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Photographic Theory By Andrew E. Hershberger

Photographic Theory by Andrew E. Hershberger

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This anthology offers contemporary readers a comprehensive resource of pertinent articles and information spanning the history of photographic theory.

Photographic Theory Summary

Photographic Theory: An Historical Anthology by Andrew E. Hershberger

Hershberger is the winner of a 2015 Insight Award from the Society for Photographic Education for his work on this book and for his overall contributions to the field! Photographic Theory: An Historical Anthology presents a compendium of readings spanning ancient times to the digital age that are related to the history, nature, and current status of debates in photographic theory. * Offers an authoritative and academically up-to-date compendium of the history of photographic theory * Represents the only collection to include ancient, Renaissance, and 19th-, 20th-, and 21st-century writings related to the subject * Stresses the drama of historical and contemporary debates within theoretical circles * Features comprehensive coverage of recent trends in digital photography * Fills a much-needed gap in the existing literature

Photographic Theory Reviews

There can be no question that those of us who teach the history of photography and our students have been put most deeply in Hershberger s debt. (History of Photography Online, 1 June 2015) This chronologically (and, to a lesser extent, thematically) organized selection of key contributions to photographic theory display both the highly exciting diversity of theoretical questions raised by the emergence, development, triumph, and eventual metamorphosis of photography and the amazing possibility to organize the sometimes savage heterogenity of this material along unobtrusive and simple art-historical lines. - Leonardo Online (1 February 2014) our students need more reference books such as this one with a clear theoretical focus and a special attention to clarity. this important book will undoubtedly be instructive and rewarding for a variety of readers; it would seem to be essential for libraries in Anglophone universities. In a world of infinite commentary about images, theoretical reflections are much needed and this comprehensive book provides many useful answers. In sum, Hershberger s Photographic Theory aptly reconfirms Wiley-Blackwell s excellent reputation for companions and readers in the visual arts and cultural theory. - British Journal of Aesthetics, (June 2016) Judging from this selection and the intuitive organization of the texts, it is clear that Hershberger knows his field very well. In his abundant selection, the editor achieves an appreciable balance between the famous essays by the indispensable authors (like Erwin Panofsky or Rudolph Arnheim) and, by contrast, some interesting discoveries of essays by lesser-known theoreticians. - British Journal of Aesthetics, (June 2016)

About Andrew E. Hershberger

Andrew E. Hershberger is Associate Professor of Contemporary Art History and Chair of Art History at Bowling Green State University, Ohio. He has published numerous journal articles in History of Photography, Art Journal, Early Popular Visual Culture, Analecta Husserliana, Journal on Excellence in College Teaching, Academe, and Arts of Asia.

