Книги: "Mort – Photographie"

1

Carrera, Gaston Fernandez. La photographie, le néant: Digressions autour d'une mort occidentale. Paris: Presses universitaires de France, 1986.

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2

Dorion, Hélène. Le temps du paysage. Montréal (Québec): Druide, 2016.

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3

Bennett, Terry. Early Photography in Vietnam. GB Folkestone: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9781912961047.

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Early Photography in Vietnam is a fascinating and outstanding pictorial record of photography in Vietnam during the century of French rule. In more than 500 photographs, many published here for the first time, the volume records Vietnam’s capture and occupation by the French, the wide-ranging ethnicities and cultures of Vietnam, the country’s fierce resistance to foreign rule, leading to the reassertion of its own identity and subsequent independence. This benchmark volume also includes a chronology of photography (1845–1954), an index of more than 240 photographers and studios in the same period, appendixes focusing on postcards, royal photographic portraits, Cartes de Visite and Cabinet Cards, as well as a select bibliography and list of illustrations.

4

Hannouch, Hanin. Gabriel Lippmann's Colour Photography. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463728553.

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Physicist Gabriel Lippmann’s (1845–1921) photographic process is one of the oldest methods for producing colour photographs. So why do the achievements of this 1908 Nobel laureate remain mostly unknown outside niche circles? Using the centenary of Lippmann’s death as an opportunity to reflect upon his scientific, photographic, and cultural legacy, this book is the first to explore his interferential colour photography. Initially disclosed in 1891, the emergence of this medium is considered here through three shaping forces: science, media, and museums. A group of international scholars reassess Lippmann’s reception in the history of science, where he is most recognised, by going well beyond his endeavours in France and delving into the complexity of his colour photography as a challenge to various historiographies. Moreover, they analyse colour photographs as optical media, thus pluralising Lippmann photography’s ties to art, cultural and imperial history, as well as media archaeology. The contributors also focus on the interferential plate as a material object in need of both preservation and exhibition, one that continues to fascinate contemporary analogue photographers. This volume allows readers to get to know Lippmann, grasp the interdisciplinary complexity of his colourful work, and ultimately expand his place in the history of photography.

5

Mercer, Vera. Vera Mercer: Natura morta/natura viva. Soligo]: Punto Marte editore, 2015.

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6

Berge, Valérie. Nature morte: Photographies. Bordeaux: Egone & Terre noire, 2001.

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7

Holländer, Matthias, and Christoph Bauer. Matthias Holländer: Photographie : nature morte. Heidelberg: Kaden, 2010.

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8

Heflin, Mark. American photography 36. New York, NY: American Photography, 2020.

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9

Cole, Teju. Golden apple of the sun. London]: MACK, 2021.

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10

Althouse, Stephen. Stephen Althouse. Boca Raton, Fla: Boca Raton Museum of Art, 2009.

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11

Ruff, Thomas. Thomas Ruff: Nature morte. Edited by Freedberg Hannah editor and Gagosian Gallery (London England). London: Gagosian Gallery, 2015.

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12

Julie, Stephani, ed. More than memories: The complete guide for preserving your family history. Iola, WI: Krause Publications, 1998.

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13

Denis, Roche. La photographie est interminable: Entretiens avec Gilles Mora. Paris: Seuil, 2007.

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14

1948-, Wilkinson Colin, ed. More streets of Liverpool: A photographic record. Liverpool: Editions Limited, 1989.

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15

Sloan, Mark. Hoaxes, humbugs, and spectacles: Astonishing photographs of smelt wrestlers, human projectiles, giant hailstones, contortionists, elephant impersonators, and much, much more! New York: Villard Books, 1990.

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16

Eugene, Smith W. W. Eugene Smith: More real than reality. Madrid: La Fábrica Editorial, 2011.

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17

Delaplace, Grégory. L'invention des morts: Sépultures, fantômes et photographie en Mongolie contemporaine. Paris: Etudes mongoles et sibériennes, 2009.

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18

Spain, David H. Art deco Noritake & more: A photographic and historical record. Atglen, Pa: Schiffer Pub., 2004.

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19

Takahashi, Janet. Artful journals: Making & embellishing memory books, garden diaries & travel albums & more. New York: Lark Books, 2007.

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20

Moro, Sofía. Sofía Moro. Madrid: La Fábrica, 2012.

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21

Julie, Stephani, and David Larson Productions, eds. More than memories II: Beyond the basics. Iola, WI: Krause Publications, 1999.

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22

Rankin. More by Rankin. Edited by Barber Liza. Kempen, Germany: teNeues, 2013.

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23

Bourassa, Barbara C. Beyond scrapbooks: Using your scrapbook supplies to make beautiful cards, gifts, books, journals, home decorations, and more! Gloucester, Mass: Quarry Books, 2006.

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24

Company, Eastman Kodak, ed. More joy of photography. Reading, MA: Addison-Wesley, 1988.

