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Books on the topic 'Photographin'

Author: Grafiati
Published: 24 February 2023
Last updated: 25 February 2023

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1

Madeira: Fotografias = photographs = photographien = photographies. 3rd ed. Sunflower, 1987.

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2

Underwood, John. Madeira: Fotografias = photographs = Photographien = photographies. 2nd ed. Sunflower, 1986.

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3

Joseph, Abram, Ecole des Beaux-Arts de Metz., Schweizerische Stiftung für die Photographie., Columbia University. Graduate School of Architecture, Planning and Preservation., and Arthur Ross Architecture Gallery, eds. Hugo P. Herdeg: Photographe/photographer/Photograph, 1909-1953. Ecole desBeaux-Arts, 1993.

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4

Borchard, Rolf Reiner Maria. Riga: Photographs = Photographien. Edition Axel Menges, 1999.

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5

Christian, Wolsdorff, and Bauhaus-Archiv Museum für Gestaltung, eds. Eigentlich wollte ich ja Architektin werden: Gertrud Arndt als Weberin und Photographin am Bauhaus 1923-31. Bauhaus-Archiv, Museum für Gestaltung, 2013.

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6

Szarkowski, John. L'oeil du photographe. 5 Continents Ed., 2007.

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7

Benjamin, Katz. Benjamin Katz: Photographien = photographies. Edition Cantz, 1990.

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8

Hannouch, Hanin. Gabriel Lippmann's Colour Photography. 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.
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9

Prince, Richard. Photographien/photographs 1977-1993. Kestner-Gesellschaft, 1994.

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10

Lewis, Carroll. Lewis Carroll: Photographien = photographs. Stemmle, 1991.

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11

Bennett, Terry. Early Photography in Vietnam. 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.
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12

Creating world-class photography: How any photographer can create technically flawless photographs. Amherst Media, 2001.

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13

Sieff, Jeanloup. Jeanloup Sieff: Erotishe photographie = erotic photography = photographie érotique. Benedikt Taschen, 1991.

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14

Ferreira, Luiz. Alberto Ferreira, photographe = photographer. Editions de l'oeil, 2005.

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15

1943-, Berlin Graydon Lennis, ed. Interpretation of aerial photographs. 4th ed. Macmillan Publ.Co., 1985.

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16

1943-, Berlin Graydon Lennis, ed. Interpretation of aerial photographs. 4th ed. Burgess Pub. Co., 1985.

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17

F, Ray Sidney, ed. Photographic imaging and electronic photography. Focal Press, 1994.

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18

Outerbridge, Paul. Paul Outerbridge Jr.: Photographien/photographs. Schirmer/Mosel, 1996.

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19

The looking glass. International Library of Photography, 2000.

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20

Smithsonian National Air and Space Museum, ed. La terre vue de l'espace: Smithsonian, musée national de l'air et de l'espace. Broquet, 2006.

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21

Jean-Luc, Monterosso, Bennett Derek, and Morris Ann 1930-, eds. Ernestine Ruben: Photographien - photographs - photographies : Formen und Gefühle - forms and feelings - formes et impressions. Stemmle, 1989.

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22

Felix, Thürlemann, ed. Meisterwerke der Fotografie. Reclam, 2011.

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23

Photography and photographers to 1900: An annotated bibliography. Garland, 1985.

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24

The photograph. Oxford University Press, 1997.

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25

Guibert, Hervé. Ghost image. Green Integer, 1996.

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26

Jean-Philippe, Breuille, Chiesa Pierre, and Guillemot Michel, eds. Dictionnaire mondial de la photographie: Des origines à nos jours. Larousse, 1994.

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27

Poehner, Donna. Photographer's market 2001: 2,000 places to sell your photographs. Writer's Digest, 2000.

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28

Stuttgart, Staatsgalerie. Photographie =: Photography = Photographie : 1840-1940 : Staatsgalerie Stuttgart, Sammlung Mayer, 29.8.-15.11.1987. Die Galerie, 1987.

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29

1952-, Torosian Michael, Rowat Theresa, Koltun L. A, and Public Archives Canada, eds. Michel Lambeth, photographer, photographe: Exhibition presented by the National Photography Collection, Public Archives of Canada. Public Archives Canada, 1986.

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30

Italy), Parco 2. (Pordenone, ed. Il fotografo fotografato =: The photographed photographer. Silvana, 2011.

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31

1896-1966, Breton André, and Molderings Herbert, eds. La photographie n'est pas l'art: 12 photographies. FOTOHOF edition, 2009.

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32

Banier, François-Marie. Private heroes: Photographien, Photoübermalungen, Malerei : photographie, photopeinture, peinture. Cantz, 1998.

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33

Coleman, A. D. Light readings: A photography critic's writings, 1968-1978. 2nd ed. University of New Mexico Press, 1998.

