During the 1970s, London-based photographers joined together to form collectives which engaged with local and international political protest in cities across the UK. This book is a survey of the radical community photography that these collectives produced. The photographers derived inspiration from counterculture while finding new ways to produce, publish and exhibit their work. They wanted to do things in their own way, to create their own magazines and exhibition networks, and to take their politicised photographic and textual commentary on the re-imagination of British cities in the post-war period into community centres, laundrettes, Working Men's Clubs, polytechnics, nurseries - anywhere that would have them. The laminated panel exhibitions were sufficiently robust, when packed into a laundry box, to withstand circulation round the country on British Rail's Red Star parcel network. Through archival research, interviews and newly discovered photographic and ephemeral material, this tells the story of the Hackney Flashers Collective, Exit Photography Group, Half Moon Photography Workshop, producers of Camerawork magazine, and the community darkrooms, North Paddington Community Darkroom and Blackfriars Photography Project. It reveals how they created a 'history from below', positioning themselves outside of established mainstream media, and aiming to make the invisible visible by bringing the disenfranchised and marginalised into the political debate.

The Photo Student Handbook is a collection of short, easy-to-read chapters filled with expert advice on enhancing image-making skills and launching a career as a professional photographer. Designed to help students grow beyond the technical aspects of photography, this book presents a variety of methods and strategies proven to strengthen visual awareness, engage creative thinking, and deepen the conceptual aspects of image-making. Topics include how to: - improve the ability to see actively - understand light as a main character - cultivate a creative mind - make a standout portfolio - unpack critical theory - find and develop a creative voice. Packed with valuable tips, insights, and advice from over a hundred instructors, professionals, senior students, and experts, this book is engineered to help instructors guide students step-by-step through the methods and strategies needed to achieve creative success both in the classroom and the real world. This book is ideal for intermediate- and advanced-level photography students and instructors alike. Visit the accompanying website www.photostudent.net for extra chapters, exercises, quizzes, and more.

The historiography of early photography has scarcely examined Islamic countries in the Near and Middle East, although the new technique was adopted very quickly there by the 1840s. Which regional, local, and global aspects can be made evident? What role did autochthonous image and art traditions have, and which specific functions did photography meet since its introduction? This collective volume deals with examples from Iran, the Ottoman Empire, and the Arab lands and with the question of local specifics, or an „indigenous lens." The contributions broach the issues of regional histories of photography, local photographers, specific themes and practices, and historical collections in these countries. They offer, for the first time in book form, a cross-section through a developing field of the history of photography.

Ultra-high resolution holograms are now finding commercial and industrial applications in such areas as holographic maps, 3D medical imaging, and consumer devices. Ultra-Realistic Imaging: Advanced Techniques in Analogue and Digital Colour Holography brings together a comprehensive discussion of key methods that enable holography to be used as a te

Theorists critique photography for ÒobjectifyingÓ its subjects and manipulating appearance for the sake of art. In this bold counterargument, John Roberts recasts photographyÕs violating powers and aesthetic technique as part of a complex Òsocial ontologyÓ that exposes the hierarchies, divisions, and exclusions behind appearances. Photography must Òarrive unannouncedÓ and Òget in the way of the world,Ó Roberts argues, committing to the truth-claims of the spectator over the self-interests and sensitivities of the subject. Yet even though the violating capacity of the photograph results from external power relations, the photographer is still faced with an ethical choice: whether to advance photographyÕs truth-claims on the basis of these powers or to diminish or veil these powers to protect the integrity of the subject. PhotographyÕs acts of intrusion and destabilization constantly test the photographer at the point of production, in the darkroom, and at the computer, especially in our 24-hour digital image culture. RobertsÕs refunctioning of photographyÕs place in the world is therefore critically game-changing, as it politically and theoretically restores the reputation of the art.

Familial snapshots depicting the nature of growing up in the Western World.