Note: Page numbers in bold indicate illustrations. Page numbers followed by & ‘m’ refer to marginal text.
29 Palms: Mechanized Assault 89
72andSunny 287
Abhayamudra 255
abjection 222
abstract art 306
Abstract Expressionism 293, 306
Abu Ghraib 86, 87, 91, 189, 211
Ackroyd, Heather 225
actuality photographs, market for 110
Adams, Robert 344
Adamson, Robert 143m
Adbusters 260
advertisements: anchoring meaning in 250, 256; body images in 195–6, 221; concealing labour in 258, 260; connoted meanings in 253–4; glamour and naturalism in 248; multiple contexts of 280; photography in 166–7, 233, 247, 250–2 (see also commercial photography); social comment in 283, 286–7; and structural inequality 261–2; text of 251
advertising photographers 167, 246–7, 283
advertising work 255
aesthetic conventions 19–20, 41, 293–4, 297–9, 328
aesthetic form, discerning of 351
aesthetics: and photography theory 30–1; and politics 312; and technology 6, 27, 320
Afghanistan: war injuries in 218; war photography in 85
AFP (Agence France-Press) 245
Afro-American photographers 330
Agee, James 348
AIDS epidemic 193, 194, 208, 222, 285–6
albums: as complete entities 150m; for Kodak Box Brownie 162; varieties of 137; in Victorian era 148, 150, 152; as visual anthropology 64; see also family albums
Alexander, Stuart 351m
Alexandra, Queen, photography of family 148
Alloula, Malek 272
amateur photography: and art 300, 302; informality in 152; in news 94–5; technical aspects of 159–60; as urban nuisance 122; in Victorian era 96, 135, 150, 152
ambiguity, trendy 286
American art, European influence on 302
American Civil War 82
American formalism 306–7, 313–15, 322
American photographers, admission to Photo-Secession 301–2
American photography: black and Hispanic 331; black and women photographers in 63; and censorship 194; documentary 97; as indigenous modernism 21, 23; reportage in 62; street 78, 119–21
An American Place (gallery) 315
The Americans (Frank) 119, 305
The American Way (Bourke White) 235
America’s Next Top Model 227
amputees 218
analogue photography: forming images in 25–6; see also chemical photography
Anglo-American Corporation of South Africa 251
animation: and art photography 352; distortion techniques in 221
An-My Lê 89
Annan, Thomas 98
anorexia 266
anthropology: and fashion photography 273; fetishism in 203; photography in 103, 107, 272
aperture, in art photography 312, 313m
‘Arabesque: Rock the Casbah’ (Company) 274
‘Arabia Behind the Veil’ (Marie Claire) 273
Arab Spring 81
Arab world, imagery of 273, 276–8
Arbus, Diane 119
Archer, Frederick Scott 82
archives: as disciplinary power 124, 197; see also photographic archives
Aristotle 57
Arles, international festival at 350
Arnold, Eve 83m
art: ancient Greek 208, 218; as autonomous 306, 322; commercial market for 350–1; interrelation with photography 15–18, 23–4, 352; mechanical reproduction of 19, 22, 309; new materialism in 222; patronage of 345m, 351; and photographic archives 73; photography as supplemental to 71, 295–8, 320; social and political role of 305–7, 310, 319; subject matter for 99, 297; and technology 14–15; use of term 291, 293; women’s 326
Art and Photography (Campany) 323
Artaud, Antonin 315m
art collectors 351
art criticism 58
art dealers 351
art events, international 350
Artforum (magazine) 320
art history: and artist biography 56; in education 323; feminism in 326–7; and history of photography 58; illustrated publications of 298; as mediator 347; technique in 51m; theory in 29–30
Art in America (magazine) 320
artistic communication 310
artists: death of 350; mobility of 304–5; patronage of 350; signature of 325
art journals, contemporary 349
art movements: dissenting 302–3; internationalism of 292, 304, 306, 316
art objects: photographic presentation of 298; statements about 320; uniqueness of 27
The Art of Photography (Weaver) 62
art photography: corpses in 227–8; and critical engagement 346; early development of 295; and fashion photography 268–9; market for 322, 351; materialist practices in 196, 222–5; in museums and galleries 8, 353; scale of 344–5; self-portraiture in 200; and vernacular photography 294; and violent conflict 86; see also photography as art
art practices, blurring of boundaries between 352–3
asylum seekers 177
Atkins, Anna 303m, 312, 335, 347
Australia: photography of Aboriginal peoples 103; post-mortem photography in 226
authenticity: and aestheticization 87–8; and aftermath photography 86; conventions indicating 49m, 91, 93, 98–9; crisis of 357; of digital images 78; of gallery photography 74; original photographs providing 66, 130; of paparazzi photography 239; and photographic realism 35; and photography as evidence 7; and posed scenes 90–1; and the postmodern 25; and subjectivity 347; in Victorian era 96
authorship 27
Autograph (Association of Black Photographers) 329–30
avant-garde: in 1960s 319; Greenberg on 305–6; in Russia 310
avant-garde photography 196, 218, 308
babies, dead 152
Bailey, David A. 240, 271m, 294–6, 323, 330
Bakhtin, Mikhail 209m, 222, 228
Baltz, Lewis 321
Barnard, George 82
Barre, André 267
Barthes, Roland 32m, 36m, 139m, 252m, 253m; on community 48; and déjà-lu 319; on denotation and connotation 241, 252–4; on photograph as event 93; on reliability of photography 68; ‘The Rhetoric of the Image’ 253, 260; and semiotics of photography 36–9; see also Camera Lucida
Batchen, Geoffrey: and art history 30; and history of photography 57; on image banks 242; on war photography 86
Bate, David 30m, 129, 318m, 328–9, 351
Baudelaire, Charles 14m; Benjamin on 19m; on painting modern life 297, 302; on photography 14–16
Baudrillard, Jean 25m, 93, 234, 263
Beard, Richard 147
Beaton, Cecil 323
beauty: dominant ideas of 266; spectacles of 267
Becher, Bernd and Hilla 288, 321–2
Benetton, production processes of 283–4, 287
Benetton advertising: in exhibitions 283m; pseudo-documentary 286; racial imagery in 200m, 285; support for West in 284; Toscani and 283, 287
Benetton-Toscani Effect 286
Benjamin, Walter 18m, 19m; on art collections 350; on Bauhaus 309; on mechanical reproduction of art 19, 72, 295; on photography and perception 21, 212; reprinted by Burgin 40; suicide of 309m
Berger, John 201, 258, 263m, 266, 332
Bertillon, Alphonse 197, 198, 215
Bettmann archive 242
Between Dog and Wolf (Lebas) 338
Between Houses (Saith) 128
Between the Eyes (Strauss) 87
Beyond the Family Album (exhibition) 174
Biafra, war photos from 83
billboard art 292
Billingham, Richard 187
biometrics 191, 198–9, 206, 216
Birmingham Museum and Art Gallery, Round Room 303, 304m
black and white photography, in advertising 250–1, 261
black border, in documentary photography 91
black photographers 169–70, 329–30
Black Photographers (Thomas) 63
black workers 251
‘Blue Hour’ (Lebas) 338
the body: analysis and classification of 67, 104; of celebrities 205, 238–9; of children 207; classical 209–10, 228; corrective transformation of 215; crisis of confidence in 7, 205; fetishisation of 204; in gallery art 329; looking at 211; as machine 216–20; as medium for images 222; objectification of 221, 225, 263–5; in transition 228, 230; translation into data 191, 195–9, 215–16; visualising interior of 215
the body and photography: attitudes to 7; as battleground 193–5; classification of 124, 196, 199–200; dead see corpses, photography of; different constructions of 230; in erotic images 211m; physicality in 222–5, 230; scientific imaging of 212, 214; see also male bodies; women’s bodies
‘The Body and the Archive’ (Sekula) 67
body politics 194
Boffin, Tessa 126
Boltanski, Christian 187
Bond, Edward and May 156m, 157m
Bonnart, Pep 194
Booth, Andrew 348m
Bourdieu, Pierre 187m
Bourdin, Guy 266
Bourke White, Margaret 234, 235
branding: and exchange value 244; of Kodak cameras 161; as marketing feelings 252; and stock photography 242–3; and visual images 7, 166, 240
Brandt, Bill 121, 221, 304, 305, 334
Braun, Marta 212m
Brecht, Bertolt 18m, 40, 49, 88
‘Bringing India and Pakistan together’ 254–6