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34

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.
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35

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

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During the twentieth century, men and women across Ireland picked up cameras, photographing days out at the beach, composing views of Ireland’s cities and countryside, and recording political events as they witnessed them. Indeed, while foreign photographers often focused on the image of Ireland as a bucolic rural landscape, Irish photographers—snapshotter and professional alike—were creating and curating photographs of Ireland which revealed more complex and diverse images of Ireland. Snapshot Stories explores these stories. It examines a diverse array of photographic sources, including family photograph albums, studio portraits, and the work of photography clubs and community photography initiatives, alongside the output of those who took their cameras into the streets to record violence and poverty. It shows how Irish men and women used photography in order to explore their sense of self and society, and examines how we can use these images to fill in the details of Ireland’s social history. Through exploring this rich array of sources, it asks what it means to see—to look, to gaze, to glance—in modern Ireland, and explores how conflicts regarding vision and visuality have repeatedly been at the centre of Irish life.
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36

Books, Stefan Steven. Photographe - Photographes - Photographie: DIN A5 Photographes de Photographie d'ordinateur Portable Avec 120 Pages. Independently Published, 2022.

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37

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

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The bioregion of Australia, New Zealand, Antarctica and New Guinea possesses a unique natural heritage stretching back over 80 million years since the break-up of the great southern continent of Gondwana. The South Australian Museum and Australian Geographic focus on enhancing a general knowledge of this extraordinary legacy by encouraging photography of the region’s nature and wilderness, and promoting an annual competition to find the Australian Geographic ANZANG Nature Photographer of the Year.
 Australasian Nature Photography: ANZANG Tenth Collection presents the finest photographs submitted to the 2013 Australian Geographic ANZANG Nature Photographer of the Year competition. Each photograph is accompanied by technical information as well as anecdotes about how the picture was taken, which will stimulate yet further interest in the flora and fauna and their conservation in the region.
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38

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

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

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

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The bioregion of Australia, New Zealand, Antarctica and New Guinea possesses a unique natural heritage stretching back over 50 million years since the break-up of the great southern continent of Gondwanaland. The South Australian Museum focuses on enhancing a general knowledge of this extraordinary legacy by encouraging photography of the region’s nature and wilderness, and promoting an annual competition to find the Nature Photographer of the Year.
 
 Australasian Nature Photography: ANZANG Ninth Collection presents the finest photographs submitted to the competition. Each photograph is accompanied by technical information as well as anecdotes about how the picture was taken, which will stimulate yet further interest in the flora and fauna and their conservation in the region.
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40

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

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

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

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Reef and Rainforest is a photographic portrayal of marine and terrestrial life in one of the world's most biodiverse regions – the tropics of north-eastern Australia, together with the South Pacific nations of Solomon Islands and Papua New Guinea.
 The photographs were taken over a period of more than 30 years while the author was living in the Solomon Islands and northern Australia. They depict life on the coral reefs, in the rainforests and in adjacent tropical savannahs. From detailed macro studies to sweeping scenics and aerials, the photographs are impressive for both their technical/compositional expertise and the unique insight they provide into the behavioural nuances of marine and terrestrial wildlife. Almost all the wildlife images are of free-living, non-posed subjects, photographed as they were encountered.
 Along with the stunning photography, the detailed and reflective captions are drawn from the author’s experiences. Reef and Rainforest conveys the richness and diversity of the natural world with maximum visual impact.
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42

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.
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43

(Editor), Lionel Bovier, Inez van Lamsweerde (Photographer), Valerie Belin (Photographer), Leo Fabrizio (Photographer), and Natacha Lesveur (Photographer), eds. Ecal Photography/Photographie. JRP/Ringier, 2005.

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44

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.
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45

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

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This book has investigated how viewer engagement with photography happens at the local, historically specific level. It has shown how, from the Civil War to the Great Depression, photography shaped a collective consciousness that enabled viewers to negotiate anxieties of the period, from war, poverty, and economic depression to national identity and citizenship. By closely reading traces of viewers' encounters with photography, the book has written a rhetorical history of photographic viewership showing that viewers were active agents who used their experiences of photography to deliberate about issues of common concern. This conclusion reflects on what such project tells us about the nature of the viewer, how it challenges our definitions of what a photograph is, and how the rhetorical study of viewership enriches our histories of photography. It argues that viewership is not the same in all places and situations; rather, it emerges from the photographic encounter in ways that are simultaneously contextual, communal, contestable, and contingent.
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46

Photographis 87: The international annual of photography = Das internationale jahrbuch der photographie. Graphis, 1987.

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47

Das Werk der Photographin Charlotte Joël: Porträts von Walter Benjamin bis Karl Kraus, von Martin Buber bis Marlene Dietrich. Wallstein Verlag, 2019.

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48

Heidelberg, Marisa. Travel Photography Book : Specific Insight into Creating Photographs for the Travel Photographer: Digital Photography. Independently Published, 2021.

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49

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.
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50

Wilson, David. Professional Photography: Photographing Buildings (Professional Photography). Rotovision, 2001.

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