Quotes
the pioneering photo-historians Beaumont Newhall and Helmut Gernsheim freely admitted in interviews that their historical narratives and timelines were subject to partial censorship by omission. Newhall largely ignored darkroom experimental work in his first book, and Gernsheim thought that there were no interesting American photographers after 1965.
p. xiv
Currently 17 trillion photographs are estimated to be made in a year. This, of course, is the result of the digital revolution and the rapid emergence of mobile phones that two-thirds of the world’s population own
p. xiv
Despite what we are often told, photographs do not ‘speak for themselves’ . Photography should be considered as a language, which means that its grammar and its syntax have to be learned before the medium can be fully explored and employed by the photographer.
p. 2
But should photographers worry whether they are elevated into the pantheon of great artists? As one respected late 20th-century artist and teacher (Lawrence Gowing) remarked: ‘Photography is more than Art.’ After all, painting can never have that descriptive authenticity inherent in photography. A photograph does reveal something other than aesthetic beauty – the photographer re-presents the external world, however internal his or her preoccupations.
p. 47
Contents
Foreword by Roger Taylor
Preface
Acknowledgements
Introduction
CHAPTER ONE
SEEING AND THINKING PHOTOGRAPHICALLY
Reading Photographs
Lenses and Angles
‘Flattening’ the 3-D World
Tones and Hues,
The Focal Point
Juxtaposition
Metaphors and Symbols
CHAPTER TWO
AFTER THE SHUTTER IS PRESSED
Understanding Images
Selection
Ambiguity
Making Prints
A Theme
Sequence and Series
CHAPTER THREE
ART AND COMMUNICATION
Influence of Photography on Art
Influence of Art on Photography
Links with Literature
Narrative Flow
The Moving Image
Mixed Media
Visual Impact
CHAPTER FOUR
HOW PHOTOGRAPHY IS USED
Captions and Tides
Galleries
Publishing and Reproduction
Commissions
Magazines
Newspapers
Photojournalism
Posters and Photomurals
CHAPTER FIVE
THE PHOTOGRAPHER AS WITNESS
Making a Record
Snapshots
Portraits
Content and Form
Documentary
Events
CHAPTER SIX
EXPERIENCING BEAUTY
Landscape and Nature
Natural Landscape
Manmade Landscape
Home Environment
The ‘Fine’ Print
CHAPTER SEVEN
IN SEARCH OF SELF AND THE METAPHOR
Self-expression
Reflecting the Human Condition
Spirit of Place
Sequencing
CHAPTER EIGHT
FROM P RINTED PAGE T O GALLERY WALL
New Outlets
New Documentary
Surrealism
Topographies
CHAPTER NINE
RADICAL CHANGES AND THE IMAGING FUTURE
Conceptual Art
Democratic Dissemination
Signs and Symbols
Photography and Politics
Postmodernism and Beyond
Digital photography
Conclusion,
Index
Index A-C
A
academia, and photography 136, 152, 154, 155
advertising xv, 54, 110, 155, 156, 158
ambiguity 2, 30, 30, 31-33, 138, 140, 169
(168)
angles 5, 7; wide-angle lenses 5, 5 , 51 , 54, 72,
140, 141
anti-capitalist politics 152
aperture: Aperture-Priority 15; and Exposure
Triangle 14-15
architecture, high-tech movement 146
Arnau, Keith, self-portrait (‘Tm a real artist”)
152
art and photography: camera lucida 44; camera
obscura 44; early developments 44;
freethinking artist 47, 49; influence of art
on photography 46, 47, 49; influence of
photography on art 46-47, 48; literature
and photography 49; mixed media 52, 52,
53, 54; moving image 51, 51; narrative
flow 50, 50; theory of perspective 44;
visual impact 54, 55; see also photography
in late 20th-2 lst century
‘art for art’s sake’ notion 47, 155
awareness (of light) 14-15
B
Baker, Deborah: man wearing glasses on bench
85; solitary figure 140
Baltz, Lewis, modern housing development 148
Barker, Mandy, Soup 52
beauty and landscape: 19th-century guidebooks
and printed views 100; ‘beautiful’
photographs and conservation issue 107;
‘beauty’ concept 107, 110; celebration of
Nature 100, 101-104; democratisation
of photography and tourism 100; home
environment 110, 111; idealisation
of exotic locations and tourism 11 0;
juxtaposition of the ugly and the beautiful