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25

(Firm), Memory Makers Books. More quick & easy scrapbook pages: 200 all new timesaving layouts you can create in one hour or less. Denver, Colo: Memory Makers Books, 2005.

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26

Giudici, Nicolas. Tout le Mont-Blanc et ses pays. Ajaccio: Altea editions, 1992.

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27

Suzuki, Risaku. Mont sainte victoire. Tucson, AZ: Nazraeli Press in association with JGS, 2004.

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28

Moreno, Lara Pla, and Robert Martínez Canet. Imatges de mort: Representacions fotogràfiques de la mort ritualitzada. Valencia: Diputació de Valencia, Àrea de Cultura, 2017.

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29

Flach, Tim. More than human. New York: Abrams, 2012.

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30

Brady, Bill. More digital food photography. Boston, MA: Course Technology/Cengage Learning, 2013.

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31

Michel, Karen. The complete guide to altered imagery: For collage, altered books, artists journals, and more. Gloucester, Mass: Quarry Books, 2005.

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32

Trefzer, Annette. Exposing Mississippi. University Press of Mississippi, 2022. http://dx.doi.org/10.14325/mississippi/9781496837493.001.0001.

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Internationally known as a writer, Eudora Welty has also been spotlighted as a talented photographer. The prevalent idea remains that Welty simply took snapshots before she found her true calling as a renowned fiction writer. But who was Welty as a photographer? What did she see? How and why did she photograph? And what did Welty know about modern photography? This book elucidates Welty's photographic vision and answers these questions by exploring her photographic archive and writings on photography. The photographs Welty took in the 1930s and 1940s frame her visual response to the cultural landscapes of the segregated South during the Depression. The photobook One Time, One Place, which was selected, curated, and shaped into a visual narrative by Welty herself, serves as a starting point and guide for the chapters on her spatial hermeneutic. The book is divided into sections by locations and offers how the framing of these areas reveals Welty's radical commentary of the spaces her camera captured. There are over eighty images, including some never-before-seen archival photographs, and sections of the book draw on over three hundred more. The chapters on institutional, leisure, and memorial landscapes address how Welty's photographs contribute to, reflect on, and intervene in customary visual constructions of the Depression-era South.

33

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.

34

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.

35

Finnegan, Cara A. Managing the Magnitude of the Great Depression. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039263.003.0005.

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This chapter examines viewer responses to the Farm Security Administration (FSA) exhibit at the First International Photographic Exposition, held at the Grand Central Palace in New York City from April 18 through 24, 1938. The First International Photographic Exposition featured more than 3,000 photographs representing all genres of photography. As the organizing committee wrote in its introduction to the catalog of exhibits and programs, “Photography today is the most catholic of the applied sciences and the livest of the arts. Lucid in its application, universal in its appeal, it is making America a picture-minded people—a people in whom the visual sense grows increasingly more dominant as an educational and emotional influence.” This chapter first describes 1930s photography and Americans' picture-mindedness before discussing viewer comments on the FSA exhibit. It shows that those comments offer insight into how viewers responded to the immediate reading problem posed by the FSA photographs: how to make sense of images of want at a time of economic, political, and social crisis in the United States.

36

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.

37

Warburton, Nigel. Photography. Edited by 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.

38

Finnegan, Cara A. Photographic Presidents. University of Illinois Press, 2021. http://dx.doi.org/10.5622/illinois/9780252043796.001.0001.

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Throughout U.S. history, presidents have participated in photography as subjects, producers, and consumers of photographs. Yet few scholars have examined the 180-year relationship between presidents and photography in any depth. Photographic Presidents studies how presidents shaped and participated in transformative moments in the history of the medium: George Washington, who more than 50 years after his death emerged as a crucial subject for early photography in a nation eager to consume portraits of elite leaders; John Quincy Adams, who in the early 1840s lamented in his diary his failure to get a good daguerreotype; William McKinley, whose 1901 assassination set off a morbid race to find and publish the dead president’s “last photographs”; Herbert Hoover and Franklin Roosevelt, each vexed by encounters with “candid cameramen” with the capacity to catch their subjects unaware; and Barack Obama, whose use of social media photography embodied the tensions inherent in early twenty-first-century digital photography. From its introduction in 1839 to the present day, photography has introduced new visual values that have often clashed with existing social and cultural norms. As representations of elite leaders who symbolized the nation, presidential photographs became sites of tension in which the implications of these new visual values played out in public.

39

Hannouch, Hanin, ed. Gabriel Lippmann’s Colour Photography. Amsterdam University Press B.V., 2022. http://dx.doi.org/10.5040/9789048561940.

