Journal•ISSN: 0308-7298
History of Photography
Taylor & Francis
About: History of Photography is an academic journal published by Taylor & Francis. The journal publishes majorly in the area(s): Photography & Portrait. It has an ISSN identifier of 0308-7298. Over the lifetime, 1125 publications have been published receiving 2993 citations.
Topics: Photography, Portrait, Exhibition, History of photography, Painting
Papers published on a yearly basis
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TL;DR: The authors reviewed the dystopian and utopian discourses surrounding aerial photography and suggested a third approach to understand aerial vision as dialectically situated between the poles of science and art, rationality and imagination, abstracted and embodied knowledge, visibility and invisibility, the archive and the museum.
Abstract: Aerial photographs are most commonly associated with notions of panoptic vision or the environmental sublime. This paper reviews the dystopian and utopian discourses surrounding aerial photography and suggests a third approach to understanding aerial vision as dialectically situated between the poles of science and art, rationality and imagination, abstracted and embodied knowledge, visibility and invisibility, the archive and the museum.
48 citations
TL;DR: The authors examines the evolution of atrocity photography and its links with humanitarian movements in the late nineteenth century and argues that photographic images and the language of atrocities must be studied together in order to appreciate the relationship between them which was encapsulated in a genre depicting the ravaged or mutilated body.
Abstract: This article examines the evolution of atrocity photography and its links with humanitarian movements in the late nineteenth century. It argues that photographic images and the language of atrocity must be studied together in order to appreciate the relationship between them which was encapsulated in a genre depicting the ravaged or mutilated body. Three moments in the evolution of the relationship between humanitarianism, photography and atrocity are considered: the Bulgarian ‘atrocities’ of the late 1870s; the Indian Famine in the Madras and Bombay Presidencies of 1876–78; and the campaign to reform conditions in the Belgian Congo between 1903 and 1913.
34 citations
TL;DR: The history of photography in Samoa, a small group of islands in the Western Pacific, suggests, in microcosm, the history of ‘exotic’ photography throughout the world in the period of imperial expansion.
Abstract: The history of photography in Samoa, a small group of islands in the Western Pacific, suggests, in microcosm, the history of ‘exotic’ photography throughout the world in the period of imperial expansion. The romantic myths of the South Seas, coupled with the islands' practical significance to their colonizers as coaling stations, navy bases and a source of raw materials and cheap labour, encouraged outside interest and assured a market for the products of many kinds of photographers. As early as the 1880s, amateurs on holiday, scientists in the field, and itinerant professionals had passed through Samoa, taking a wide variety of images away with them. By the 1890s, Apia, Samoa's largest town, was home to three resident photographers. Their work was put to conventional private use there for portraits, wedding pictures and the like, and was widely distributed overseas as novelty carter-de-visite, cabinet-size, and full-plate albumen prints, as souvenir postcards and gravures, and as half-tone illus...
26 citations
TL;DR: In this paper, the author introduces the reader to her self-in-the-past via the perfecdy realized image of a photograph that was never taken, which is an imagined photograph of her fifteen-year old self on a boat journey back to the boarding school in Saigon.
Abstract: At the beginning of Marguerite Duras's fictionalized memoir, The Lover, the narrator introduces us to her self-in-the-past via the perfecdy realized image of a photograph that was never taken. This imagined photograph is of her fifteenyear- old self on a boat journey back to the boarding school in Saigon, a thin child wearing a fedora hat, a threadbare silk dress, and ‘the famous pair of gold lame high heels’.
26 citations
TL;DR: In the early 1860s, portrait photographers made a fortune on the face of an illiterate former slave, who was described by one influential newspaper as "quaint in language, grotesque in appearance and homely in illustration".
Abstract: Princes and poets, actors and advocates, all became familiar to the general public through the small carte-de-visite portraits, which began to appear in 1859 and reached an extraordinary popularity in the 1860s. Portrait photographers grew rich on the sale of famous faces, but no studio would have expected to make a fortune on the face of an illiterate former slave, who was described by one influential newspaper as ‘quaint in language, grotesque in appearance and homely in illustration’1.
26 citations