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Relevant bibliographies by topics / History of Photography / Dissertations / Theses

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Dissertations / Theses on the topic 'History of Photography'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Cooper, Elena Sophia Christina. "Art, photography, copyright : a history of photographic copyright, 1850-1911." Thesis, University of Cambridge, 2011. https://www.repository.cam.ac.uk/handle/1810/283882.

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2

Napier, Ellen Bethany. "Thomas Struth's Museum Photographs and the Textual Experience of Photography." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1364223682.

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3

Jolly, Martyn. "Fake photographs making truths in photography /." Click here for electronic access to document: http://www.anu.edu.au/ITA/CSA/photomedia/ph_d.pdf, 2003. http://www.anu.edu.au/ITA/CSA/photomedia/ph_d.pdf.

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4

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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Jolly, Martyn. "Fake photographs : making truths in photography." Phd thesis, Sydney College of the Arts, 2003. http://hdl.handle.net/2123/4046.

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6

Hudson, Giles. "The feminization of photography and the conquest of colour : Sarah Angelina Acland, photographer." Thesis, University of Oxford, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.711651.

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7

Baird, Jaime. "Looking at Ethiopia history, photography, and power /." [Gainesville, Fla.] : University of Florida, 2005. http://purl.fcla.edu/fcla/etd/UFE0011902.

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8

Ruminski, Jarret. "“A Terrible Fascination:” Civil War Photography and the Advent of Photographic Realism." Youngstown State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1194962162.

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9

Skidmore, Colleen Marie. "Women in photography at the Notman Studio, Montreal, 1856-1881." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq46921.pdf.

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10

Humayun, Saalem. "Constructing family photograph albums : how the process of archival acquisition writes history." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99722.

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This thesis is about photographic archives. Specifically, it concerns the process of acquisition for family photograph albums as archival texts. It argues that the process of acquisition writes history, and not one sole author. Additionally it argues that the institutional policy of an archive governs this process. Further, it argues that there is a homology between a public and private archive. In this light, it pursues an autobiographical approach, and compares the author's family photograph album with a family photograph album in the McCord Museum of Canadian History.

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11

Riddler, Eric. "Sublime souls & symphonies : Australian phototexts, 1926-1966." Master's thesis, University of Sydney, 1993. http://hdl.handle.net/2123/14449.

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12

Dolce, Mark A. "History and Ethics of Electronic Manipulation in News Photography." Thesis, The University of Arizona, 1992. http://hdl.handle.net/10150/292188.

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13

Lai, Kin-keung Edwin, and 黎健強. "Hong Kong art photography : from its beginnings to the Japanese invasion of December 1941." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hdl.handle.net/10722/210323.

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14

Birkhofer, Melissa Dee DeGuzmán María. "Voicing a lost history through photography in Hispaniola's diasporic literature." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2007. http://dc.lib.unc.edu/u?/etd,1038.

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Thesis (M.A.)--University of North Carolina at Chapel Hill, 2007.<br>Title from electronic title page (viewed Mar. 27, 2008). "... in partial fulfillment of the requirements for the degree of Master in the Department of English and Comparative Literature." Discipline: English; Department/School: English.

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15

COSTA, AMANDA DANELLI. "IMPRESSIONS ON IMAGES: HISTORY MEMORY AND AUGUSTO MALTA CARIOCA PHOTOGRAPHY." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2007. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=11419@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO<br>COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR<br>CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO<br>A presente dissertação busca aproximar memória e fotografia, bem como o ato de fotografar do ato de historiar. A partir daí, se volta para a proposta específica de analisar um grupo de fotografias que Augusto Malta fez das ruas da cidade do Rio de Janeiro no início do século XX. Já no século XIX foi atribuída aos fotógrafos a função de registradores de um mundo que se dissipava e de outro que se anunciava. E

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16

Stumberger, Rudolf. "Klassen-Bilder : sozialdokumentarische Fotografie 1900 - 1945 /." Konstanz : UVK-Verl.-Ges, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2961071&prov=M&dok_var=1&dok_ext=htm.

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17

Hammond, Mary Sayer. "The camera obscura : a chapter in the pre-history of photography /." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487322984314364.

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18

Acar, Sibel. "Intersections:architecture And Photography In Victorian Britain." Master's thesis, METU, 2010. http://etd.lib.metu.edu.tr/upload/3/12611169/index.pdf.