Britain: art institutions outside London 345m; colour photography in 127–8; Industrial Revolution and art in 296; new kinds of photography in 78; photography of the poor in 98–9; postcolonial photography in 330; royal family photography 148, 162
Brotherus, Elina 187
Buñuel, Luis 315m
The Burden of Representation (Tagg) 66m, 67, 124m
Burgin, Victor 31m, 39–41, 260, 306, 323; at Polytechnic of Central London 39m, 324m
Burke, Edmund 341m
Butt, Gavin 208
Bywater, Michael 182
Cadbury’s chocolate 240
Callahan, Harry 313
camera literacy 13
Camera Lucida (Barthes) 32m, 36; and corpses 225; family pictures in 38, 139; and history 12; interpretation in 36–7; referentiality in 26–7, 32, 43; signification in 53
camera phones: access to 187; deleting images from 186; filters and effects on 237; and image sharing 70, 136–7, 195; and mobility 212; as new development 13, 356; as social tools 184; users and readers of images 138–9; at weddings 173
cameras: 35mm 107; automated wearable 123; documentary role of 6; hand-held 152–3; intervening in the body 196; lightweight 119, 139; as machines 308–9, 316; as mass tool of representation 125; ownership of 237, 278; photographers as part of 108; as prosthetic eye 211–13; symbolic control by 102; use of as work 33; veracity of 96–7; viewfinder on top of 312m; see also digital cameras
The Camerawork Essays (Evans) 71m
Cameron, Julia Margaret 152, 294, 299–300
Campbell, Naomi 278
Canada, self-promotion through photography 281
canonisation: in academic criticism 29, 41; in history of photography 58, 60, 62–3
capitalism: and individualism 297; nineteenth-century growth of 235–6; and sexual pleasure 204, 209; spectacle and illusion in 233–4
car advertisements 219, 220, 221, 260–1, 280
Carlebach, Michael 82
Carlson, Matt 237m
carnivalesque: death in 226; in personal photography 168; and social hierarchy 209–10
car ownership 166
Carte D’Or ice cream 262
cartes-de-visite 148m, 162, 236m, 267
Cartesian dualism 69
Cartier-Bresson, Henri 83m, 91–2, 119, 128, 129m
Cartwright, Lisa 213m
CAT (computed axial tomography) 215
Caverra, Roy de 119
celebrations, photography of 166, 170, 173
celebrities: journalistic images of 205, 238–40; personal photographs of 185
CGI (computer-generated imaging) 13
Chambers, Eddie 329m
Chanarin, Olivier 88
Chandra, Mohini 73m
charity appearances 240
chemical photography 18, 35, 53, 224
Chicago Art Institute 309m, 313
childbirth, and art photography 187, 228, 230, 329
childhood: places familiar from 338; snapshots of 169, 174, 176
child pornography 207
children: dead 226; Kodak advertisements aimed at 162; photography of 138, 165–6, 183–4, 187; as TV viewers 234; using camera phones 184; working-class 154, 156, 157, 158
China: local photographers in 145; photography fairs in 351; in Toscani’s images 284
Christian iconography 203, 228
Christie’s auction house 350
cinema: advertising appropriating conventions of 247, 263; developing from photography 352; educative function of 107m; and expanded gaze 212; fashion photography borrowing from 267; objectification of female stars in 204
circle of shame 205
circulation of images: as battleground 257; Debord on 234; everyday 179; global growth of 22, 25, 27; from image banks 243; and postmodernism 130
civil rights movements 319
Clarke, Graham 61m
class conflict: in car industry 281; as motor of history 24; in stock photography 243; see also social class
Claudet, Antoine 147
Close, Chuck 224
cloud storage 357
Coca-Cola: business practices of 256–7; Open Happiness campaign 253–6; protests against 257
Cocteau, Jean 315m
Coe, Brian 139m
Coke, Van Deren 296m
‘The Coke Side of Labor Union’ (Torres) 258
Cole, Ernest 116
collective memory 34
The Colonial Harem (Alloula) 272
colonialism: continuing imagery of 278; and eugenics 200; and imagery of workers 262; legacy of 330; and photography 68, 102–4, 143, 271
colonised peoples see native peoples
colour photography: and art photography 346; and documentary 127–8; in snapshot market 167
commerce, and art 295
commercial photography: fragmentation of the body in 263; home in 166; montage in 258; multiple connotations of 71; as parasitic 246, 251, 257, 267; solidity in 281–2; in Victorian era 106; see also advertisements; professional photographers
commodification: of the body 265, 272; of identity 268; of images 74, 236; of landscape 336; and the spectacle 241
commodities: concealing process of production 280; as embodiment of desires 248, 250; tendency of profit to fall for 243–4
commodity culture: counter-hegemonic practices and 288; fashion photography commenting on 268–9; naturalisation of 263; photography in 7–8, 233, 235, 246–7; rise of 235–6
commodity fetishism 204, 209, 246–8, 252, 267, 269
communication: culture analysed as 36; photography as 7, 16–18, 21; see also visual communication
communication theory 43
community, ambiguous myth of 48
composite images, digital 200m, 221
composition: aesthetic conventions in 50, 294–5; in Constructivism 310; in modernism 307; photography supporting painting in 298; in Pictorialism 15–16, 303; in Serrano’s work 228
computing, and audio-visual technology 13
Congo: colonial photography in 83, 272; war photos from 83
Connarty, Jane 73
connoisseurship 58, 71, 293, 307, 322
connotations: in art photography 218; in queer erotica 208; in stock photography 241
constructed photography 324
Constructivism: and landscape 333; manifesto of 304; see also Soviet Constructivism
continuity, aesthetic of 221
Cook, Guy 251
Cooper, Emmanuel 208m
corporeal capital 201
corpses: as abject 222; photography of 225, 226, 227; women depicted as 227, 265
Cotton, Charlotte 346m, 347, 350
coup d’oeil 318
Cousins, Mark 177m
Craik, Jennifer 266, 267m, 269
criminality: photography as defining 66–7, 197, 200; and social class 98
cultural difference 273, 306, 351
cultural practices, interrogation of 323
curators: investment in contemporary work 293, 349; as perpetuating elitism 351; personal lives of 139; retrospective claims of 294
‘The Currency of the Photograph’ (Tagg) 67
cyberculture 329
Cyprus, war photos from 83
Czechoslovakian Surrealism 318m
Daguerre, Louis-Jacques-Mandé 13, 56–7, 146
daguerreotype 57m, 146m, 236m, 297m; in art 297; discoveries leading up to 57; histories of 61; and portraiture 146, 147; post-mortem 226; revival of 224
Daily Illustrated Mirror 162
Daily Mirror: on Anthea Turner 240; ‘Celebs on Sunday’ 205; journalism as spectacle 238
Daily Star 238
Dalle Grave, Riccardo 266
Danuser, Hans 228
Darwin, Charles 299
Das schöne Mädchen (Höch) 216
data storage facilities 26
Davidoff, Leonore 167
daylight loading 160
A Day Off (Ray-Jones) 121
the dead: images of 7; memorial photography of 152; scanning into family photographs 136; see also corpses
Dean, Tacita 352
death: and photography 225; as sleep 226, 227
Death of a Loyalist Soldier (Capa) 83
death penalty, Toscani on 287
Debord, Guy 233m, 234, 239, 241
The Decisive Moment (Cartier-Bresson) 129
Decoding Advertisements (Williamson) 252m, 255, 280
defamiliarization 40
déjà-lu 319
democratic agency 356
Desert Cantos (Misrach) 336
desire: and disgust 211; and the Other 273; production of 193, 207, 247, 260; of viewer 208
desire to look 31
detail, excluding 46m
detective cameras 153
Devlin, Polly 267
dialectics 30
Dietrich, Marlene 205
difference, collapse of 27
digital cameras: at Abu Ghraib 86; selection and editing using 129; technological developments in 352
digital images: authority of 19–20, 92–3; banks of 241–4; manipulation of 196, 205, 221–2; and material photographs 73m, 95, 137, 179, 224; online access to 71; power of editor over 129; process of creating 26; state surveillance use of 198–9; uniformity of scale 27
digital reproduction 352
digital technologies: impact on communication 252; impact on photography 5, 26, 41–2, 92–3; and museum collections 345; and personal photography 136
Dijkstra, Rineke 228, 229, 230, 329
discipline, Foucault’s use of 197
Disdéri, André-Adolphe 148
Disenchanted Playroom (Hahn) 232
