The Handbook of Photography Studies is a state-of-the-art overview of the field of photography studies, examining its thematic interests, dynamic research methodologies and multiple scholarly directions. It is a source of well-informed, analytical and reflective discussions of all the main subjects that photography scholars have been concerned with as well as a rigorous study of the field’s persistent expansion at a time when digital technology regularly boosts our exposure to new and historical photographs alike. Split into five core parts, the Handbook analyzes the field’s histories, theories and research strategies; discusses photography in academic disciplinary and interdisciplinary contexts; draws out the main concerns of photographic scholarship; interrogates photography’s cultural and geopolitical influences; and examines photography’s multiple uses and continued changing faces. Each part begins with an introductory text, giving historical contextualization and scholarly orientation. Featuring the work of international experts, and offering diverse examples, insights and discussions of the field’s rich historiography, the Handbook provides critical guidance to the most recent research in photography studies. This pioneering and comprehensive volume presents a systematic synopsis of the subject that will be an invaluable resource for photography researchers and students from all disciplinary backgrounds in the arts, humanities and social sciences.

This book is designed for those who have never held a camera, as well as those who know the basics but want to improve their photographic skills. It blends contemporary topics, such as digital capture and digital image-processing, with all the traditional topics, including camera operation, composing a shot, developing film, selecting the right lighting, printmaking, and more. Readers learn the fundamentals of taking black-and-white, and color photographs with both traditional and digital cameras, as well as the ins-and-outs of lenses, filters, and other essential accessories.

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1877 edition. Excerpt: ... air. When it is required to sensitise the paper before use, it is plunged in a bath of nitrate of silver to which acetic acid has been added.8 1 To 35 oz. of Water, 1,000 grains of Rice. 750, Sugar of Milk. 22S, Iodide of Potassium. 75, Bromide of Potassium. Dist'Iled Water...... I ounce. Nitrate of Silver 30 grains. Glacial Acetic Acid..... 40 minims. The paper is exposed in the camera by being fixed between two glass plates. The time of exposure is usually about one hour, sometimes more; it can only be determined by experience. The development of the picture is accomplished by the aid of gallic acid, to which nitrate of silver and acetic acid are subsequently added. The leaf of paper is completely immersed in the developing bath until it has acquired the desired intensity. It is fixed as usual with hyposulphite of soda. When washed and dried the paper is rendered again transparent by rubbing with a hot iron, after being covered with a piece of tissue paper. Besides M. Legray, Messrs. Vigier, Baldus, and others have prepared albumenised and gelatinised papers which give equally good results, and as formula; for obtaining negatives on waxed paper abound, we refer the reader who may be curious in this regard to the published works of these inventors. The permanent carbon process.--The processes we have hitherto described furnish prints more or less liable to fade. Whatever the cares and precautions of the operator, however well it is washed, the positive proof is destined after a certain time to tarnish, to M become yellow, and even to disappear. How, indeed, could it be otherwise, when it is formed by the reduction of metallic salts, made up to a certain extent of fugitive chemical agents. This serious drawback gave rise to the...