluzhnevskaya). Institute for the History of Material Culture Russian Academy of Sciences, 2018. http://dx.doi.org/10.31600/978-5-907053-08-3-2018-185-193.

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Croydon, B. « Foundations of aviation and a new British industry ». Dans 29th Annual Weekend Meeting History of Electrical Engineering. IEE, 2001. http://dx.doi.org/10.1049/ic:20010164.

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Yang, Hua. « The History and Development of British and American Literature ». Dans Proceedings of the 2017 5th International Education, Economics, Social Science, Arts, Sports and Management Engineering Conference (IEESASM 2017). Paris, France : Atlantis Press, 2018. http://dx.doi.org/10.2991/ieesasm-17.2018.26.

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Sauve, Madeleine, Brent Ward, John J. Clague et Wayne Savigny. « QUATERNARY HISTORY IN THE ISKUT REGION, BRITISH COLUMBIA, CANADA ». Dans GSA Connects 2023 Meeting in Pittsburgh, Pennsylvania. Geological Society of America, 2023. http://dx.doi.org/10.1130/abs/2023am-391735.

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Mori, Yasuhito, et Kunihito Nagayama. « Streak recording of shock velocity history in polymers around 0.5-GPa stress region ». Dans 24th International Congress on High-Speed Photography and Photonics, sous la direction de Kazuyoshi Takayama, Tsutomo Saito, Harald Kleine et Eugene V. Timofeev. SPIE, 2001. http://dx.doi.org/10.1117/12.424340.

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Rapports d'organisations sur le sujet "History of the British photography"

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Shaw, J., et D. G. Lintern. Marine geology, geomorphology of Chatham Sound, British Columbia, parts of NTS 103-G, H, I, and J. Natural Resources Canada/CMSS/Information Management, 2023. http://dx.doi.org/10.4095/329405.

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This map depicts the geomorphology of the Chatham Sound area, British Columbia, and is based on bathymetry and backscatter data from multibeam sonar surveys, complemented by 3.5 kHz subbottom profiler data, grab samples, cores, and bottom photographs. The map encompasses three physiographic areas: 1) the easternmost portion of Dogfish Banks; 2) the north-south oriented Hecate trough; and 3) the maze of channels and inlets east of Hecate trough. The morphological and textural complexity reflects the underlying bedrock, glacial history, a complex pattern of postglacial relative sea-level change, and modern oceanographic processes. Hexactinellid sponge reefs are a significant component of the seafloor mosaic. The criteria for reef identification were positive relief, low backscatter strength, and acoustic transparency.
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Baker, James, et Sofya Shahab. Preserving Communities' Heritage : A Workbook for Heritage Capturers. Institute of Development Studies (IDS), novembre 2021. http://dx.doi.org/10.19088/creid.2021.006.

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This is a practical workbook to guide local communities and heritage gatherers through the process of capturing and storing their heritage for future generations. Through initiatives with the British Academy and the Coalition for Religious Equality and Inclusive Development (CREID), the Institute of Development Studies (IDS) has been working with young people in Egypt, Iraq and Syria to capture their oral heritage, so that it may be preserved for future generations. Alongside life history interviews and topic interviews - which cover particular aspects of communities’ heritage - a key component of this heritage preservation is how these records will be stored. Thinking about the language and accessibility of digital archiving practices, this workbook is a practical guide to capturing and storing “heritage harvests”, including community interviews, photographs, and short films.
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Plouffe, A. Quaternary stratigraphy and history of central British Columbia. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 1992. http://dx.doi.org/10.4095/132804.

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Mold, Alex, Virginia Berridge, Tom Crook, Martin Gorsky, Andrew Seaton et Sally Sheard. Lessons from the History of British Health Policy. The British Academy, novembre 2023. http://dx.doi.org/10.5871/gcrf/9780856726859.001.

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Mold, Alex, Virginia Berridge, Tom Crook, Martin Gorsky, Andrew Seaton et Sally Sheard. Lessons from the History of British Health Policy. The British Academy, novembre 2023. http://dx.doi.org/10.5871/bapolhist/9780856726859.001.

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Clague, J. J. Quaternary stratigraphy and history of south-coastal British Columbia. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 1994. http://dx.doi.org/10.4095/203249.

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Bogart, Dan, et Gary Richardson. Estate Acts, 1600 to 1830 : A New Source for British History. Cambridge, MA : National Bureau of Economic Research, octobre 2008. http://dx.doi.org/10.3386/w14393.

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Lewis, P. D., et J. V. Ross. Mesozoic and Cenozoic Structural History of the Central Queen Charlotte Islands, British Columbia. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 1991. http://dx.doi.org/10.4095/131961.

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Antonov, Volodymyr. Natural history BBC documentaries : history and functions. Ivan Franko National University of Lviv, février 2022. http://dx.doi.org/10.30970/vjo.2022.51.11402.

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This scientific article studies natural history documentaries produced by BBC and traces important stages of the development of the attitude towards such genre as natural history documentary. This research is about understanding why this kind of programmes is important, particularly for Ukrainians, and why we should study the genre thoroughly, including the BBC’s experience in the field. Accordingly, the main objectives of the study were: 1. To substantiate the necessity for Ukrainian scholars to study natural history documentaries and BBC’s experience in the field. 2. To trace back and describe the main stages of development in the sphere of producing natural history documentaries by British Broadcasting Corporation. 3. To analyze the obstacles which modern journalists, filmmakers are dealing with and to draw attention of Ukrainian specialists to those philosophical questions that modern era is searching for answers to. In the result of the research these main tasks which were outlined above were fulfilled. The author of this article concluded that natural history documentaries help to understand our place in the world we live in. In addition, through the shared environment we can feel unity with those who inhabit our region, country, inhabited it before, will inhabit in future. Documentaries help us understand who we are. And this function of identification is very important for contemporary Ukraine. To understand how to create proper natural history documentary it’s important to learn the global history of creating such programmes and especially that part which covers BBC’s achievements. The achievements of the corporation which gave birth to such prominent figure as David Attenborough. In addition to this, the article described some modern challenges which documentary makers face and those questions which contemporary society needs to have answered. Because you cannot create a proper natural history programme if you know past but do not know modern challenges. To sum up, the topic which is deeply connected with process of self-identification is very important and perspective for Ukrainian society which suffers hybrid war and endeavours of Russian Federation to assimilate Ukrainian people, Ukrainian culture.
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Meijer Drees, N. C., D. I. Johnston et E. G. Fullmer. Devonian stratigraphy and depositional history across Peace River Highland, west-central Alberta and nearby British Columbia. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 1994. http://dx.doi.org/10.4095/133494.

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