disgust, and pornography 210–11
Disrupted Borders 329
divisions of labour 26
Divola, John 127
D-Max (Chambers) 329
Documenta 350
documentary: as art 92, 323; authenticity in 90–2, 357; challenging glamour 250; colour photography in 128–9; commercial photography mimicking 282, 285–6; and digital technologies 93; and fashion photography 267; history of practice 79–80; Lange as mother of 51–2; and new cultural spaces 117; in Newhall’s History 59; new rhetorical strategies in 346; and other photography genres 77–8; radical critique of 123–6; social project of 106–7, 110–11, 114; and street photography 119–21; subjective 121; transitory and fragmentary in 91–2; use of term 7, 18, 79, 94
Documentary Dilemmas (Rogers) 346m
Documentary Expression and Thirties America (Stott) 107m
documentary images: combination with text 117; in global age 129–31; manipulation of 26, 49m; presentation in print 22
documentary photographers: artifice of 113–14; crediting of 117; different approaches of 110; use of term 80
Documentary Photography Archive, Manchester 169m
documentary realism 20, 78, 126
documentary subjects: choice of 91–2, 97, 121; presentation of 112–14; problematisation of 132; relationship with photographers 94, 98
Doisneau, Robert 119
domesticity: of celebrities 178; cult of 54, 138m, 143; expansion of 137–8, 164–5; and femininity 150
domestic photography, in digital era 136
domestic servants 152
double exposure 152, 312, 317, 333
A Dream of England (Taylor) 74m, 145m
dreams, and Surrealism 315
Drum (magazine) 114, 115, 116–17
dry plates 82
Duchamp, Marcel 316
Duley, Giles 218
Dunes (Weston) 314
Dunkin’ Doughnuts 277
Dust Storm (Rothstein) 113
Duve, Freimut 238
dye-transfer process 127
early photography: archaeology of 57–8; static subjects of 212
Eastman, George: and Box Brownie 135, 159; growth of business 160
ecological awareness 252
Edison, Thomas 212m
editors, in photojournalism 81, 88, 94–5
Edwards, Elizabeth 30, 67m, 72
Edwards, Huw 185
Einzig, Melanie 118
Elias, Norbert 209
Elkins, James 32
Elle magazine 286
embodiment, experience of 196
Emerson, Peter Henry 303m
empire, imaginative geography of 104, 106
‘Encoding/Decoding’ (Hall) 252m, 256
Enlightenment philosophy 24, 69
Ennis, Helen 226
environmental issues 336, 339, 344
Ernst, Max 315m
erotica: and pornography 206, 209; queer 209; social types in 201
eroticism, in fashion photography 266–7
ethical consumption 261
ethnic minorities: bodies as illegible 199; hidden history of 170, 176; photography and identity 194, 329–30; and politics of representation 8
eugenics 200
European Month of Photography 350
Evans, Frederick 303
Evans, Jessica 71m
Evans, Walker: and documentary 51–2; and FSA project 111–12; Let Us Now Praise Famous Men 348; tender cruelty of 292m
everyday life: art in relation to 296, 310, 323; construction of accounts of 137; glamorisation of 248; objective views of 107–8; power’s surveillance of 124; problematic concept of 125; recording 6–7, 66; use of in pornography 206
exhibition catalogues: fashion photography in 268; as histories of photography 58–9, 348–9
Exhibition Installation (Thompson) 302
exhibitionism, politicised 174
exhibitions: arrangement of works in 348m; attacks on funding of 194; closed by police action 207; of fashion photography 268–9; feminist protests against 327; history of 293; publications of 348–9; retrospective 62; sponsorship of 345; touring 349; of women’s photography 327–8
exoticism, production of 144–5, 272–3
The Expanding Eye (Thomas) 66, 96m
expeditions, heroic era of 144, 343
experience: and art 328; contradiction of lived 235; and photography 33, 252
Exposition Universelle 246
expression, vocabulary of 320
fabrication 324m
Facebook 136m; and friendship 182; and portraiture conventions 236; publishing photographs on 145, 168, 185–6, 244; and stock imagery 242
The Face magazine 268
The Face of Fashion (Craik) 269
facial features, classification of 197, 200
facial recognition 122
facts, and photography 16–17, 21
Falk, Pasi 286m
family: diverse forms of 178; feminist critique of 167–8; idealised images of 163–4, 167–8, 173, 269; and personal life 137–8
family albums: attraction of 37; Bailey’s work on 330; and the exotic 140, 143; as material objects 30; omission of trauma from 176–8; online 356; of the prosperous 150; as social history 7
family histories: and digital technology 136; and personal photographs 139, 170–1, 173; and photographic archives 73
‘Family of Man’ exhibition 48
family photographs: archiving 169m; Barthes on 37–8; concealed content of 7, 169–70, 173–4, 176; continuity in 184; digital 26–7; as material objects 33
family photography: artistic use of 187; hybridity in 170–1; informality in 165; Kodak’s marketing of 160; private photography becoming 137
Fashioning Fiction (exhibition) 268
fashion photography: body images in 195; and colonial imagery 273–4, 275; critical writing on 5; images of death in 227; narratives in 266–71
Faucon, Bernard 324
Felman, Shoshanna 137m
femininity: and fashion photography 266; as fragmentation 263; representation of 52
feminism: and 1960s avant-garde 319; and art 326–8; and personal photography 173–4, 176; and photohistory 51; responses to pornography 194, 201, 206m, 207, 209; resurgence of 356; and Surrealism 318
feminist photography 125
Ferran, Anne 86
ferrotype 154m
fetishism: of catastrophe 286; and death 225; Freudian theory of 41, 202–4; in Hollywood cinema 205; and labour relations 260
Ffotogallery 345m
figurative, return to the 322
film, continued use in photography 26, 352; see also cinema
‘FILM’ (Dean) 352
First World War, photography of 83, 164
flash: built-in automatic 167; in documentary photography 91
flat death 37
Flickr 136, 145, 182, 186, 242
flirting, on social media 186
‘Flower’ (Moholy-Nagy) 313
food: packaged 166; photography of 260
formalism 293, 315, 320; see also American formalism
Fotofest, Houston 350
Foucault, Michel 44, 66, 67m, 123–4, 197, 215
Fox, Sue 228
Fox Talbot, William Henry: announcement of fixing technique 13, 56; on family photography 150; online discussions of 352; The Pencil of Nature 143, 303m; photography of art objects 298; Sun Pictures in Scotland 347
framing: for display 30, 269, 325; in photography 19, 159, 314, 325
France, history of photography in 57, 61
Frankfurt School 40, 309m, 346
Fraser, Jean 126
Fraser, Peter 128
Freud, Sigmund 39m; dream theory of 315; fetishism and voyeurism in 202; influence on Burgin 40; and introspection 140
Friedlander, Lee 121
Friedrich, Casper David 335
friends, in social networking 182
Frohlich, David 136m
Frye, Marilyn 261
FSA (Farm Security Administration): and Migrant Mother 44; photographic project of 49–52, 111–12
fugitive testimony 68
Fulton, Hamish 322
Futurists 304
galleries 326; American formalism and 315; display of photography in 303–4, 344; documentary images in 129, 292m, 294, 308; and national identity 345; online presence of 346; personal photography in 187; photography as art in 16, 27, 70, 291, 320; and political art 125, 323, 350–1; print quality requirements of 51m; war photography in 86; see also photography galleries
Gardner, Alexander 82
Gasser, Martin 56
Gates: Bill 242
Gates, Paul 139m
gender: and approaches to photography 110, 126; and canonisation 60; coding in photography 196; in commercial photography 8; in family photographs 7; hegemonic ideas of 257; and history of photography 63; and imperialism 67; and Migrant Mother 52, 53m; and queer photography 208–9; and scopic regime 69; in Spence’s work 174
General Electric, commercial photography of 281–3
General Electric Review 282
The Genius of Photography (Badger) 60, 61m
genre analysis 331, 333–5, 344
geometry of images 21
George Eastman House 352
Germany: art photography in 301; photomagazines in 80; women photographers in 62
Gernsheim, Helmut and Alison 50, 58m, 59, 65–6
Giebelhausen, Joachim 250
Giroux, Henry 284m
glamour: in advertising photography 247–8; in photographic magazines 114; in spectacle society 234
glasshouses 147
