100 Ideas That Changed Photography (100 Ideas That Changed...)
By: Mary Warner Marien (author)Paperback
1 - 2 weeks availability
This compelling book chronicles the most influential ideas that have shaped photography from the invention of the daguerreotype in the early 19th century up to the digital revolution and beyond. Entertaining and intelligent, it provides a fascinating resource to dip into. Arranged in a broadly chronological order to show the development of photography, the ideas that comprise the book include innovative concepts, cultural and social incidents, technologies and movements. Each idea is presented through lively text and arresting visuals, and explores when the idea first evolved and its subsequent impact on photography.
Mary Warner Marien is Professor Emerita in the Department of Fine Arts at Syracuse University, New York. She continues to lecture in the United States and Europe and in 2008 won an Andy Warhol Foundation Arts Writer award. She is the author of Photography: A Cultural History as well as numerous articles on photography.
No.1 The camera Obscura 8 No.2 The latent Image 10 No.3 Direct Positive images 12 No.4 Negative/Positive 14 No.5 The daguerreotype 16 No.6 Exploration 18 No.7 The calotype 20 No.8 The Nude 22 No.9 The lens 24 No.10 The Shutter 26 No.11 Aesthetics 28 No.12 The cyanotype 30 No.13 Collodion 32 No.14 Cropping 34 No.15 The darkroom 36 No.16 Painting the Picture 38 No.17 The stereoscope 40 No.18 The View 42 No.19 War 44 No.20 Moving Pictures 46 No.21 Enlargement 48 No.22 Supports 50 No.23 Colour 52 No.24 Photo-sculpture 54 No.25 Moralizing 56 No.26 The acadEmie 58 No.27 Cartes de visite 60 No.28 The gum Bichromate Process 62 No.29 Platinum Prints 64 No.30 Pinhole cameras 66 No.31 Likeness 68 No.32 The tintype 70 No.33 Evidence 72 No.34 Evolution 74 No.35 Albumen Paper 76 No.36 Narrative 78 No.37 Backgrounds 80 No.38 Leisure Travel 82 No.39 Photographic Societies 84 No.40 Photo-Sharing 86 No.41 Gelatin Silver Prints 88 No.42 Small Cameras 90 No.43 Tabloids 92 No.44 The autochrome 94 No.45 Postcards 96 No.46 Projection 98 No.47 Artificial Light 100 No.48 Focus 102 No.49 Stopping time 104 No.50 Halftone 106 No.51 Roll Film 108 No.52 Sequences 110 No.53 Image Factories 112 No.54 Aerial Photography 114 No.55 Macro/Micro 116 No.56 The People's Art 118 No.57 The photo-secession 120 No.58 Equivalents 122 No.59 Collecting 124 No.60 Pictures that Sell 126 No.61 Photographic Agencies 128 No.62 The SLR 130 No.63 The Decisive Moment 132 No.64 Multiple exposures 134 No.65 Photo Booths 136 No.66 Photojournalism 138 No.67 Abstraction 140 No.68 Straight Photography 142 No.69 Cameras for Kids 144 No.70 Solarization 146 No.71 Sporting Scenes 148 No.72 Image Objects 150 No.73 Film und Foto 152 No.74 The photogram 154 No.75 Cut-and-paste 156 No.76 Fashion 158 No.77 Self-Portrait 160 No.78 Glamour 162 No.79 Documentary Expression 164 No.80 The Outsider 166 No.81 The Street 168 No.82 Invisible Light 170 No.83 The Surreal 172 No.84 The polaroid 174 No.85 Kodachrome 176 No.86 Television 178 No.87 New Topographics 180 No.88 Photo-realism 182 No.89 Outskirts and Enclaves 184 No.90 The snapshot aesthetic 186 No.91 The Theoretical Turn 188 No.92 Camera Phones 190 No.93 Fabricated to be Photographed 192 No.94 Concrete Photography 194 No.95 Photo-conceptualism 196 No.96 The Photographer's Eye 198 No.97 Appropriation 200 No.98 Photo/Video 202 No.99 Digital Photography 204 No.100 Geographic Information System 206
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