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Physicist Gabriel Lippmann’s (1845–1921) photographic process is one of the oldest methods for producing colour photographs. So why do the achievements of this 1908 Nobel laureate remain mostly unknown outside niche circles? Using the centenary of Lippmann’s death as an opportunity to reflect upon his scientific, photographic, and cultural legacy, this book is the first to explore his interferential colour photography. Initially disclosed in 1891, the emergence of this medium is considered here through three shaping forces: science, media, and museums. A group of international scholars reassess Lippmann’s reception in the history of science, where he is most recognised, by going well beyond his endeavours in France and delving into the complexity of his colour photography as a challenge to various historiographies. Moreover, they analyse colour photographs as optical media, thus pluralising Lippmann photography’s ties to art, cultural and imperial history, as well as media archaeology. The contributors also focus on the interferential plate as a material object in need of both preservation and exhibition, one that continues to fascinate contemporary analogue photographers. This volume allows readers to get to know Lippmann, grasp the interdisciplinary complexity of his colourful work, and ultimately expand his place in the history of photography.

40

Lewis, Jacob W., and Kyle Parry, eds. Ubiquity. Leuven University Press, 2021. http://dx.doi.org/10.11116/9789461664020.

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From its invention to the internet age, photography has been considered universal, pervasive, and omnipresent. This anthology of essays posits how the question of when photography came to be everywhere shapes our understanding of all manner of photographic media. Whether looking at a portrait image on the polished silver surface of the daguerreotype, or a viral image on the reflective glass of the smartphone, the experience of looking at photographs and thinking with photography is inseparable from the idea of ubiquity—that is, the apparent ability to be everywhere at once. While photography’s distribution across cultures today is undeniable, the insidious logics and pervasive myths that have governed its spread demand our critical attention, now more than ever.

41

Lewis, Jacob W., and Kyle Parry, eds. Ubiquity. Leuven University Press, 2021. http://dx.doi.org/10.11116/9789461664266.

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From its invention to the internet age, photography has been considered universal, pervasive, and omnipresent. This anthology of essays posits how the question of when photography came to be everywhere shapes our understanding of all manner of photographic media. Whether looking at a portrait image on the polished silver surface of the daguerreotype, or a viral image on the reflective glass of the smartphone, the experience of looking at photographs and thinking with photography is inseparable from the idea of ubiquity—that is, the apparent ability to be everywhere at once. While photography’s distribution across cultures today is undeniable, the insidious logics and pervasive myths that have governed its spread demand our critical attention, now more than ever.

42

Hornby, Louise. Stilling the Subject. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190661229.003.0003.

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This chapter considers how photography emerges as an incomplete, iterative form of portraiture against an elusive subject. It looks specifically at Marcel Proust’s definition of modernist portraiture in À la Recherche du Temps Perdu as an incomplete, serial form. The narrator turns repeatedly to photographic tropes of portraiture to try to capture an image of Albertine, the woman he loves. She remains unseeable, her opacity constructed both by still photography and by her suspected lesbianism. The chapter traces lesbian sexuality’s resistance in a number of figures and photographs alongside Proust’s novel, incorporating readings of Alfred Stieglitz’s portraits of Georgia O’Keeffe and concluding with modernism’s most inscrutable female figure, Greta Garbo. The point conveyed is not that photography fails to get at its subject (although this is Proust’s complaint), but that photography makes the subject’s inscrutability and opacity visible as such.

43

Gold, New York. Eye. Watson-Guptill Publications, 1993.

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44

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.

45

Heftler, Sylviane de Decker. Photographier le Mont Blanc. Guerin, 2002.

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46

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.

47

Saxton, Libby. No Power Without an Image. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474463157.001.0001.

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No Power Without an Image is the first detailed study of what filmic images can tell us about iconic photographs. Previous scholarship on iconic images, including the proliferation of recent writings on the subject, has typically centred on, or at least paid special attention to, the medium of photography. Yet the publications that helped create some of the most familiar such icons were deeply influenced by cinema, privileging dynamic photographs and layouts and juxtaposing photojournalism with film stills and film frames. Photojournalistic icons, moreover, often coexist as film or video sequences and have played a surprisingly important but unexamined role in film criticism and theory. The book reveals multifaceted connections between seven celebrated photographs that symbolise aspects of wars and political struggles in the mid-twentieth century, when camera images began to acquire iconic distinction, and cinema in all its forms: from the ‘paper cinema’ of magazines and film star portraiture, via newsreels, to documentary, fiction and experimental films. These case studies call into question the conventional opposition between the photograph that sears into memory and the quickly forgotten filmic image. Drawing on original archival research and accounts of religious and secular icons from eclectic fields including philosophy, art history, photography and film studies and star theory, the book explores a new way of thinking about the confluence of still and moving images.

48

Sammon, Rick. Rick Sammon's Creative Visualization for Photographers: Composition, Exposure, Lighting, Learning, Experimenting, Setting Goals, Motivation, and More. Taylor & Francis Group, 2015.

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49

Sammon, Rick. Rick Sammon's Creative Visualization for Photographers: Composition, Exposure, Lighting, Learning, Experimenting, Setting Goals, Motivation and More. Taylor & Francis Group, 2015.

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50

Sammon, Rick. Rick Sammon's Creative Visualization for Photographers: Composition, Exposure, Lighting, Learning, Experimenting, Setting Goals, Motivation and More. Taylor & Francis Group, 2015.

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