107; landscape, nature and conservation
105, 105, 106; manmade landscape 108-
109, 110; natural landscape 106-107;
photographing ‘the thing itself ‘ 107,
110; printing processes and ‘fine’ prints
112-113; search for romantic beauty in
art (Victorian times) 47, 100, 101; spirit
of place 110
Bedford, Francis, Watersmeet. The Two Streams
101
Bellis, Kate, Derbyshire hill farmers ( On the
Edge) 92-93
Bishcon, Derek, Handsworth Self Portrait
(Bishcon, Homer and Reardon) 84
black and white photography 8, 9, 12, 22
Blair, Tony, Tony Blair/burning oilfield
montage (kennardphillipps) 75
Blakemore, John: floating reeds 124; ‘whalelike’
rocks 19; Wounds on Trees 16
blocked-up highlights 26 (27), 27
blogging 66, 67, 67
blown highlights 22, 23
books (of/with photographs) 64, 65
bookworks 64
Bourne, Josie: condom ‘petals’ 166; woman
vacuuming the road 162
Brandt, Bill: Halifax mills 108; insect’s-eye
view of the world 141
Bunney, Tessa, Moor & Dale 91 (90)
Burgin, Victor, “What does possession mean to you?” 156
burning and dodging 34, 35, 164
by-lines 64, 136
C
Callahan, Harry, reflected television scene
floating over sidewalk 30
camera lucida 44
‘The camera never lies’ saying 34
camera obscura 44
camera vision 2
camera-generated pictures 167
cameras: digital cameras xiii, xiv, 9, 66; digital
single lens reflex (DSLR) cameras 4, 5,
164; drone cameras 32; see also lenses;
mobile phones
Campbell, Bryn, anti-Nazi rioters (Germany,
1969) 96
Canaletto 44
Caponigro, Paul: quarry face 28; couching
rocks and water 123
captions 59, 59 , 60 , 61, 61 , 96, 136
Cartier-Bresson, Henri, ‘decisive moment’
concept 29
Chapman, Jacky, fatally shot man and grieving
family 71
Charity, John, trees and chain-link fence 9
chemical processing 22, 24 , 25
chiaroscuro 108
Childerley, Zoe, Dissecting the West 109
cinematography 48, 51
citizen journalism 160, 163
collage 8, 52, 61, 167 (166)
colours: colour theory 14, 14; digital
manipulation of colour hues 36; inkjet
prints 22; monitor calibration 22; in
sequences 126; cones and hues 8, 9, 28;
see also dodging and burning
commissions 67, 68, 69
computer software technology: image
manipulation 23, 36, 52, 54, 164; virtualreality
galleries 67
conceptual art 47, 152, 153 , 154, 154
conservation (of natural landscape): and
‘beautiful’ photographs 107; in USA (lace
1800s) 105
contact sheets 25, 29, 29
content and form 58, 88, 91, 116, 126, 146
context/contextualisation xiii, 58, 58, 156, 158
Cook, George Smith, portrait of woman in
mourning with boy 83
Cooper, Thomas Joshua: Ceremonial Veil 124;
ruined building and tree 122 (123)
Courbet, Gustave 46
Cram, Marc 65
Crofts, Simon, East Lothian Community
Hospital phocomurals (Kowalczyk and
Crofts) 75
cropping 34
cul rural studies 1 5 5
cyanorype photogram 112
D-L
D
Dadaism 47, 154
‘decisive moment’ concept 29
Degas, Edgar, ‘frozen moment’ example 48
digital cameras xiii, xiv, 9, 66; DSLR (digital
single lens reflex) cameras 4, 5, 164
digital images 22
digital photography 164, 165, 166, 167, 167
digital platforms 15 5
digital single lens reflex (DSLR) cameras 4, 5,
164
documentary 89, 90, 91, 91, 92, 93; new
documentary 137, 138, 139, 140,
140, 141, 142, 142-145; objectivity vs
polemics 152; see also photo essays
dodging and burning 34, 35, 164
Dracup, Liza, Sharpe’s Wood 103
drone cameras 32
DSLR (digital single lens reflex) cameras 4, 5, 164
Dubuffer, Jean 44
Duchamp, Marcel, Nude Descending a Staircase
(No. 2,1912) 48
E
Eastman Kodak Company, ‘You press rhe
button, we do rhe rest’ slogan (1880s) xiii
Edwards, Mark, All Our Yesterdays and Todays
68
electronic imaging 164, 168
electronic publishing 66-67
emotions, and photography 116, 120
environmental portraits 86, 88
events 94 (95), 95-96, 96, 97
evidence, photograph as 80
exhibitions ourlers 62, 63, 136; see also galleries;
Internet; museums
exposure: exposure problems 22, 23; Exposure
Triangle 14-15
F
face recognition 167
‘fake news’ 160
Falconer, Maria: aerial dancer
Body Zero 162; dance
dancers in arr galleff 19:. –