Table of Contents

Introduction I. Before Photography to Invention: c. 380 B.C.E.-1839 Camera/Vision 1.1 Excerpts from the Allegory of the Cave. In The Republic Plato, c. 380 B.C.E. 1.2 The Function of the Eye, As Explained by the Camera Obscura Leonardo Da Vinci, c. 1520 1.3 Description of the Camera Lucida William H. Wollaston, 1807 Art/History 1.4 Excerpts on Linear Perspective. In On Painting. Leon Battista Alberti, 1540 1.5 Account of the late Mr. [Robert] Barker Anonymous, 1806 1.6 Description of the Process of Painting and Effects of Light Invented by Daguerre, and Applied by Him to the Pictures of the Diorama Louis-Jacques-Mande Daguerre, 1839 II. Invention to Pictorialism: 1839-c. 1880 What is Photography? 2.1 Some Account of the Art of Photogenic Drawing William Henry Fox Talbot, 1839 [March] 2.2 The Pencil of Nature. A New Discovery Nathaniel Parker Willis and Timothy O. Porter eds., 1839 [April] 2.3 Report [on the Daguerreotype to the Chamber of Deputies] Francois Arago, 1839 [July] Art/History 2.4 Upon Photography in an Artistic View, and in Its Relations to the Arts Sir William J. Newton, 1853 2.5 La Photographie Antoine Joseph Wiertz, 1855 2.6 Photography Eastlake, Lady (Elizabeth) 1857 Camera/Vision 2.7 The Stereoscope and the Stereograph Oliver Wendell Holmes, 1859 2.8 Combination Printing. In Pictorial Effect in Photography Henry Peach Robinson, 1869 2.9 Annals of My Glass House Julia Margaret Cameron, 1874 III. Pictorialism to/and/vs. Modernism: c. 1880-c. 1920 Camera/Vision 3.1 Focussing. In Naturalistic Photography for Students of the Art Peter Henry Emerson, 1890 3.2 The Death of Naturalistic Photography Peter Henry Emerson, 1890 3.3 The Hand Camera Its Present Importance Alfred Stieglitz, 1896 Interdisciplinary Approaches 3.4 Photo-Chemical Investigations and a New Method of Determination of the Sensitiveness of Photographic Plates Ferdinand Hurter and Vero C. Driffield, 1890 3.5 Logic as Semiotic: The Theory of Signs Charles Sanders Peirce, c. 1900 3.6 Intuition and Art. In Aesthetic: As Science of Expression and General Linguistic Benedetto Croce, 1902 3.7 The Cinematographical Mechanism of Thought and the Mechanistic Illusion...In Creative Evolution Henri Bergson, 1907 What Should Photographs Look Like? 3.8 On the Straight Print Robert Demachy, 1907 3.9 What is a Straight Print? Frederick H. Evans, 1907 3.10 Photography and Artistic-Photography Marius De Zayas, 1913 IV. Modernism to Postmodernism: c. 1920-c. 1960 Camera/Vision 4.1 Photography and the New God Paul Strand, 1922 4.2 Light: A Medium of Plastic Expression Laszlo Moholy-Nagy, 1923 4.3 Seeing Photographically Edward Weston, 1943 4.4 The Camera's Glass Eye Clement Greenberg, 1946 What Should Photographs Look Like? 4.5 Aims Albert Renger-Patzsch, 1927 4.6 A Personal Credo Ansel Adams, 1943 4.7 Our Illustrations Frank R. Fraprie, 1943 4.8 Photography at the Crossroads Berenice Abbott, 1951 Art /History 4.9 Excerpts from Perspective as Symbolic Form Erwin Panofsky, 1927 4.10 The Age of the World Picture Martin Heidegger, 1938/52 4.11 Excerpts from Museum Without Walls Andre Malraux, 1947 Interdisciplinary Approaches 4.12 Photography and Typography Jan Tschichold, 1928 4.13 The Making of a Film. In Film as Art Rudolph Arnheim, 1932 4.14 The Ontology of the Photographic Image. In What Is Cinema? Andre Bazin, 1945 What is Photography? 4.15 Mechanism and Expression, the Essence and Value of Photography Franz Roh, 1929 4.16 Introduction to The Decisive Moment Henri Cartier-Bresson, 1952 4.17 Photography Siegfried Kracauer, 1960 V. Modernism and Postmodernism to Digital Imaging: c. 1960-c. 1990 Art/History 5.1 Equivalence: The Perennial Trend Minor White, 1963 5.2 Perspective. In Languages of Art Nelson Goodman, 1968 5.3 Can There Ever Again Be a History of Photography? Peter C. Bunnell, 1975 5.4 Introduction to Before Photography: Painting and the Invention of Photography Peter Galassi, 1981 5.5 New Metaphorics: Spirit and Symbol in Contemporary Landscape Photography Gretchen Garner, 1988 Camera/Vision 5.6 Introduction to The Photographer's Eye John Szarkowski, 1966 5.7 Post-Visualization Jerry Uelsmann, 1967 5.8 Introduction to New Topographics William Jenkins, 1975 Interdisciplinary Approaches 5.9 Excerpts from The World Viewed Stanley Cavell, 1971 5.10 Notes on the Index: Seventies Art in America Rosalind Krauss, 1977 5.11 Photography and Fetish Christian Metz, 1985 5.12 Film, Photography, and Fetish: The Analyses of Christian Metz Ben Singer, 1988 What is Photography? 