globalization: fluidity of 43; and photography 56; and representation 357
global south: Coca-Cola in 254; exploited labour in 244, 261, 283–4; photographic representation of 271; as tourist playground 278, 280
Goddard, Angela 251
Goffman, Erving 263
Goldblatt, David 194
Goldin, Nan 187, 194, 207, 347
Goldsworthy, Andy 322
‘The Good Life’ (Meisel) 269
Gosani, Bob 114
Gran Fury 194
Gray, Camilla 309
Great Depression 50, 52, 112, 164
Great Exhibition of 1851 66, 247, 293
great masters approach 27, 29, 62
Green, Jonathan 320m
Griffin, Michael 84
Gropius, Walter 308
Gulf War: Baudrillard on 93–4; production of spectacle in 238
Gupta, Sunil 329m
Gursky, Andreas 324
Haiti 245
halftone 22m
Hall, Stuart 169, 252m, 256, 263m
Hamilton, Richard 319
hands, male and female 263
Hans Bellmer with First Doll 217
harem, European fantasy of 202, 273–4, 276
Harker, Margaret 294–5, 300m, 302
harmony: idealist notions of 333m; international 200m, 254, 284
Harris, Alex 127
Harrison, Tom 107
Harry Ransom Center 95
Hart, Janice 72
Hatoum, Mona 193
Hawarden, Lady Constance 352
head brace 148
Heat magazine 205
hegemony: of commodity culture 252; in photographic representation 263
Helm, James 150
Henri, Florence 307
Henson, Bill 207
heritage industry: beginnings of 145; critique of 345; photography in 64, 74, 130
Heritage Trails 64
High Art Photography 295
Hill, David Octavius 143m
Hill & Knowlton 238
Hillier, Mary 152
Hiroshima 176
Hirsch: Julia 170m, 173; Marianne 139m, 168m, 173
historians, and photography 64
historical materials, touristic use of 74
historic sites, photography of 102, 106
histories of photography: advertising in 246; canon of images in 56–9; colonialism in 272; comparison of 60–1; and feminism 327; in gallery websites 352–3; ideological assumptions of 31; plurality of 11; private photographs in 139; and theory 44m
history: construction of 11–12, 68; effaced by heritage 74; end of 24; everyday documents in 170; personal 173–4, 338; and popular memory 68; women’s 139–40, 170
History of Photography (Gernsheim and Gernsheim) 50, 58m, 59
A History of Photography (Lemagny and Rouille) 61m
The History of Photography (Newhall) 56m, 58–9
A History of Women Photographers (Rosenblum) 63m
Höch, Hannah 216
Hockney, David 319
Hoelscher, Steve 95m
Hokusai 332
Holland, Patricia 137m
Holocaust, and family photographs 137m, 170, 176
homeless people, portraits of 225
home photography 135, 150, 159
home portraits 135
homosexuality 194, 208; photographic representation of 194, 208; see also lesbian photography; queer culture
Honey, Nancy 187
Hopkinson, Tom 116
horses, Marey’s images of 212
Hovis advertisements 261
Howe, David 218
Hubble telescope 342
Hulton Picture Archive 242
human genome project 216
humanist self 69
Hurn, David 83m
Hurricane Katrina 87
Hustler magazine 210
Huxley, T. H. 68
hyperreality 234
iconic codes 36
identification 328
identity: centrality of discussion 356; constituted through images 328–9; and modernity 140; and multiculturalism 329–30; national 345; and personal photography 139; sexual 209; and social rights 199
ideological change 334
ideology: photographs as perpetuating 257, 259; production through advertising work 255
I-D magazine 267
illegible bodies 199
Illuminations (Heron and Williams) 63m
Illustrated London News 65m, 80, 82
illustrated magazines: decline of 80, 94–5, 122; and documentary 107; transience of 22
illustrations, photography as 295, 303m
Image and Memory (Watriss and Zamora) 330m
images: burning 33; critical engagement with 355; discussion of 46m, 351; as entertainment 140; framing of 325; geometry of 312; as hyperreal 234; naturalness of 43–4; possible readings of 256; psychic responses to 70; relation to reality 29, 31–2 (see also photography and reality); rhetoric of 31; unanchored 250; see also digital images; photographic images
image sharing websites 186
Image Worlds (Nye) 281m
Imperfect Beauty (exhibition) 268
imperialism: and documentary 79; and modernity 65; and photography 67–8
Imperial War Museum, commissions from 85
indexical codes 36
indexicality: contemporary debates on 35, 42, 199, 357; and photographic reference 34, 93; and photographic technology 19, 32
India: British photography in 143; Coca-Cola operations in 256–7; local photographers in 145; partition of 254
individualism: history of 39; and perspective 297; and private/public distinction 210; and violence 284
industry: and art 14–16; and landscape photography 126–7, 322, 335, 339–41; and photographic practice 26
informality 152, 165, 168, 183
information: global networks of 24; and imperialism 102
INIVA (Institute of International Visual Arts) 330m
internationalism 292, 304, 306, 327, 329, 351
International Surrealist Exhibitions 316, 318
Internet, and selfhood 140
intertextuality 234
investigation, novel means of 107
In Visible Light (Iles and Roberts) 73m
Iraq, war as spectacle in 237–8
Irish art 330
iris scans 198
Israel, war photos from 83
i-stockphoto 245
Italianness 261
Jack Daniels whiskey 261
Jacob Riis Park 153
Jacobs, Joseph 199
James, Sarah 85
Jameson, Fredric 25
Jammes, Louis 228
Japan, local photographers in 145
Jernigan, Joseph 215
Jewish people: images of 177m, 199; see also Holocaust
Jobling, Paul 267
journalism: of the spectacle 237–9, 241; use of term 80
Jugenson, Nathan 182
Kellner, Douglas 234
Kelly: Angela 125–6; Mary 323–4, 348
Kember, Sarah 69
Kendrick, Walter 206
Kennard, Peter 324
Kessell, Mark 224
‘Keyhole Improved Crystal’ (Paglen) 343
Kipnis, Laura 210m
Kirstein, Lincoln 292
Kitano, Ken 200
kitsch: and avant-garde 305; and the postmodern 25
Klarsfeld, Serge 177m
Klein, Melanie 202
Knorr, Karen 290, 324–5, 334–5
knowledge: discourses structuring 130; objective 69; photography and creation of 72–3; power in systems of 124
Kocharian, Ursula 170, 171, 172, 176
Kodak: hand-held cameras from 135–6; and mass market for photography 7, 160–2; technological developments by 184; and travel photography 160, 166; and working-class consumers 164
Kodak advertisements 145, 161–2, 166–7
Kodak Box Brownie: launch of 135, 162; pictures from 163
Korean War 83
Kosinski, Dorothy 298m
Koudelka, Josef 83m
Kracauer, Siegfried 19m
Kristeva, Julia 222m
Kruger, Barbara 194, 323–4, 328
Kuwait, Iraq’s invasion of 238
labour: in fashion industry 270–1; fetishizing and romanticising 260–2, 271; making invisible 248, 252, 260
labour relations, in photographic images 281–2
La Chapelle, David 253
The Lady of Shalott (Robinson) 301, 333
La Grande Odalisque (Ingres) 278
land, and landscape 331
The Land (Brandt) 334m
Land (Godwin) 338
landscape: construction and commodification of 336; experimentation in 333m; as genre 331–5, 339
landscape photography: characteristics of 332–3; critical 335–6, 338; and economic change 339–40; European and American 333–4; and exploration 341–3; government use of 65; as illustration 292; interpretation of 341; voice in 343–4
Lange, Dorothea, making Migrant Mother 44, 46, 48, 111; as mother of documentary 51–2; other photographs by 50m; technique of 50–1
Lange, Susanne 322
‘Larch’ (Derges) 337
Latin American photography 330–1
Laub, Dori 137m
Lavin, Maud 218m
Leach, John 158
Lebas, Chrystal 338
Ledare, Leigh 207
le Grey, Gustave 333
leisure pursuits, photography of 137–8, 154, 159, 168, 243
lesbian culture, butch/femme in 208
lesbian photography 126
Les Crimes de la Commune 90
Leslie, Mark 194
Let Us Now Praise Famous Men (Agee and Evans) 348
Libya (Saman) 81
Liebowitz, Annie 253
Life magazine 80, 83, 237, 242
light sensitivity 312
Lindt, Johannes 103
Linfield, Susie 88
Linked Ring Brotherhood 300, 302
Linkman, Audrey 139m, 169m, 228
Lissitzky, El 310
Lister, Martin 13, 26–7, 41–2, 179, 186
lithography 303
Lockwood, Frank 165
locomotion 212
Lodgers in a Crowded Tenement (Riis) 99
London: documentary photography in 98; street photography in 121
London Labour and the London Poor (Mayhew) 66, 99
London Stereoscopic Company 106, 145
Look at Me (Williams) 267
‘Look at me’ project (Bonn and Deleu) 186
Look magazine 80
Lorentz, Pare 50