7; Empty Fantasies 40; Keep Her Unnoticed
119; Matter ofTime series 38 ; portraits
on crucifixes and seagulls 163; refugees
(photographs on biog) 66; refugees with
child holding placard 74; Rocket to the
Park series 39; woman in pastiche of
fashion photo shoot 157
family snapshots 80, 81, 82, 120, 121;
‘snapshot aesthetic’ 82
feminist photographers 157,158,162,167
(166)
film: cinematography 48, 51; roll film xiii, 100
‘fine’ prints 112-113, 122
‘flattening’ 3-D world 8, 9
focal lengths 5
focal point 11-12, 11, 12, 13
form and content 58, 88, 91, 116, 126, 146
framing 4, 4
freethinking artist 4 7, 4 9
freezing (stilling) of rime 2, 3, 4
French Revolution, and freethinking artist 47
Freud, Sigmund 138
Fulton, Hamish, Cader Idris 153
Futurism 48
G
galleries 62, 63, 136, 152, 155, 163; virtualreality
galleries 67
Gernsheim, Helmut xiv
‘ghosting’ 17
Gillen, Paula, Live Collages 167 (166)
Godwin, Fay: Heptonstall, Yorkshire 104;
Landmarks (retrospective exhibition,
2001) x; Our Forbidden Land (cover
photograph) J 05
Gowin, Emmett, family scene with
watermelons 121
Gowing, Lawrence 47
Greaves, Andy, The Fall of Icarus 119
Griffin, Brian: group of people in Moscow 145;
managing director of book-publishing
firm 76
Grinly, David: Alva 149; image incorporating
rwo perspectives of same location 166
The Guardian, Father Christmas and short-term
employment (Paul Hill) 73
guidebooks (19th century) 100
Guzli, Peter, Tourist Guy 53
H
Hands, Paul, countryside broken gate and
electricity pylon 106
Handsworth Self Portrait (Bish ton, Homer and
Reardon) 84
hanging prints 62, 63
Harper, Mike, railings lagoon of Cumbrian
quarry 106
highlights: blocked-up highlights 26 (27), 27;
blown highlights 22, 23
high-rech movement (architecture) 146
Hill, Paul: Asian man in English foundry at break 90; Belfast resident and British
troops (1969) 96; Berlin Wall with graffiti
169 (168); black figure in snow-covered
landscape 14, 35; blown-over dress stand
on ground 139; bride drinking from bottle
3; car park disabled sign and boarded-up
‘Little Chef ‘ restaurant 147; ceramic-riled
room and shadow 139; child’s stencil of
sword looking like bird of prey 31; couple
under umbrella 3; cow par, bird footprints
and dung flies 58 ; Cumberland wrestling
5; dog and ‘ghosting’ effect 17; Edinburgh
skyline 36; elderly couple sleeping next to
car 121; Empty Fantasies 41 (40); Enoch
Powell and boy’s bubble gum 77; Enoch
Powell and woman supporter 50; Father
Christmas and short-term employment
73; framing photographs 4; gallery and
hanging prints 63; girl and shadow
forming man’s head 143; girl’s legs on
rock above river 118 ; graffiti and giltframed
photograph of child 137; grid of
mobile phone text messages ( Corridor of
Uncertainty) 165; Gypsy woman portrait
86; Harold Wilson smoking his pipe 77;
indecipherable written sign and green
lid 142; Light sequence 37; Malcolm
Muggeridge with giant video screen
behind him 161; man broadcasting from
home during Covid-19 pandemic 161;
man with aristocratic bearing and large
house 159; multimillionaire businessman
76; oil stain on countryside road 111;
old mine buildings and tree branch 12;
overexposed colour digital image 23;
overexposed female face 27; playing field
and factories 6; racing car and panning
51; red arrow ‘inserted’ into shadow of
person 12; refugee in wood 16; refugees
and ginger cat 95; refugees crapped
in Greece 160; sequence (Prenotations
and Corridor of Uncertainty) 126—-133;
shadows 1 0; sheep skeleton and shadow
of entwined couple on tree 117; stones as
improvised arrow on Pennine Way 147;
telephone kiosk among ferns 142; water
and tyre marks in black and white 8;
What Colour Is the Sun’ 61; wooden stakes
impaling anonymous body of person 118
Hilliard, John, Light Source 154
home environment 110, 111
Homer, Brian, Handsworth Self-Portrait
(Bishton, Homer and Reardon) 84
hues see under colours
human condition, reflecting 120, 121
humour 142,142, 167(166)
Hurn, David, swan among rubbish 18
I
Iddon, Henry, Spots of Time 103
