In 1848 there were thirteen commercial photographic studios in the city of Paris. By 1871 this number had expanded to almost 400. This book is the first to analyze the origins of professional photography during the Second Empire and its transformation from a novel curiosity to a vital part of the urban environment.

John R Hume is Scotland's foremost expert on industrial heritage. John's greatest passion was - and is - industry. Over the course of the 1960s, 70s and 80s, he took over 25,000 photographs of late-industrial and post-industrial Scotland. His collection is a remarkable portrait of a way of life that has now all but vanished. His drive to act as a witness to Scotland's industrial empire, and its steady disintegration, took him to every corner of the country.John's photography produces an exhaustive and objective record. Yet it also reveals remarkable and poignant glimpses of domestic life - children playing in factory ruins, high-rises emerging on the city skylines, working men and women dwarfed by the incredible scale of an already crumbling industrial infrastructure.In A Life of Industry, author Daniel Gray tells John's story, and the story of what has been lost - and preserved.

This publication maps out key moments in the history of environmentalist photography, while also examining contemporary examples of artistic practice. Historically, photography has acted as a technology for documenting the industrial transformation of the world around us; usually to benefit the interests of capitalist markets. An alternative photographic tradition exists, however, in which the indexical image is used 'evidentially' to protest against incidents of industrial pollution. By providing a definition of environmental activism in photographic praxis, and identifying influential practitioners, this publication demonstrates that photography plays a vital role in the struggle against environmental despoliation. This book will be of interest to scholars in photography, art and visual culture, environmental humanities, and the history of photography.

The role of Krupp in politics is also assessed, in so far as it is documented in photographic records."--Jacket.

Looks at how documentary photographers have contested the idea of the American dream, and discusses the work of Francis Benjamin Johnston, Lewis Hine, Walker Evans, Dorothea Lange, William Klein, Diane Arbus, and Robert Frank