Los Angeles Times 237
‘Love Legs’ cosmetics advertisement 264
Lyotard, Jean-François 24
Machin, David 241m
machine aesthetic 309
Madge, Charles 107
magazines: changing structure of 129; consumer 162, 166–7; and fashion photography 267–8; images of women in 204; judging celebrity bodies 205–6; photographic 22, 208
magic lantern shows 146
magnetic resonance imaging (MRI) 214–15
Magnum agency 83m, 95, 116, 246; archive of 72, 95
Magritte, René 315m
Mahr, Mari 324
male bodies: Nazi ideal of 218; photographic constructions of 230; in queer erotica 208; as representative 215
male gaze 176, 201–2, 204, 326
Manchester Whit Walks 158
Mapplethorpe, Robert 194
Marc, Stephen 330
Marey, Étienne-Jules 212, 214, 215, 217
marginal notes 4
Marie Claire magazine 265, 273–4, 276, 277
Martin: Paul 98, 110, 153; Rosie 174, 187
Marx, Karl: on commodities 204, 248; and Frankfurt School 309m; Grundrisse 282–3; and spectacle 234
Marxism: and artistic production 40; and Surrealism 316; theory of history in 24
Maseko, Zola 114
masochism, and malleable bodies 221–2
mass media, and art 319
mass production 148, 159, 162, 246–7, 281
Matshikiza, Todd 114
Mayne, Roger 121
McCauley, Elizabeth Anne 236m
McClintock, Anne 143
meaning: creation in photography 67; emergent 34; and museum display of images 71; photograph as outside 38, 70
meaning production: and advertising 250; and context 42; interrogating 355; reader involvement in 256; and semiotics 36, 43; and visual communication 31
mechanical reproduction 22, 309, 348; see also Benjamin, Walter
media hybridity 357
media messages 234
medical imaging 5, 196, 214–15
medicine, photography and cinematography in 213–14
‘Meet the Superhumans’ 218, 219
Meiselas, Susan 83m
memory, in personal photography 167, 174, 176
Men Greeting in a Pub (Spender) 109
Messager, Annette 193
Messaris, Paul 253m
metaportraits 200
Mewes, George 247
Mexican Revolution 315
micrography 214
Middle East: artists from 330; British photography in 143–4; in fashion photography 277–8; photography fairs in 351
Mieselas, Susan 76
Migrant Mother (Lange) 45; alternative versions of 47; appropriations of 44, 46; as icon 54–5; and magazine covers 55; production of 46–8; Pultz on 53–4; retouching of 49; title of 50; ways of discussing 6, 46
migrants: in Coca-Cola campaigns 254; in Great Depression 51, 112; personal photography of 170–1, 176, 178
military language 33
military surveys 65
mobile media: locked to the body 212; personal 13
mobile phones: as cameras see camera phones; street photography using 118, 122
Modern Art, internationalism of 306
modernism: as art movement 58, 304–6, 315; focus on medium 319–20; and landscape 334; photographic 18, 21–3, 292, 307–8; questioning of 323; Russian form of 310
modernity: and modernism 65; and photography 298; and selfhood 139
modern life 14, 65, 297–8, 310
modern photography 59, 303, 307, 327; collections of 307m
Modotti, Tina 315
Moholy-Nagy, László 13, 22–3, 40, 309, 312, 313
Moholy-Nagy, Lucia 309
MOMA (Museum of Modern Art): catalogues for exhibitions 58, 62; dimensions of 345; Eggleston’s colour exhibition at 127; exhibition of Lange’s photography 51; fashion photography at 268; photography display at 71, 292, 326m
Monroe, Marilyn 242
montage 152m, 219m, 317m; in advertisements 219, 250, 258, 260; body as machine in 216; and interpretation 325; political use of 111, 125, 258m, 308; Surrealist use of 312, 317; use of term 77m
‘Monument’ (Kippin) 339
Moore, Julianne 278
Moore, Ray 334
Morel, Daniel 245
Morrish, John 242
motherhood: feminist critique of 52m, 125; images of 46, 52, 283m
motion photography 212, 214–15
moving image 64, 206, 253, 352
multiculturalism 273, 283, 329
Multi Ethnic Gallery (Roversi) 273, 275
Mulvey, Laura 204m
Munby, Arthur Joseph 100m
museums: documentary photography in 308; and market economics 349, 351; and national identity 345; photographic archives of 64, 71–2, 294; photography as art in 8, 291, 322, 326m
music, and photography 314
Mydans, Carl 83
Myers, Kathy 252m
mythical scenes, photography of 299–300, 333, 345
Nair, Parvati 101m
narrative: in art 328; grand 24; in photography 21, 42, 324
National Endowment for the Arts (NEA) 194
National Media Museum (NMM) 56m, 303m, 326m, 327, 345m
native peoples: colonist photography of 102–4, 105, 106; and landscape photography 341; measurement and appraisal of 68; posing for photographs 96; studio photography of 272; and voyeurism 203
naturalism, in painting 303m
Naturalistic Photography (Emerson) 303
Neumaier, Diane 327m
New Bauhaus see Chicago Art Institute
New Burlington Galleries 316m
Newhall: Beaumont, and history of photography 56, 58–60; Beaumont, on photography as art 293, 314; Nancy 59m
A New History of Photography (Frizot) 61m
The New Housekeeping (Frederick) 258, 259, 260
new media 221, 252, 356; see also social media
news, globalisation of 129
news images: digitization of 94; misappropriating 245; and spectacle 237
newspapers: advertisements in 82, 247; changing structure of 129; colour supplements of 80–1, 95, 166, 242, 319; popular 162; war reporting in 82
new technologies: discussion before appearance 28; impact of 13–14
New York: documentary photography in 97; street photography in 121
New York Public Library 72
Nicaragua (Meiselas) 76
‘Night Diva’ (Marie Claire) 265
Nkosi, Lewis 114
Noble, Anne 342
Nolita fashion label 266
Norfolk, Simon 85
Norwegian landscape 335
nostalgia: in FSA project 53; in heritage industry 145
Nova magazine 267
nudity: of children 207; classical 209–10; in colonial photography 103–4; feminist critique of 326–7
objectification 124, 201–2, 204, 225
O’Donnell, Ron 330
Olin, Margaret 38
Olympia (Manet) 278
On Photography (Sontag) 32
On the Museum’s Ruins (Crimp) 71m
optical unconscious 21
originality 27
Osborne, Brian 281
O’Sullivan, Kevin 240
O’Sullivan, Timothy 82
the Other: black photographers on 329; colonised peoples as 103, 273–4; in commercial photography 271–2; disgust and desire for 211; photography defining 67; the poor as 98
The Other Night Sky (Paglen) 342
Outerbridge, Paul 127
paedophiles 207
painting: framing 325; and photography 295, 297–300, 302, 333; as referential 37
paparazzi photography 205, 238–9, 241
Paris: architectural change in 297; Mois de la Photo 350; photography exhibition of 1855 294; street photography in 119
Parks, Rosa 242
Parr, Martin 83m, 128, 130, 131
Pastoral Interludes (Pollard) 335
patriarchy: and imperialism 67; male gaze in 326
Peapell, Lily 134
peasant workers 281
The Pencil of Nature (Fox Talbot) 143, 303m, 347
Penlake, Richard 152
Penthouse 210
perception, cultural conditioning of 297
The Perfect Moment (exhibition) 194m
performance art 323
perpectivalism 69
personal photographs: reading 138–9, 168–70; transgressive 168, 185–6
personal photography: artistic use of 187; digital practices of 178–9, 182–3, 186–7; as disruptive 168; media influence on styles 162–3; and mobility 166; and modernisation 139–40; public and private in 140, 187; software dealing with 136; technological developments in 159, 184–5; use of term 137; as witness 86–7; of working classes 153
perspective: in landscape 333; in Western art 297
Perspective of Nudes (Brandt) 307
Phillips, Christopher 310m
philosophy, aesthetic 29–30, 50
photo agencies 83, 94–5; see also image banks
photo-analysis: approaches to 46; art history in 30
photobooks 22, 184, 303m, 347–50
photo-essays 107
photograms: and nature 335; in Surrealism 312; whole-body 223
The Photograph (Clarke) 61m
photographer and subject: in colonial photography 271–2; in documentary photography 33–4, 48–9, 87 (see also documentary subjects); embodiment of 211, 222, 225; in personal photography 138, 153; power hierarchy between 263, 272–3; see also photographic subjects
photographers: anonymous 96, 117–18; as artists 19, 281, 293–4; canon of great 59, 62, 111, 119, 322; census numbers of 66m; class identity of 236; copyright on work of 245–6; histories of 56; images of 147; motivations of 20, 48m; and moving image 352; professional employment of 129; seaside 154, 155; silhouette of 121; travelling 156–7, 333; in Victorian social surveys 96; as witnesses 84