5.13 On the Nature of Photography Rudolf Arnheim, 1974 5.14 Photography, Vision, and Representation Joel Snyder and Neil Allen, 1975 5.15 The Directorial Mode: Notes Toward a Definition A. D. Coleman, 1976 5.16 Selections from Transparent Pictures: On the Nature of Photographic Realism Kendall L. Walton, 1984 5.17 The Photograph as Post-Industrial Object: An Essay on the Ontological Standing of Photographs Vilem Flusser, 1986 Identity/Politics 5.18 The Traffic in Photographs Allan Sekula, 1981 5.19 Of Mother Nature and Marlboro Men: An Inquiry into the Cultural Meanings of Landscape Photography Deborah Bright, 1985 5.20 Excerpts from Right of Inspection Jacques Derrida, 1985 5.21 Fetal Images: The Power of Visual Culture in the Politics of Reproduction Rosalind Pollack Petchesky, 1987 VI. Postmodernism and Digital Imaging (Return to Pictorialism?): c. 1990-c. 2010 What is Digital Photography? 6.1 The Transcendental Machine? A Comparison of Digital Photography and Nineteenth-Century Modes of Photographic Representation Diana Emery Hulick, 1990 6.2 Photojournalism in the Age of Computers Fred Ritchin, 1990 6.3 Phantasm: Digital Imaging and the Death of Photography. In Metamorphoses Geoffrey Batchen, 1994 6.4 Escaping Reality: Digital Imagery and the Resources of Photography Barbara E. Savedoff, 1997 6.5 Fixing the Art of Digital Photography: Electronic Shadows Ellen Handy, 1998 6.6 Digital Ontologies: The Ideality of Form in/and Code Storage or Can Graphesis Challenge Mathesis? Johanna Drucker, 2001 Identity/Politics 6.7 Do Not Doubt the Dangerousness of the 12-Inch-Tall Politician David Wojnarowicz, 1991 6.8 The Politics of Focus: Feminism and Photography Theory Lindsay Smith, 1992 6.9 Re-Picturing Photography: A Language in the Making Aphrodite Desiree Navab, 2001 6.10 A Painful Labour: Responsibility and Photography Sharon Sliwinski, 2004 Camera/Vision 6.11 Clement Greenberg and Walker Evans: Transparency and Transcendence Mike Weaver, 1991 6.12 The Shadows on the Wall. In The Reconfigured Eye:Visual Truth in the Post-Photographic Era William J. Mitchell, 1992 6.13 Of Fish, Birds, Cats, Mice, Spiders, Flies, Pigs, and Chimpanzees: How Chance Casts the Historic Action Photograph into Doubt Robin Kelsey, 2009 Art/History 6.14 The Invisible Dragon: On Beauty I Dave Hickey, 1991 6.15 The Idiom in Photography as the Truth in Painting Rosemary Hawker, 2002 6.16 Impressed by Nature's Hand: Photography and Authorship Douglas R. Nickel, 2009 Photography and Memory 6.17 Surviving Images: Holocaust Photographs and the Work of Postmemory Marianne Hirsch, 2001 6.18 Visualizing Memory: Photographs and the Art of Biography Deborah Willis, 2003 6.19 Remembering September 11: Photography as Cultural Diplomacy Liam Kennedy, 2003 6.20 Through a Glass, Darkly: Photography and Cultural Memory Alan Trachtenberg, 2008 Interdisciplinary Approaches 6.21 Curiosity and Conjecture: Mathematics, Photography, and the Imagination David Travis, 2003 6.22 Image as Trace: Speculations about an Undead Paradigm Peter Geimer, 2007 6.23 The Photographic Argument of Philosophy Alexander Sekatskiy, 2010 Works Cited and Further Reading Credits, Sources, and Acknowledgments Acknowledgments Index

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Photographic Theory: An Historical Anthology by Andrew E. Hershberger
John Wiley and Sons Ltd
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