ideological manipulation 158, 160; see also
propaganda
illusion 10, JO
image manipulation (with computer software)
23, 36, 52, 54, 164
Impressionism 47, 48
individual visions 35-36; see also personal
expression; search of self and the metaphor
inkjec printers 22, 164
integrity (of photographer) 58, 120, 168
Internet: blogging 66, 67, 67; camera-generated
pictures 167; digital platforms 155; as
exhibition outlet 62, 66-67, 66, 67,
167; images of women as sexual objects
158; newspapers’ websites 73; online
publishing 64; social media 62, 67, 160,
160, 163, 167
ISO (International Organization for
Standardization), and Exposure Triangle
14-15
J
Jackson, Don, coloured tissues outside paper
mill33
journalistic photography see photojournalism
juxtaposition 14, 14, 18
K
Kennard,P eter,T ony Blair/burning oilfield
montage (kennardphillipps) 75
Kodak see Eastman Kodak Company
Kokoschka, Oskar 76
Kowalczyk, Sylwia, Ease Lothian Community
Hospital photomurals (Kowalczyk and
Crofts) 75
L
landscape see beauty and landscape; spirit of
place; topographies
language, photography as 2, 152
Large, Christopher 65
Larkin, Philip 149
legal evidence, photograph as 80
lenses 5; telephoto lenses 5, 6, 156; wide-angle
lenses 5, 5, 51, 54, 72, 140, 141; zoom
lenses 5, 54
light, awareness of 14-15
literature, links with photography 49
Lockett, Nick, Derbyshire farming family
portrait 87
Lomas, Samantha 81
Lucas, Greg: boy at rifle range 11; “meteorite
landings” (Mrs Sharpe’s Cracks) 65
M-R
M
McCullin, Don, woman’s grief (1964 Cyprus
war) 94 (95)
magazines 54, 69, 89, 136, 155, 158; see also
newspapers; photojournalism
Makin, Steve, Mynydd Parys (Gwyn Parry and
Steve Makin) 65
Marey, Etienne-Jules, continuous-action image
48
meaning, in study of photography 15 5-156
media: public mistrust of 158-159; see also
Internet; magazines; mixed media;
newspapers; social media
media studies 160
metaphors: in photography I 5, 16; in
photography and literature 49; and
reflecting che human condition 120, 121;
and self-expression 116, 117-119; and
spirit of place 124; and Surrealism 140
Michals, Duane, The Man Who Invented
Himse/f60
Millet, Jean-Fran<;:ois 46
‘mistake’ (photographic) 10
misc-like effect 19
mixed media 52, 52, 53, 54
mobile phones: phone cameras/smartphones
viii, xiii, xiv, 64, 160, 161, 165, 167;
photograph of text messages 165;
photographs taken with phone cameras
39, 169 (168)
Modernism 47, 146, 162-163
monitor calibration 22
montage 52, 69, 75, 109, 163, 166
Moore, Raymond: clods of ploughed earth
through snow 13; dog framed in roadside
mirror 144; herd of cows 13
moving image 51, 51
Muggeridge, Malcolm, with giant video screen
behind him (Paul Hill) 161
Mulvany, John, self-portrait with ‘blocked-up’
highlights 26 (27)
murals see photomurals
museums 62, 63,136,152,155, 163
Muybridge, Eadweard 48
N
Nadar 47
narrative flow 50, 50
nature 100, 105; see also beauty and landscape
Nazis, use of photography by 158
negative/positive method 44
negatives (chemical processing) 22, 24, 25
Newhall, Beaumont xiv
newspapers 54, 70, 72-74, 89,136,155, 158;
businessmen 76; Christmas 73; politicians
77; refugees 74; scoop (suicide) 72;
violence in Mexico 71; see also magazines;
photojournalism
Newton, Ingrid, postcard (monochrome/colour
montage) 69
O
objectivity, and phorography 4, 89, 96, 107,
110, 120, 152
O’Meara, Adam, alternative photogram 113
(112)
online publishers 64
Ormerod, Michael, two trees and man walking
109
P
painting see arr and photography
Palmer, Roger, A Source of 1hree Industrial
Rivers 59
panning 51
Parry, Gwyn, Mynydd Parys (Gwyn Parry and
Steve Makin) 65
personal expression 48; see also individual
visions; search of self and the metaphor
perspective, theory of 44
Phillipps, Cat, Tony Blair/burning oilfield
montage (kennardphillipps) 75
phone cameras see mobile phones
photo essays 50, 51, 89, 91, 138; see also
documentary
photograms 112, 113 (112)
photographer: integrity of 58, 120, 168; as
‘victim’ 119, 120
photographic ‘mistake’ 10
photography: ambiguity of 2, 30, 30, 31-33,