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Architecture and photography have always been closely interacted since the invention of photography in the late 1830s.While architecture has been captured as one of the main subjects of photography, photography has served architecture as a valuable tool of representation. Focusing on the frame defined by Victorian Britain, this study tries to capture intersecting histories between photography and architecture. Accordingly three intersections were defined: the first intersection corresponds to the simultaneous development of photography and architectural photography<br>the second to theinterac

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19

Delmas, Didier. "Why 1839? : the philosophy of vision and the invention of photography." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83176.

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1826 is the date attributed to the very first known photograph, Nicephore Niepce's "View from the Window at Gras." For traditional historians of photography this date marks the moment when the genius of man was finally able to merge the knowledge of chemistry with that of optics to create the most amazing technology of visual representation. However, those same historians recognize that the two essential components of photography---the camera and the properties of silver halides---had been known for centuries before the first photograph was ever taken.<br>This thesis explores two fundam

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20

Willis, Anne-Marie. "Writing photographic history in Australia : towards a critical account." Thesis, The University of Sydney, 1986. https://hdl.handle.net/2123/28611.

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This thesis presents a critical framework for historically considering photography in Australia from the 1840s to the 1970s. The approach adopted is to critically map the currently constituted field of photographic history by taking the existing accounts of photography in Australia and the key issues of photographic history as a series of starting points. These are presented, then interrogated by setting them into new evaluative contexts. The basic claim of the thesis, presented in the Introduction, is for the necessity of considering and recognising the constitution of photography in the br

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21

Shanks, Sarah M. "Re:Visions : A Mother's Secondary Images." Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1417785128.

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22

Paz, Maria Del Making Flores. "The Visual Making of a Regional Society. Photography and Amazonian History." Thesis, Birkbeck (University of London), 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.499193.

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Hammond, Mary Sayer. "The camera obscura : a chapter in the pre-history of photography /." Ann Arbor : University microfilms international, 1987. http://catalogue.bnf.fr/ark:/12148/cb370317960.

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24

Bauman, Emily. "Die Kunst in der Photographie: Nostalgia and Modernity in the German Art Photography Journal, 1897–1908." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1459438626.

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25

Zhu, Christine. "Rejecting the front row| Guy Marineau and the evolution of runway photography." Thesis, Fashion Institute of Technology, SUNY, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1603005.

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<p> This paper is a review and discussion of the career of French runway photographer, Guy Marineau. It specifically explores his tenure at Fairchild Publications between the years 1975-1985, contextualized by his personal experience and the history of the fashion show. Prior to shooting the runway, Marineau photographed conflicts in Portugal and Israel. Traumatized by war, Marineau, decided to realign his career towards capturing beauty.</p><p> Fashion shows emerged around the turn of the century, and press coverage of them has been long fraught with complications due to the threat of copyi

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26

Leister, Wiebke. "Unjoyful laughter and the non-likeness of photographic portraiture." Thesis, Royal College of Art, 2006. http://ualresearchonline.arts.ac.uk/13247/.

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This research investigates photographic portraits that can be considered as potentially non-mimetic images. It uses the portrait of laughter in theory and in practice to explore a ́non-like ́, iconic relation between a photograph and its model. In opposition to portraying a specific laughing sitter, here the photograph is more informed by what the viewer brings to his or her subjective encounter with that photograph. Among other subjects, my research compares portraiture to clownish performance. Hence, the photographic portrait shifts register, becoming less a likeness of the sitter, rather a

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27

Adams, James Mack. "Tybee Island." Digital Commons @ East Tennessee State University, 2000. https://www.amzn.com/B01NANDHB1/.

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Tybee Island is a tiny piece of land, only-two-and-a-half miles long and two-thirds of a mile wide; however, its strategic location near the mouth of the Savannah River assigned to it an important role in the birth and history of the state of Georgia. Over this coastal community five flags have flown, representing Spain, France, England, the Confederate States of America, and the United States of America. Using numerous vintage photographs from the archives of the Tybee Island Historical Society, Tybee Island guides the reader through over two hundred years of history. Although much of its his

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28

Smith, Olga. "Between reality and fiction : the art of French photography since the 1970s." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610275.

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29

Wang, Han-Chih. "The Profane and Profound: American Road Photography from 1930 to the Present." Diss., Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/468625.

