(1982) ‘has commented that the photograph reproduces the conditions of optical perception, but only some of them.’ Eco indicates that although photographs are iconic to their source, they only share some of the characteristics of optical perception associated with seeing. Because of their indexical properties photographs retain a sense of authenticity. The first area that captured my interest was the part The Photograph as Document where Wells talks in depth and quite thought-provokingly about photographs’ relation to reality. Therefore I decided to comment only on the first section as this was the area of the book I gained the most from. While I got the reason for this, it would have been nice if the book had remained at a consistent level of readability. On the other hand, understandably the book became hard to read as it began to delve into many specific debates concerning photography. This was because it introduced many complex ideas and elaborated on them, without becoming too convoluted. B.I enjoyed reading Liz Wells’ (2009) Photography: A Critical Introduction, particularly the first section: Thinking About Photography. Photo-Therapy: Psychic Realism as a Healing Art? When Citizen Photojournalism Sets the News Agenda: Neda Agha Soltan as a Web 2.0 Icon of Post-Election Unrest in Iran The Ethic of the Spectator: The Citizenry of PhotographyĪ Photo in a Photo: The Optics, Politics and Powers of Hand-held Portraits in Claims for Justice and Solidarityĭigital Imaging Goes to War: The Abu Ghraib Photographs
Surveilling Bodies: Photography as Control, Critique and Concernįace to Face: Resistance, Melancholy and Representations of Atrocities Tourists with Cameras: Reproducing or Producing
The Eyes of the Street Look Back: In Kolkata with a Camera Around My Neck The Photograph as an Intersection of Gazes: The example of National Geographic Photographing Children: The Works of Tierney Gearon and Sally Mannĭoubletake: The Diary of a Relationship with an Image Re-Reading Edward Weston: Feminism, Photography and Psychoanalysis Lippard, Catherine Lutz, Roberta McGrath, Lev Manovich, Rosy Martin, Mette Mortensen, Fred Ritchin, Daniel Rubinstein, Allan Sekula, Sharon Sliwinski, Katrina Sluis, Jo Spence, Carol Squiers, Theopisti Stylianou-Lambert, Ariadne van de Ven, Liz Wells, Val Williams, Judith Williamson, Louise Wolthers and Ethan Zuckerman. Becker, John Berger, Lily Cho, Jane Collins, Douglas Crimp, Thierry de Duve, Karen de Perthuis, George Dimock, Sarah Edge, Elizabeth Edwards, Francis Frascina, Andre Gunthert, Stuart Hall, Elizabeth Hoak-Doering, Patricia Holland, bell hooks, Yasmin Ibrahim, Liam Kennedy, Annette Kuhn, Martha Langford, Ulrich Lehmann, Lucy R. Bailey, Roland Barthes, Geoffrey Batchen, David Bate, Gail Baylis, Karin E. Includes essays by: Jan Avgikos, Ariella Azoulay, David A. The depth and scope of this collection is testament to the cultural significance of photography and photographic study, with each themed section featuring an editor's introduction that sets the ideas and debates in context.Īlong with its companion volume - The Photography Reader: History and Theory - this is the most comprehensive introduction to photography and photographic criticism. Lippard, Fred Ritchin, Allan Sekula and Val Williams. The collection brings together essays by leading experts, scholars and photographers, including Geoffrey Batchen, Elizabeth Edwards, Stuart Hall, bell hooks, Martha Langford, Lucy R. With over 100 images included, the diverse essays in this collection explore key topics, such as: conflict and reportage politics of race and gender the family album fashion, tourism and surveillance art and archives social media and the networked image. The Photography Cultures Reader: Representation, Agency and Identity engages with contemporary debates surrounding photographic cultures and practices from a variety of perspectives, providing insight and analysis for students and practitioners.
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