The Photographers’ Gallery, London 345m
Photographic Advertising Limited 247, 249
photographic archives: accounts of development 61; and constructions of history 64, 74; as decontextualizing 72–4; digitalisation of 13, 72–3, 242, 357; key British 56
photographic competitions, subjects set by 100
photographic genres: advertising as outside 246; and capitalism 236–7; distinction between 77–8, 94; use of term 331
photographic images: attracting attention 38; authority of 18–20, 22, 35; and branding 240; circulation of see circulation of images; collecting data from 200; comparison of 4, 25; as constructed 69, 103–4, 112–13, 125, 324; contexts of viewing 32, 71; democratisation of access to 352; denotation and connotation in 241, 253; emotional impact of 47–8, 237–8; first fixing of 57; in histories of photography 58; limiting interpretations of 325; online 71, 182–6, 347; political use of 50; and power relations 110; provenance of 64, 68; radical feminist interpretation of 206, 209; reading of 29, 34–7, 44, 53, 70–1, 194; self-consciousness of 23; and spectacle 234
photographic media see photomedia
‘The Photographic Message’ (Barthes) 253
The Photographic Object (exhibition) 224
Photographic Pleasures (Bede) 151
photographic processes: mass production of 159; materialist 222–3
photographic realism: advertising’s appropriation of 247–8; challenging glamour 250; and conceptual art 320, 321; critical interrogation of 31–2, 40–2; limits of 49m; prerequisites of 67; psychic investment in 69–70, 225–6; Surrealist use of 317–18
photographic seeing 313–14, 334
Photographic Society of Great Britain see Royal Photographic Society
photographic subjects: lack of rights to image 245; permissible and impermissible 96–7; as possessions 74; see also documentary subjects
photographic technology: and commerce 237; differences in 35; history of 56, 307; pathways in 179; in photojournalism 88
photographies, plurality of 41–2
photographs: accuracy as documents 68; artistic interpretation of 292–3; books of see photobooks; commercial trade in 103, 106, 143–4, 350; as commodities 233, 235–6; display of 70, 150m, 303–4, 325–6; embodied observer of 211; and the empirical 29, 32, 41, 65; as fetishistic 41; mass production of 210, 303; as material objects 30, 72–3, 123, 195, 222–5, 347, 357; meanings and uses of 194; objectivity of 308; as referential 33–5, 37, 43, 53; as symbolic exchange 67; as traces of reality 32, 123; Victorian uses of 150
Photographs Objects Histories (Edwards and Hart) 72
photography: academic study of 323–4; aesthetics of 19, 50; as bearing witness 87, 95, 97; challenging aesthetics 351; compared to visual arts 63; construction of social subjects through 222, 230; and consumer culture 7; crisis of 205; as democratising 17–19, 22, 135, 295–6; expressive potential of 292; Freudian analyses of 202–3; histories of see history of photography; as hybrid 26; institutional structures of 66–7, 71; interaction with other discourses 72; invention of 14, 55–7, 316; journalistic role of 6–7, 162; materialist analysis of 39–40; as middle-brow 187m; multiplicity of 21; and new technologies 27–8; ontology of 36–7, 39, 42, 57, 93; particularity and difference in 125; penetration of culture by 11–13; as performative 347; precursors of 13–14; professional spheres of 26; self-consciously contrived 125–6 (see also constructed photography); shifts in discussion of 355–6; as signifying system 123–4; and social discipline 124, 197–9; as social investigation 68–9, 96, 100m; ubiquity of 246, 355, 357
Photography, The Key Concepts (Bate) 30m
Photography and Anthropology 1860–1920 (Edwards) 67
Photography and Fascination (Kozloff) 34
Photography and Its Critics (Warner Marien) 66m
photography and reality: Barthes on 35, 53–4; and body images 211, 230; critical discussion of 19, 29, 78, 124; and digital technology 69; in documentary and photojournalism 90, 237; rupture between 40; Tagg on 67; see also photographic realism
photography as art: in 1960s 319–20; canon of practitioners 60; and conceptualism 320–2; contemporary status of 346–7, 350; early debates over 8, 14–17, 293–7; Elkins on 32; European interest in 62; great masters approach to 291; Greenberg on 306; loss of potential meanings in 71; materiality in 314; new aesthetics in 302–3; and Pictorialism 300–1; web-based display of 345
photography as evidence: analytic approaches to 46, 90; in documentary 97–8, 107, 114; in social history 64–5; in social surveys 7, 51, 68
Photography at the Dock (Solomon-Godeau) 79
The Photography Book 60
Photography: A Concise History (Jeffrey) 61m
photography criticism 31, 42, 199
Photography: A Cultural History (Marien) 60
photography debates: and book structure 6; contemporary 5, 31; theory in 29–30
photography festivals, international 349–50
photography galleries 326, 346
Photography: An Independent Art (Haworth-Booth) 61
photography of record 242, 307
Photography: A Short Critical History (Newhall) 56
Photography’s Orientalism (Behdad and Gartlan) 84m, 106m
photography theory 30–2; and documentary 123; as intersectional 43; realist 34; recent shifts in 53
Photography Theory (Elkins) 32
Photography Theory in Historical Perspective (Van Gelder and Westgeest) 63m
Photography Until Now (Szarkowski) 62m
photojournalism: and AIDS epidemic 194; authenticity in 357; citizen sources of 94–5, 357; in colour 129; current state of 80–1, 86–8; detached style of 110; and digital technologies 93; and documentary 78, 80, 90; during Second World War 164; and fashion photography 267; growth of 6–7, 82; new kinds of 81; presentation of images in 22; and printing processes 348; sale as art 129–30; and spectacle 237
photomedia: galleries for 326; in surveillance 43; use by artists 14, 291–2, 312, 319
photomontage see montage
Photo-Secession in New York 301–2
photosynthesis 225
phrenology 67, 196–7, 200, 236
physiognomy: and photography 196, 215, 236; and racism 200, 218; and social ordering 67, 102, 197
physique magazines 208, 228, 230
Picasa 185
Picasso, Pablo 263
Pictorialism 18, 23, 300–1, 303, 307, 333
pictorial photography 15
Picture Post 22, 65m, 80, 110, 116, 237
picturesque 303m
Piper, Adrian 193
Piss Christ (Serrano) 194m, 228
Pistorius, Oscar 234
plasmatic 221
Playboy 210
pleasurable response 40
Podpadec, John 128
political activism, uses of photography in 22, 316, 322–3
Pollock, Griselda 263m
Polytechnic of Central London 39m, 324m
Pompidou Centre 345
the poor, photography of 67, 77–8, 96–100, 113, 119
popular culture: and high culture 58, 130; photography in 162–3; pornification of 207; representation of women in 217–18, 263
popular imagery 29
popular memory 68
popular photography: histories of 63–4; mass production of 148; in Victorian era 145–6
pornography: and body images 7; and feminism see feminism, response to pornography; hairlessness in 211; in mainstream culture 207–8; and social class 209–10; and stereoscopy 146, 202; and violence against women and children 206–7; visual vocabulary of 201, 206; see also child pornography; erotica; sexual imagery
Portrait of Space (Miller) 317
portrait photography 156; Cameron’s 299; commercial trade in 16, 63, 146–8, 298; composite 200; and criminal justice 197; as democratising 298; and fashion 267; and identity 328–9; and informality 152; posing in 37; readability of 169; and social class 156–7, 236–7
positivism, and photography 29
postcards 155, 158; and colonialism 237, 272–3, 274; as popular photography 63–4, 158; sales of 106, 157
postmemory 168m
postmodernism: and broadening of theory 41; construction and deconstruction in 324; integration into mainstream 356; original and copy in 130; and photography as art 292, 319, 322; and photography theory 24–5, 30; and spectacle 234
post-mortem photography see corpses, photography of
post-photography 178
poststructuralism: and meaning production 31; transition from 347
