A presentation of the archive of Leslie Sheddon which intends to function as a critical investigation of the conditions of cultural production at a very specific moment: their historical intersection between colonization and marginalization, its social and political implications, and its cultural consquences.

This innovative volume explores the idea that while photographs are images, they are also objects, and this materiality is integral to their meaning and use. The case studies presented focus on photographs active in different institutional, political, religious and domestic spheres, where physical properties, the nature of their use and the cultural formations in which they function make their 'objectness' central to how we should understand them. The book's contributions are drawn from disciplines including the history of photography, visual anthropology and art history, with case studies from a range of countries such as the Netherlands, North America, Australia, Japan, Romania and Tibet. Each shows the methodological strategies they have developed in order to fully exploit the idea of the materiality of photographic images.

Born in New York in 1909, Milton Rogovin has been photographing coal miners since 1962. Men and women portrayed at a mine entrance, covered in coal dust, are barely recognizable in the accompanying photographs, where they stand in their own homes. This text presents more than 100 of these powerful images.

This innovative collection demonstrates the profound effects of feeling on our experiences and understanding of photography. It includes essays on the tactile nature of photos, the relation of photography to sentiment and intimacy, and the ways that affect pervades the photographic archive. Concerns associated with the affective turn—intimacy, alterity, and ephemerality, as well as queerness, modernity, and loss—run through the essays. At the same time, the contributions are informed by developments in critical race theory, postcolonial studies, and feminist theory. As the contributors bring affect theory to bear on photography, some interpret the work of contemporary artists, such as Catherine Opie, Tammy Rae Carland, Christian Boltanski, Marcelo Brodsky, Zoe Leonard, and Rea Tajiri. Others look back, whether to the work of the American Pictorialist F. Holland Day or to the discontent masked by the smiles of black families posing for cartes de visite in a Kodak marketing campaign. With more than sixty photographs, including twenty in color, this collection changes how we see, think about, and feel photography, past and present. Contributors. Elizabeth Abel, Elspeth H. Brown, Kimberly Juanita Brown, Lisa Cartwright, Lily Cho, Ann Cvetkovich, David L. Eng, Marianne Hirsch, Thy Phu, Christopher Pinney, Marlis Schweitzer, Dana Seitler, Tanya Sheehan, Shawn Michelle Smith, Leo Spitzer, Diana Taylor

Photographs are used as documents, evidence, and records every day in courtrooms, hospitals, and police work, on passports, permits, and licenses. But how did such usages come to be established and accepted, and when? What kinds of photographs were seen seen as purely instrumental and able to function in this way? What sorts of agencies and institutions had the power to give them this status? And more generally, what conception of photographic representation did this involve, and what were its consequences?

What makes news patriotic? How is photojournalism used in wartime? In a national crisis, the press operates under various forms of censorship. Within these constraints, it continues to produce news in line with what is considered newsworthy. Everyday ‘human interest’ photographs and stories, which tell of bizarre, comic or tragic events, are turned to patriotic ends. The subject of death is transformed by its use in saving the nation; it is accompanied and displaced by more comforting ideas. Originally published in 1991, with the help of full-page illustrations from newspapers and journals, John Taylor looks at the special truth of war news, how it is built on established ways of storytelling, and how photography is used to make it seem real. Taking examples from the First and Second World Wars, the Falklands campaign and present-day accounts of terrorism and crime within the United Kingdom, Taylor shows that aside from legal controls, the press’s own methods bring it close to the official perspective. Drawing on history, sociology and photo-history, War Photography is a well-illustrated account of the place of photojournalism in the news industry and the use of news in creating national identity.