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Author: John Hannavy
Publisher: Routledge
ISBN: 1135873267
Category : Photography
Languages : en
Pages : 1630
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Book Description
The Encyclopedia of Nineteenth-Century Photography is the first comprehensive encyclopedia of world photography up to the beginning of the twentieth century. It sets out to be the standard, definitive reference work on the subject for years to come. Its coverage is global – an important ‘first’ in that authorities from all over the world have contributed their expertise and scholarship towards making this a truly comprehensive publication. The Encyclopedia presents new and ground-breaking research alongside accounts of the major established figures in the nineteenth century arena. Coverage includes all the key people, processes, equipment, movements, styles, debates and groupings which helped photography develop from being ‘a solution in search of a problem’ when first invented, to the essential communication tool, creative medium, and recorder of everyday life which it had become by the dawn of the twentieth century. The sheer breadth of coverage in the 1200 essays makes the Encyclopedia of Nineteenth-Century Photography an essential reference source for academics, students, researchers and libraries worldwide.
Author: John Hannavy
Publisher: Routledge
ISBN: 1135873267
Category : Photography
Languages : en
Pages : 1630
Get Book Here
Book Description
The Encyclopedia of Nineteenth-Century Photography is the first comprehensive encyclopedia of world photography up to the beginning of the twentieth century. It sets out to be the standard, definitive reference work on the subject for years to come. Its coverage is global – an important ‘first’ in that authorities from all over the world have contributed their expertise and scholarship towards making this a truly comprehensive publication. The Encyclopedia presents new and ground-breaking research alongside accounts of the major established figures in the nineteenth century arena. Coverage includes all the key people, processes, equipment, movements, styles, debates and groupings which helped photography develop from being ‘a solution in search of a problem’ when first invented, to the essential communication tool, creative medium, and recorder of everyday life which it had become by the dawn of the twentieth century. The sheer breadth of coverage in the 1200 essays makes the Encyclopedia of Nineteenth-Century Photography an essential reference source for academics, students, researchers and libraries worldwide.
Author: Sir William de Wiveleslie Abney
Publisher:
ISBN:
Category : Photography
Languages : en
Pages : 356
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Book Description
Author:
Publisher:
ISBN:
Category : Photography
Languages : en
Pages : 186
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Book Description
Author:
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ISBN:
Category :
Languages : en
Pages : 172
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Book Description
Author: James M. Reilly
Publisher: HP Trade
ISBN:
Category : Photography
Languages : en
Pages : 152
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Book Description
Author:
Publisher:
ISBN:
Category : Photography
Languages : en
Pages : 620
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Book Description
Author: Hermann Wilhelm Vogel
Publisher: BoD – Books on Demand
ISBN: 3385360684
Category : Fiction
Languages : en
Pages : 345
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Book Description
Reprint of the original, first published in 1883.
Author:
Publisher:
ISBN:
Category : Best books
Languages : en
Pages : 950
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Book Description
Author:
Publisher:
ISBN:
Category : Photography
Languages : en
Pages : 348
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Book Description
Author: Vered Maimon
Publisher: U of Minnesota Press
ISBN: 1452944210
Category : Photography
Languages : en
Pages : 258
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Book Description
Focusing on early nineteenth-century England?and on the works and texts of the inventor of paper photography, William Henry Fox Talbot?Singular Images, Failed Copies historicizes the conceptualization of photography in that era as part of a major historical change. Treating photography not merely as a medium or a system of representation but also as an epistemology, Vered Maimon challenges today’s prevalent association of the early photograph with the camera obscura. Instead, she points to material, formal, and conceptual differences between those two types of images by considering the philosophical and aesthetic premises linked with early photography. Through this analysis she argues that the emphasis in Talbot’s accounts on the removal of the “artist’s hand” in favor of “the pencil of nature” did not mark a shift from manual to “mechanical” and more accurate or “objective” systems of representation. In Singular Images, Failed Copies, Maimon shows that the perception of the photographic image in the 1830s and 1840s was in fact symptomatic of a crisis in the epistemological framework that had informed philosophical, scientific, and aesthetic thought for two centuries.