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Art History<br>Ph.D.<br>This dissertation historicizes the enduring marriage between photography and the American road trip. In considering and proposing the road as a photographic genre with its tradition and transformation, I investigate the ways in which road photography makes artistic statements about the road as a visual form, while providing a range of commentary about American culture over time, such as frontiersmanship and wanderlust, issues and themes of the automobile, highway, and roadside culture, concepts of human intervention in the environment, and reflections of the ordinary an

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30

Laurence-Allen, Antonia. "Class, consumption and currency : commercial photography in mid-Victorian Scotland." Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/3469.

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This thesis examines a thirty year span in the history of Scottish photography, focusing on the rise of the commercial studio from 1851 to assess how images were produced and consumed by the middle class in the mid-Victorian period. Using extensive archival material and a range of theoretical approaches, the research explores how photography was displayed, circulated, exploited and discussed in Scotland during its nascent years as a commodity. In doing so, it is unlike previous studies on Scottish photography that have not attended to the history of the medium as it is seen through exhibitions

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31

Jones, Susanne Lenné. "What’s in a Frame?: Photography, Memory, and History in Contemporary German Literature." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1132239561.

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32

Jones, Susanne Lenné. "What's in a frame? photography, memory, and history in contemporary german literature /." Cincinnati, Ohio : University of Cincinnati, 2005. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1132239561.

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Thesis (Ph.D.)--University of Cincinnati, 2005.<br>Advisor: Katharina Gerstenberger. Title from electronic thesis title page (viewed April 22, 2009). Keywords: Photography; Memory; History; Holocaust; German literature; Jewish; fact; fiction; Sebald; Maron; Liebmann. Includes abstract. Includes bibliographical references.

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33

Swensen, James R. "The Rephotographic Survey Project (19770-1979) and the Landscape of Photography." Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/194916.

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In 1976 two young photographers, Mark Klett and JoAnn Verburg, and a photo-historian named Ellen Manchester came together with an idea to rephotograph sites in the American West that had originally been documented by survey photographers such as William Henry Jackson and Timothy O'Sullivan. By the spring of 1977 and with the support of various organizations they began a project that spanned the next three years and would eventually become known as the Rephotographic Survey Project (RSP). In many ways, the RSP represents an important moment in the history of photography and the representation o

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34

Isenogle, Melanie R. "Anna Atkins: Catalyst of Modern Photography Through The First Photobook." Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1522796885194359.

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35

Brusius, Mirjam Sarah. "Preserving the forgotten : William Henry Fox Talbot, photography and the antique." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609959.

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36

Burdine, Michelle Marie. "Value Perspective: A Necessary Condition for Photographic Art." Wright State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=wright1367575871.

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37

Donkin, Hazel. "Surrealism, photography and the periodical press : an investigation into the use of photography in surrealist publications (1924-1969) with specific reference to themes of sexuality and their interaction with commercial photographic images of the period." Thesis, Northumbria University, 2010. http://nrl.northumbria.ac.uk/2584/.

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This thesis examines the use of photographs in surrealist publications in Paris between 1924 and 1969, analysing how images functioned both in relation to surrealism and a wider cultural, social and political context. The thesis contends that developments in the illustrated press had a substantial impact on surrealist publications and that commercial photographic practices were both exploited and subverted by the group. I defend this assertion by demonstrating how photographers associated with the surrealist movement in its formative years, were closely involved in the process by which the pho

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38

Barker, Geoffrey R. "Refracted vision : nineteenth-century photography in the Pacific." Thesis, The University of Sydney, 2010. http://hdl.handle.net/2123/7911.

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39

Supartono, Alexander. "Re-imag(in)ing history : photography and the sugar industry in colonial Java." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/11909.

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This thesis seeks to examine the ways that the success of the Dutch Empire at the turn of the twentieth century was represented and celebrated in the photographic albums of Dutch sugar industrialists in Java. It aims to show how the photographic practices that developed in the colony in parallel with its industrialisation informed the ways that the colony was imagined in the metropolis and the colony. Whether social portraiture, topographic studies or depictions of industrial machinery and infrastructure, the photographs of the sugar industry were part and parcel of a topical vernacular tradit

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40

Dracup, Liza. "Photographic strategies for visualising the landscape and natural history of Northern England : the ordinary and the extraordinary." Thesis, University of Sunderland, 2017. http://sure.sunderland.ac.uk/7467/.

