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Face time : a history of the photographic portrait
From the daguerreotype to the digital age, 'Face Time' is an accessible introduction to one of photography's most popular subjects: ourselves. With over 250 illustrations, it presents rarely seen treasures alongside works by the greatest names in photography, including 19th-century pioneers Hippolyte Bayard and Julia Margaret Cameron, 20th-century masters Edward Weston, Lee Miller and Richard Avedon, and contemporary groundbreakers Newsha Tavakolian, Rineke Dijkstra and Zanele Muholi. It also immortalises some of photography's most iconic subjects, such as Queen Elizabeth II, Barack Obama, Marilyn Monroe, Frida Kahlo, Truman Capote and many others.
Book
Argentine, Mexican, and Guatemalan Photography
One of the important cultural responses to political and sociohistorical events in Latin America is a resurgence of urban photography, which typically blends high art and social documentary. But unlike other forms of cultural production in Latin America, photography has received relatively little sustained critical analysis. This pioneering book offers one of the first in-depth investigations of the complex and extensive history of gendered perspectives in Latin American photography through studies of works from Argentina, Mexico, and Guatemala.David William Foster examines the work of photographers ranging from the internationally acclaimed artists Graciela Iturbide, Pedro Meyer, and Marcos López to significant photographers whose work is largely unknown to English-speaking audiences. He grounds his essays in four interlocking areas of research: the experience of human life in urban environments, the feminist matrix and gendered cultural production, Jewish cultural production, and the ideological principles of cultural works and the connections between the works and the sociopolitical and historical contexts in which they were created. Foster reveals how gender-marked photography has contributed to the discourse surrounding the project of redemocratization in Argentina and Guatemala, as well as how it has illuminated human rights abuses in both countries. He also traces photography's contributions to the evolution away from the masculinist-dominated post–1910 Revolution ideology in Mexico. This research convincingly demonstrates that Latin American photography merits the high level of respect that is routinely accorded to more canonical forms of cultural production.
eBook
Fathom
In \"Fathom\", 39 portrait photographs are reproduced on full-page plates. It is Bernhard Fuchs second series of portraits and, like all of his other series to date, was several years in the making. We see people, photographed in the existent light of interior spaces, who handle the unspoken dialogue with the photographer in an enquiring manner. This creates peculiar atmospheres of proximity and distance, the like of which is prevalent in Bernhard Fuchs other series.
Book
Exposing Slavery
Drawing upon unpublished and little-studied photographs of slaves, ex-slaves, and abolitionists, Fox-Amato argues that slavery, abolition, and race in antebellum America cannot be understood without looking at the visual culture photography spawned--or the development of photography without considering how slavery shaped it.
eBook
Portraits
This text dedicated to the portraiture of legendary photographer Terence Donovan (1936-1996). Donovan's interest in portraiture spanned the entirety of his four-decade career, when he worked for major British and international magazines including Vogue, Marie Claire, Harper's Bazaar and Elle.
Book
Portraiture and Photography in Africa
Beautifully illustrated, Portrait Photography in Africa offers new interpretations of the cultural and historical roles of photography in Africa. Twelve leading scholars look at early photographs, important photographers' studios, the uses of portraiture in the 19th century, and the current passion for portraits in Africa. They review a variety of topics, including what defines a common culture of photography, the social and political implications of changing technologies for portraiture, and the lasting effects of culture on the idea of the person depicted in the photographic image.
eBook
Local portraiture : through the lens of 19th-century Iranian photographers
Photography is clearly not a mirror of daily life: that images are constructions is especially obvious in19th-century studio portrait photography. This book explores how indigenous Iranian photographers constructed their own realities in contrast to how foreign photographers constructed Iranians’ realities. Through an in-depth comparative visual analysis of 19th-century Iranian portrait photography and Persian painting, the author arrives at the insight that aesthetic preferences correlate with socio-cultural habits and practices in writing, reading and looking. Subsequently, she advocates for a place in a global history of photography for those unknown, local photo histories (such as the Iranian one) and for the indigenous photographers who produced them.
eBook
Elements
Contemporary ideals about what constitutes beauty have gradually become more homogenized by the widespread popularity of shared digital experiences. Before the emergence of the internet, the application of makeup--for the majority of people--was a process of untutored, organic self-experimentation. Here, photographer Jason Hetherington (born 1972) and make-up artist Mel Arter, both based in London, debunk the modern-day fashion industry bias toward airbrushed perfection with their collaborative volume Elements. The book presents an exhilarating study of cosmetics, landscape and light, taking a hedonistic trip to a bygone era of analogue film photography and bold, spontaneous artistry inspired by natural forms. Celebrating the powerful relationship between human and earth, Elements is an ode to a time when makeup represented freedom, ritual and instinctive creativity.
Book
The Jazz Image
Typically a photograph of a jazz musician has several formal prerequisites: black and white film, an urban setting in the mid-twentieth century, and a black man standing, playing, or sitting next to his instrument. That's the jazz archetype that photography created. Author K. Heather Pinson discovers how such a steadfast script developed visually and what this convention meant for the music.Album covers, magazines, books, documentaries, art photographs, posters, and various other visual extensions of popular culture formed the commonly held image of the jazz player. Through assimilation, there emerged a generalized composite of how mainstream jazz looked and sounded. Pinson evaluates representations of jazz musicians from 1945 to 1959, concentrating on the seminal role played by Herman Leonard (b. 1923). Leonard's photographic depictions of African American jazz musicians in New York not only created a visual template of a black musician of the 1950s, but also became the standard configuration of the music's neoclassical sound today. To discover how the image of the musician affected mainstream jazz, Pinson examines readings from critics, musicians, and educators, as well as interviews, musical scores, recordings, transcriptions, liner notes, and oral narratives.
eBook