Powell, Gus 122
power: Foucault’s understanding of 123–4, 197; images of 110; and knowledge of the body 215; and pleasure of looking 202–3
power relations: photography within 66, 230; and tourist snapshots 278
pregnancy: in photographic exhibitions 187; ultrasound scans in 214
Pre-Raphaelites 300m
Pretty Polly 264
primitivism 273
print media: and photography 22, 80; and photojournalism 95, 129
print quality 51m
Prior Park (Brandt) 305
prison records, photography in 197
private photography 137, 140, 187
professional photographers: artistic compositions of 300; and authenticity 95; and popular photography 63; and portraiture 298; use of digital technology 26; and weddings 173; see also commercial photography
provenance, statements of 68, 345
psychoanalysis: and the humanities 36; identification in 328; and photography 39–40, 54m, 196; and visual communication 31
public events, personal photography of 185
public ideologies 139
public spaces: appropriation of 122; photography of life in 118–19
public transport 196
publishers’ lists 349
Pultz, John 53
punctum of recognition 38
Punjab 254
race: and approaches to photography 126; hegemonic ideas of 257; in picture postcards 237; visual grammar of 200m, 284
racialization 237, 262–3, 273–4, 285, 335
racism, multiculturalism as 274
radical feminism 206–7, 324, 326
radical history movements 170
radicalism see political activism
Ramamurthy, Anandi 261m
Ramblers organisation 338
Ransom Carter, Jennifer 167
rationality, in colonial imagery 275
Ray, Man 304, 312, 315m, 317–18, 350m
Reading American Photographs (Trachtenberg) 100m
‘Reading an Archive’ (Sekula) 73
Reading Magnum (Hoelscher) 95m
realism: as complicit in power 126; critical reflections on 32, 34, 40; photography as denoting 82, 297; and photojournalism 88, 130; and pornography 206, 211; resurfacing of discussion 357; in Russian art 309; Spender’s use of 108; and street photography 121; and women’s bodies 204–5; see also photographic realism
reality: and digital technologies 92–3; and spectacle 93–4; use of term 32; see also photography and reality
recognition: poignancy of 38; shock of 318
record covers 319
reference, renouncing 25
Reflections of the Black Experience (Baker) 329
Regarding the Pain of Others (Sontag) 86m
religious fundamentalism 194
representation: artistic interest in 322; critical discussion of 356–7; hegemony in 257; mass participation in 125; politics of 8, 39, 41, 111, 351; racial and gender regimes of 237, 263, 273–4; and reality 296; subjects of 104, 109
resistance, images of 110
restricted codes 138m
Reynolds, Stacey 284
‘The Rhetoric of the Image’ (Barthes) 253, 260
Richtin, Fred 92
Riefenstahl, Leni 267
Riis, Jacob 97–8, 99, 110, 153
Ristelhueber, Sophie 85
Ritchin, Fred 93
River Scene, France (Silvy) 299, 333
Robinson, Henry Peach 300, 301, 303, 333, 335
Rodchenko, Alexander 111, 310, 311, 312
Rogers, Brett 346m
role-playing 209
Ronis, Willy 119
‘The Rooftop’ (Knorr) 290
Room 1 (Seawright) 85
Rosenblum, Naomi 49, 51, 61m, 62, 63m, 300m
Rothstein, Arthur 91, 111, 113
Royal Academy: Art of Photography exhibition 62, 292; Summer Show 303
Royal Photographic Society (RPS): cataloguing albums 150m; moving to Bath 345m; name of 16m, 303m; opposition to stereoscopy 146; secessions from 300
Royal Society of Arts 293
Russian art, experimentation in 309–10
Russian Futurism 40
Russian Revolution 283, 308, 310; see also Soviet Union
Ryley, Marjolaine 187
Saab advertisement 219, 220, 221
Saith, Sanjeev 128
Saks, Arnold 251
Sampson, Anthony 116
San Francisco Museum of Modern Art 345
Sarvas, Risto 136m
The Satanic Verses (Rushdie) 237–8
satellite imaging 356
satnav 356
Saussure, Ferdinand de 36
Schäfer, Rudolf 228
Schels, Walter 228
Schneider, Betsy 207
scientific imaging 215
scientific management 215, 258
scopic regime 69
scopophilia 202, 263; see also visual pleasure
Scott, Clive 117
Scottish art 330
Scottish Photography Archive 345m
screengrabs 88
search engines 243
Seawright, Paul 85
Second World War: and family photography 171; ‘home front’ photography in 164; photojournalists in 83
secret worlds 308
seeing, new ways of 33, 40, 297
Sekula, Allan 67–8, 73–4, 92m, 197m, 200
Self Burial (Arnatt) 321
selfies 185m; as bodies into data 191; and celebrity status 200–1; and family photography 138; as new development 356; and portraiture conventions 236; and social networking 185
self-portraiture see selfies
self-representation 125
semiology, and semiotics 36
semiotics: and documentary 123; and the humanities 36; and photography 40, 46m; and socioeconomic analysis 8
separation, enforced 255
September 11, 2001 attacks 87
Serrano, Andres 194m, 227, 228
Serra Pelada (Salgado) 101
sexting 186
sexuality: coding in photography 126, 196, 278; deviant 208; in fashion photography 266, 268–9, 274; in Freudian theory 203; incestuous 176, 207; interrogation of 126
sexual practices: photography of 194; voyeurism as 202
Seymour, David (Chim) 83m
shadows, conveying emotion 247
Shahn, Ben 111
Sharma, Sanjay and Ashwani 276m
Sherman, Cindy 193, 267, 269, 270, 323–4, 329
Shifting Focus (Butler) 327
shock: in commercial photography 286–7; in Surrealism 318
sign systems: compatible 256; in semiotics 53
Silverthorne, Jeffrey 228
Situationist International 233m
sketches, photography used for 296
skin colour, lightening 266
Slater, Don 125, 159, 237m, 278, 280
slide installations 352m
slide-tape 324
Sluis, Katerina 186
Small World exhibition (Parr) 130
smartphones, reliance on 356; see also camera phones
Smith: Clarissa 207; Katie 90; W. Eugene 83
smoothness, aesthetic of 211, 221
snapshots: Abu Ghraib as 86; centrality in digital era 179; of childhood 169, 174, 176; digital replacement of 26; as fashion photography convention 267; and social life 163–4, 166–8; technical improvement in 167; and trauma 177
SOCAR Oil Fields #9 (Burtynsky) 340
social anthropology, photography in 67
social class: in advertising 263; and approaches to photography 110; and art patronage 293; and the body 196, 200, 209–10; and documentary 126; and family photography 150, 163–4; hegemonic ideas of 257; and landscape 332; and materialist analysis of photography 40; and modernity 65; photographic presentation of 66–7, 97, 102, 121; in pornography 201; and sexual imagery 209; in Spence’s work 174
social difference: and erotica 201; photography as naturalising 7, 67–8, 102–4, 124, 196–7, 200
social history: and personal photography 169–70; photographic evidence in 64–5
Socialist Realism 310
social media: and art photography 347; collecting personal data from 200; communication via 26; documentary images on 129; impact on relationships 185; publishing photographs on 70, 95, 179, 182
social observation 38
social relations: and commodity interests 248; naturalisation of 258; and production of meaning 43
social responsibility, corporate 285, 287
social world, documentary fidelity to 35, 92
Société Française de Photographie 293
Society for Photographing Relics of Old London 145
Society of the Spectacle (Debord) 233
soldiers: photographs of 82, 164; photographs taken by 143, 160
Solomon-Godeau, Abigail 79m, 269m, 310m; on documentary 79; on fashion photography 266, 271; on Lange 50; on pornography 201m; on gallery displays 269
sonograms 214
Sontag, Susan 32m, 34, 86m; on Abu Ghraib 211; on concerned photography and art 86; on death and photography 225; on photography and reality 32–4, 39
Sotheby’s auction house 350
sources, crediting 48m
South Africa 114, 116, 234, 251
Southam, Jem 111, 128, 307, 335
Soutter, Lucy 347m
Soviet Constructivism: criticism of art 291m; photography in 310, 312; political agenda of 324; and Surrealism 317
Soviet Union: art as life in 294; collapse of 284, 329; continuing influence of art from 22
space photography 342
Spagnoli, Jerry 224
Spanish Civil War 83
The Spanish Steps (Parr) 131
spectacle and illusion: advertising photography in 246; in commercial photography 283; corporate production of 238; as hyperreality 233–4; race and class hierarchy in 236–7; visual imagery in 233