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This critical commentary reviews and contextualises existing research on Photographic strategies for visualising the landscape and natural history of Northern England: the ordinary and the extraordinary. The commentary examines three major bodies of photographic work that have each been publicly disseminated as major exhibitions, Sharpe’s Wood (2007) nominated for the Prix Pictet (Earth) Photography Award (2009), Chasing the Gloaming (2011) nominated for the Deutsche Börse and Re: Collections (2013). Each case study has been subject to critical peer and public review and this is evaluated in t

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41

Wolfe, Kimberly. "Flat Files: The Absence of Vernacular Photography in Museum Collections." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/163.

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This thesis will explore the causes and consequences of the absence of vernacular photography from museum collections. Through historical analysis of vernacular photography and a close interpretation of a contemporary family snapshot, I will argue that vernacular photographs are important objects of great cultural significance and poignant personal meaning. Photography has always defied categorization. It serves multiple functions and roles, is studied in a vast number of disciplines, and exists in a variety of institutions and collections. Furthermore, it is difficult to classify a single

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42

Opal, Jack A. "Documentary Photography and the Edge of the Sword." Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1492608162938188.

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43

Saraogi, Avantika. "Art and Dance: Sediments, Segments, and Movement." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/302.

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Art and Dance: Sediments, Segments, and Movement (A&D) is a series of photographs that studies dance movement, with the added element of flour to exaggerate and exhibit motion. A&D captures the different styles of dance out of their usual context, so that the actual movement becomes the central focus. This paper on the other hand provides the academic foundation for the artwork. It traces the history of dance photography as a genre. It not only sheds light on the photographic techniques that were used, but also how dance photography has evolved as an art form in its own right. The paper also p

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44

Yoon, Hyewon. "Exile at Work: The Portrait Photography of Gisèle Freund, Lisette Model, and Lotte Jacobi, 1930-1955." Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493363.

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My dissertation examines the emergence of photographic portraiture as a vehicle for illuminating the experience of European exiles and their cultural migrations under the threat of fascism. I anchor my study in the works of three women European émigrés, each of whom produced a series of portraits while in exile: the German-born French Gisèle Freund (1908-2000), the Austrian-born American Lisette Model (1910-1983), and the German-born American Lotte Jacobi (1896-1980). Despite different working trajectories and methods, each photographer grounds her work in an idiom of traditional portraiture t

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45

Hujar, Brittany A. "Kozo Miyoshi: An Interpretation of Water Through Photography." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1563967017677073.

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46

Rawles, Erica M. "The Changing Meanings of Memory, Space, and Time in Photography." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/cmc_theses/1520.

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What happens to the memories that are left behind in photographs when the person who’s memories they are passes away? After the passing of both my mother and my grandmother, I began to notice the fleeting significance of photographs. I spent time going through boxes of pictures they had saved and every so often I would come across an old photo of someone or something that no one in my family could find a meaning behind or attach a significance to. This paper reveals how the meaning and importance of photographs shift over time from the perspective of the photographer to that of the preserver.

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47

Davidson, Kathleen Margaret. "Exchanging views : empire, photography and the visualisation of natural history in the Victorian era." Phd thesis, Dept. of Art History and Theory, Faculty of Arts and Social Sciences, 2011. http://hdl.handle.net/2123/13157.

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48

Ford, Ivey C. "Mythologies: Sarah Charlesworth’s Photography, 1977-1988." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1242859054.

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Hendrickson, Laura M. "Against photography : the idea of music in Pre-Raphaelite visual reform." View abstract/electronic edition; access limited to Brown University users, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3318327.

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Butler-Roberts, Jessica. "Fashioning distinction| construction of identity through dress and photography in nineteenth-century Paris." Thesis, California State University, Long Beach, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10252491.

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<p> In mid-nineteenth-century Paris those associated with the intellectual and artistic sectors used distinction in dress as a defining characteristic in the creation of their social image and identity. With the growing bourgeois masses due to the vast expansion and modernization of the city, distinction became the way in which one could separate from the crowd to emerge as an individual. This notion grew out of two specific factions: the awareness of dress as an outward reflection of the self, and the newly developed medium of photography as a tool for capturing one’s likeness. This the

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