Author: Terry Bennett Publisher: Mitchell Beazley ISBN: Category : History Languages : en Pages : 268
Book Description
This book is the first extensive survey of early Chinese photographers in any language. It is profusely illustrated with more than 400 photographs, many of which are published here for the first time, including a fine selection of Foochow landscapes from the studios of Lai Fong, China's leading photographer during this period, and Tung Hing. Early chapters introduce the historical milieu from which the earliest Chinese photographers emerged and illuminate the beginnings of photography in China and contemporary Chinese reactions to its introduction. Early Chinese commercial photography - both portrait and landscape - are also discussed with reference to similar genres in a more international context. Individual chapters are devoted to Chinese photographers in Peking, Hong Kong, Canton, Shanghai, Foochow, Amoy, Hankow, Tientsin and other ports, Macau and Formosa. These are followed by a series of appendices: writings on photography in China by John Thomson and Isaac Taylor Headland and an invaluable guide to the identification of photographs from the Afong Studio. It concludes with an extensive bibliography, general and regional chronologies, and a biographical index. Publisher's note.
Author: Anne Lacoste Publisher: Getty Publications ISBN: 160606035X Category : Biography & Autobiography Languages : en Pages : 216
Book Description
The fascinating life and work of an artist who captured some of the first photographs of the Far East are presented in this gorgeous volume.
Author: John Hannavy Publisher: Routledge ISBN: 1135873267 Category : Photography Languages : en Pages : 1630
Book Description
The Encyclopedia of Nineteenth-Century Photography is the first comprehensive encyclopedia of world photography up to the beginning of the twentieth century. It sets out to be the standard, definitive reference work on the subject for years to come. Its coverage is global – an important ‘first’ in that authorities from all over the world have contributed their expertise and scholarship towards making this a truly comprehensive publication. The Encyclopedia presents new and ground-breaking research alongside accounts of the major established figures in the nineteenth century arena. Coverage includes all the key people, processes, equipment, movements, styles, debates and groupings which helped photography develop from being ‘a solution in search of a problem’ when first invented, to the essential communication tool, creative medium, and recorder of everyday life which it had become by the dawn of the twentieth century. The sheer breadth of coverage in the 1200 essays makes the Encyclopedia of Nineteenth-Century Photography an essential reference source for academics, students, researchers and libraries worldwide.
Author: Stephen Sheehi Publisher: Princeton University Press ISBN: 069123535X Category : Photography Languages : en Pages : 264
Book Description
The first history of indigenous photography in the Middle East The birth of photography coincided with the expansion of European imperialism in the Middle East, and some of the medium's earliest images are Orientalist pictures taken by Europeans in such places as Cairo and Jerusalem—photographs that have long shaped and distorted the Western visual imagination of the region. But the Middle East had many of its own photographers, collectors, and patrons. In this book, Stephen Sheehi presents a groundbreaking new account of early photography in the Arab world. The Arab Imago concentrates primarily on studio portraits by Arab and Armenian photographers in the late Ottoman Empire. Examining previously known studios such as Abdullah Frères, Pascal Sébah, Garabed Krikorian, and Khalil Raad, the book also provides the first account of other pioneers such as Georges and Louis Saboungi, the Kova Brothers, Muhammad Sadiq Bey, and Ibrahim Rif'at Pasha—as well as the first detailed look at early photographs of the annual pilgrimage to Mecca. In addition, the book explores indigenous photography manuals and albums, newspapers, scientific journals, and fiction. Featuring extensive previously unpublished images, The Arab Imago shows how native photography played an essential role in the creation of modern Arab societies in Egypt, Palestine, Syria, and Lebanon before the First World War. At the same time, the book overturns Eurocentric and Orientalist understandings of indigenous photography and challenges previous histories of the medium.
Author: William Henry Fox Talbot Publisher: DigiCat ISBN: Category : Photography Languages : en Pages : 66
Book Description
DigiCat Publishing presents to you this special edition of "The Pencil of Nature" by William Henry Fox Talbot. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.
Author: Geoffrey Batchen Publisher: MIT Press ISBN: 9780262523240 Category : Photography Languages : en Pages : 254
Book Description
Essays on photography and the medium's history and evolving identity. In Each Wild Idea, Geoffrey Batchen explores a wide range of photographic subjects, from the timing of the medium's invention to the various implications of cyberculture. Along the way, he reflects on contemporary art photography, the role of the vernacular in photography's history, and the Australianness of Australian photography. The essays all focus on a consideration of specific photographs—from a humble combination of baby photos and bronzed booties to a masterwork by Alfred Stieglitz. Although Batchen views each photograph within the context of broader social and political forces, he also engages its own distinctive formal attributes. In short, he sees photography as something that is simultaneously material and cultural. In an effort to evoke the lived experience of history, he frequently relies on sheer description as the mode of analysis, insisting that we look right at—rather than beyond—the photograph being discussed. A constant theme throughout the book is the question of photography's past, present, and future identity.