spectatorship: Barthes on 39; power relations of 123; and spectacle 234; women’s enjoyment of 213
Spence, Jo 137m, 139m, 174, 175, 176, 193
Spender, Humphrey 94–5, 108, 109, 110
‘Spoolhenge’ (Noble) 342
Spring Corner (Einzig) 118
Squiers, Carol 238m, 239, 251m
Steichen, Edward 48
Stein, Sylvester 116
stereoscopic views 144–5, 146, 211–12
stereotypes, in commercial photography 257
Sternberg, Josef von 205
Stills Gallery 345m
stock photography 244, 249; cinematic conventions in 247–8; commerce in 241–2, 244–5; lack of denotation 242–3
Stocksy 246
Stoddart, Tom 194
story-telling see narrative
Stott, William 107m
straight photography 15m; and art 15–16, 306; distrust of 318; and documentary 79–80; as empirical 41; exhibition of 326; in landscape 333; in Newhall’s History 59; qualities of 18
Strand: Clare 228; Paul 23, 307–8
street photography: in colour 129; contemporary 122; styles and subjects of 118–19; use of term 117–18
Stryker, Roy 47, 49, 52–3, 111
Stuart Hall Library 330m
studio photography: of colonised peoples 272; as constructed 91, 222, 273; conventions of 236
subjectivity: centrality of discussion 356; in colonial photography 104–6; in Enlightenment philosophy 69; exploring in photography 126, 174
the sublime: industrial 335, 339–41; and wilderness 343
suburbs, middle-class move to 153
A Sudden Gust of Wind (Wall) 332
Sun Pictures in Scotland (Fox Talbot) 347
superhumanity 218
Surrealism: and advertising 253; aims of 315–16; critical reappraisals of 318–19; and fashion photography 267; and landscape 333; manifesto of 304; photography in 312, 316–17; in Spender’s work 108–9
surveillance: challenging 122–3, 176; and digital data 342; and discipline 197; and photography 66, 68, 124; taking for granted 356
symbolic codes 36
Szarkowski, John 62m, 127, 313–14
tableaux, photographic 146, 150, 299–300, 346
tabloid journalism 119, 238–41
Tagg, John: photography and capitalist growth 235m; photography and power relations 66m, 67, 124m, 197m
Tate Modern: dimensions of 345; photography exhibitions at 292
taxonomic imperative 102
Taylor, Frederick Winslow 215, 258
Taylor, Roger 344
Taylorism 218
technology: and art 293, 320; and the body 196; contemporary advances in 357; see also new technologies; photographic technologies
television: and photographic archives 64; and spectacle 234
Ten/8 magazine 71
Tenno, Helge 252
Tennyson, Alfred Lord 299
Terminator 2 221
text: accompanying photography 325; in photobooks 348; see also image-text; titles
textile mills 282
Thatcher, Margaret, funeral of 183
Themba, Can 114
theory: interaction between concepts in 41, 43; use of term 28–9
Thinking Photography (Burgin) 31m, 39
Thinkstock 245
‘The Third Meaning’ (Barthes) 38
Thomas, William 105
Thompson, Florence 49
Thompson, Nigel 278
Thompson, Thurston 302
Tillmans, Wolfgang 347
Time magazine 242
tintype 154m
titles: of genres 94; and meaning 50m, 325
Toblerone advertisements 221
Torday, Emile 272
Torres, Julien 258
torture, as sexualised entertainment 211m
tourism, and colonialism 105, 143
tourist brochures 278
tourist gaze 144
tourist photography: importance to experience 74, 106, 145; posed subjects for 278–80
Towards a Bigger Picture (exhibition) 344
traces, analogue photography as 32, 53, 93, 123
trades, photography of 100, 110, 119
Trangmar, Susan 324
transcription, analogue photography as 26
translucence 27
travel photography 106, 160, 166
trompe l’oeil 312
truth: denotative and connotative 91; photography as 7, 20, 35, 41, 69, 90; and power 124
Tucker, Anne 62
Tucker, Jennifer 122
‘The Two Ways of Life’ (Rejlander) 300
Ugrina, Luciana 206
Unhate foundation 287
United Colors of Benetton campaign 283
United States: ‘Indian’ attractions in 104; modern art in 293; Toscani attacking 286–7; and USSR 284; see also American photography
universal similarities 48
The Unphotographable (exhibition) 224
‘Untitled,’ use of 325
Untitled Film Stills (Sherman) 269
V&A (Victoria and Albert) Museum: fashion photography at 268; photographic archive at 61, 72m, 292; photographic display at 292, 326m, 344, 345m; website of 352
van de Ven, Ariadne 280
Van House, Nancy 138m
Vanity Fair 278
Venice Biennale 350
vernacular photography, functions of 138m
Victoria, Queen: photography of family 148; purchase of photography 300
Victorian era: actuality photography in 63, 66–7, 96–7; art in 300; elegiac tone of 152; notions of progress in 104; photography display in 303; pornography in 201m, 202; portraiture in 148; post-mortem photography in 227; taxonomic imperative of 102; visual material from 65
Vietnam War 83–4, 88, 316, 319
viewers, cultural identity of 69
Villa Savoye (Knorr) 290, 324–5
violence, contained in images 284
violent conflict 83, 85, 95, 177
virtual reality 298
virtual space 5, 30, 43, 356–7
vision: instant 59; new angle of 21–3, 28, 311–12, 333
visual arts, autonomy of 306–7
visual communication: lens-based 35; linguistic models of 31; novel forms of 19, 309, 357–8; and personal photography 184
visual culture: Barthes’ analysis of 36; Burgin’s analysis of 39; digital technology in 94; haptic qualities of 222
visual poetics 314
Volcano, Del LaGrace 209
Vu magazine 80
Walcott, Marion Post 111
Walker, Ian 318m
the Wanderers 310
war: and amputees 218; control over reporting of 84; discourses of the body in 191; migration forced by 176–8; photographic records of 81–3; as photographic subject 84–5; photographs taken by soldiers in 143; as spectacle 238
Warner Marien, Mary 295m; on High Art Photography 295; histories of photography 57, 60m, 61–2, 66; on landscape 333–4
War Primer 2 (Broomberg and Chanarin) 88, 89
wasteland 338
Watney, Simon 40
Web 2.0 182
Weber, Bruce 267
websites: and amateur photography 160; branding on 240, 261; of galleries and exhibitions 336, 348, 352; photography projects on 186
wedding photographs 170, 173, 240–1
wedding photojournalism 94
Werge, John 152
Weski, Thomas 127
Weston, Edward 313, 314, 315m, 334
wet colloidon process 82
What Is a Photograph? (exhibition) 224
Whitby 100
White Sea Canal (Rodchenko) 311
Willett, John 309m
Williams, Raymond 14, 291m, 304, 320
Williams, Val 62m, 110, 139m, 162, 327m
Williamson, Judith 252m, 253, 255, 260m, 261, 280
Wilson, Sir Arnold 140, 141, 142, 143–5, 152–4
Winship, Janice 263m
Witkin, Joel-Peter 324
‘Witnesses: Against our Vanishing’ (exhibition) 194
Wollen, Peter 294m, 295, 307–8
The Woman’s Eye (Tucker) 62
women: embarrassing photographs of 168; in erotica 201; in fashion industry 271; as hobbyists 150; media stereotypes of 263; non-European 272–3; reading images of women 205–6, 210, 266; secret photography of 153; in stock photography 248, 249; as subjects of photojournalism 52, 88; in Surrealism 318; see also black women; white women; workers, women as
women photographers: documentary styles of 110; and domestic photography 7, 160–1; exhibitions of 327–8; and FSA 51; histories of 62–3; Kodak marketing to 161–2; in Victorian era 150, 152
Women Photographers (Johannesson and Knape) 63m
Women Photographers (Sullivan) 63, 327m
Women Photographers: The Other Observers (Williams) 62m, 327m
women’s bodies, as commodities 204, 211; digital manipulation of 222, 265; fragmentation of 203, 263–5, 285, 318–19; ideals of 195; as illegible 199; and machines 218; naked in art 326; objectification of 201–2, 210
Women Using Stereoscopes (Roger-Viollet) 213
Wong, H. S. 237
work, science of 215
workers: corporate photography of 261–2, 281–2; as photographers 111; in Socialist Realism 310; women as 100, 152; see also labour
working-class areas: photography of 97–8, 99, 108, 153; quality of housing in 164–5
working classes: bodies as illegible 199; hidden from history 170; self-photography of 153–4, 156–8, 163–4; as subjects of documentary 78, 98–100, 108–9, 126
Works News 282
A World History of Photography (Rosenblum) 61m
World Press Photo awards 88
Worlds in a Small Room (Penn) 273
wounds, as abject 222
X-rays 214
You’re Fine (Simpson) 222, 223
Žižek, Slavoj 274