This book aimed to remedy the absence of a good, coherent introduction to issues in photography theory, and resulted from the frustrations of teaching without the benefit of a succinct introductory textbook. There were a number of published histories of photography which defined the field according to various agendas, although almost invariably with an emphasis upon great photographers, historically and now. Fewer publications critically engaged with debates about the nature of photographic seeing. Most were collections of essays pitched at a level that assumed familiarity with contemporary cultural issues and debates which students new to this field of enquiry may not yet have had.
The genesis of this book was complex. The first edition resulted initially from a discussion between myself and Rebecca Barden, then Media editor at Routledge, in which she solicited suggestions for publications which would support the current curriculum. Responding subsequently to her invitation to put forward a developed book proposal, two factors were immediately clear: first, that the attempt to be rela tively comprehensive could best be tackled through a collective approach. Thus, a team of writers was assembled right from the start of the project. Second, it quickly became apparent that the project was, in effect, impossible. Photography is ubiquitous. As a result, there are no clear boundaries. It follows that there cannot be precise agreement as to what a ‘comprehensive’ introduction and overview should encompass, prioritise or exclude. After much consideration, we focused on issues and areas of practice that, given our experience as lecturers in a number of different UK university institutions, we knew feature frequently. That we worked to a large extent in relation to an established curriculum did not mean that the project has been either straightforward or easy. On the contrary, the intention to introduce and explore issues reasonably fully, taking account of what critics have had to say on various aspects of photographic practices, involved investigating and drawing upon a wide and diverse range of resources.
The overall response to the first edition was positive. Comments included some useful suggestions, many of which we incorporated within the second, revised edition which, in response to feedback, included a new chapter on the body in photography. This chapter, taken as a whole, stands as an example of the range of debates that may become engaged when the content or subject matter of images is taken as a starting point. In this respect it contrasts in particular with chapters 2 and 6, in which the focus is on a specific genre, or an arena, of practice. The third edition was updated and included colour plates. It was translated and published in Greek in 2008. The fourth edition was further amended and incorporated colour illustrations throughout. A Chinese version was published in 2012.
More radically, in this fifth edition we have dropped the final chapter. When we first planned the book there were key debates raging as to the import, impact and likely future developments for the digital in photography. These debates questioned some of what had previously been taken for granted in photographic documentation. Previous editions have included a final chapter, titled ‘Photography in the age of electronic imaging’ (intended as a reference to Walter Benjamin’s famous article on ‘The Work of Art in an Era of Mechanical Reproduction’ and, indeed, to debates of the early twentieth century on the social implications of the mass reproduction and circulation of photographic imagery. At the time of our first edition, there were discussions as to the implications of a shift from analogue to digital imaging – for reference, two of the diagrams that illustrated this discussion follow the Glossary in this edition. Now this is past history, the digital is completely integrated within photographic procedures and, more particularly, is no longer a matter of theoretical challenge or debate, although aspects of the virtual, of the centrality of online space continue to pre-occupy. For these reasons – the transcendence of questioning the import of the advent of the digital, along with the realisation that there are many questions to be asked about the social implications of visual media within virtual (global) space – led us to decide to integrate all discussion of the digital within the other chapters with which, at least in editions 3 and 4 of the publication, a considerable degree of overlap had developed.
As editor, further researching this book over the twenty years since the first edition has led to further questions, as well as to engaging discoveries. The tension between looking, thinking, investigation and discovery is one of the pleasures of academic research. Repeatedly revising the book has offered opportunities to revisit and further clarify various points as well as to reflect on recent critical developments in historical research and theoretical engagements. Given the number of publications on photography that have appeared in the last two decades, we have enhanced discussion of further references.
This book aims to be relevant, and of interest, to students of photography, graphics, fine art, art and design history, journalism, media studies, communication and cultural studies. We hope that it proves both useful and enjoyable.