138, 140, 169 (168); combining real
world and world of imagination 120;
critical evaluation of xiii-xiv; democratic
nature of xiv; democratisation of (late
19th century) xiii; democratisation of
(lace 19th century) and tourism 100;
disintegration of professional model xiv;
diversity of approaches xiii, xv; empirical
medium xiii; histories of photography
xiv; interpreting the world for oneself
xv; as language 2, 152; objectivity
issue 4, 89, 96, 107, 110, 120, 152;
philosophical, ethical and moral questions
xiv-xv, 54; representing the external
world and internal reactions to it xv;
‘truth’ issue 34, 54, 89; verisimilitude vs
transcending information xiv; see also arr
and photography; beauty and landscape;
photography in lace 20ch-2lsc century;
post-visualisation stage; search of self
and the metaphor; seeing and thinking
photographically; uses of photography;
witnessing
photography in lace 20ch-2lst century:
conceptual arr 152, 153, 154, 154;
democratic dissemination and artist/
photographer 155; democratic nature
of medium and ‘elite’ art world 146;
digital photography 164, 165, 166, 167,
167; greater respect for medium 136;
independent publishing and new outlets
(media/ academia) 136; introspective/
subjective/ experimental approaches
136; new documentary and Surrealism
137,138,139,140,140,141,142,
142-145; photography and politics
152,155, 156-157, 158,159,160,
160, 161; photography as arr form 152;
posrmodernism and beyond 162-163,
162, 163; signs, symbols and meaning
155-156, 156; theoretical approaches
152; topographies 146, 147-149
photojournalism 54, 70, 71, 136, 163; citizen
journalism 160, 163; see also magazines;
newspapers
photomurals 75-76, 75
Photo-Realism 47
photo-sculpture 52
Pictorialism 106, 107, 146, 162
picture stories 89
poetry: and photography 65; Romantic poets
103
policies: and photography 152, 155, 156-157,
158, 159, 160, 160, 161; politicians,
photographs of 50, 75, 77
portfolios 63, 125
portraits 83-88, 83, 84, 85, 86, 87;
environmental portraits 86, 88; portraits
without faces 88; self-portraits 116, 120
posters 75-76, 75
Post-Impressionism 48
Posrmodernism 47, 162-163, 162, 163
post-visualisation stage: about pose-visualisation
2, 17; ambiguity 30, 30, 31, 32, 33;
burning 34, 35; chemical processing and
negatives 22, 24, 25; contact sheers 25,
29, 29; cropping 34; digital images 22;
digital manipulation of colour hues 36;
dodging 34, 35; exposure problems 22,
23; highlights, blocked-up 26 (27), 27;
highlights, blown 22, 23; making prints
22, 34; selection 29; sequence and series
37, 38, 38, 39, 40-41, 40, 41; themes
and individual visions 35-36; ‘truth’ and
subjectivity 34
Powell, Enoch: and boy’s bubble gum (Paul
Hill) 77; and woman supporter (Paul Hill)
50
practice 14, 17, 54
Pre-Raphaelite painting 46
pre-visualisation 2, 4; see also seeing and
chinking photographically
primed views {19th century) 100
prints: ‘fine’ prints 112-113, 122; hanging
prints 62, 63; inkjet prints 22, 164;
making prints 22, 34; printing paper 22,
63
propaganda 96, 158; see also ideological
manipulation
psychological approach: psychological
landscape 138; ‘psychological’
photographs 116; sequence as
psychological document 125
publishing: books 64, 65; electronic publishing
66-67; independent publishing 136;
online publishing 64; self-publishing 64,
65, 69
publishing software 64
Q
–
R
RAW files 23
reading photographs 2, 4
Realise painting 46-47
Reardon, John, Handsworth Self Portrait
(Bishton, Homer and Reardon) 84
Reas, Paul, dance class in Wales 85
Robinson, Henry Peach, Fading Away 46
roll film xiii, 100
Romantic poets 103
S-Z
S
Sadler, Richard, view from high-rise building 7
Salmon, Nie, reflections on portrait project
(photographs on biog) 67
Sank, Michelle, young man in bedroom (My
Self project) 86
Scharf, Aaron ix
‘scoop’ pictures 70, 72, 74
search of self and the metaphor: emotions,
inner feelings and metaphors 116, 120;
reflecting the human condition 120, 121;
self-expression 116, 117-119; sequencing
125, 126-133; spirit of place 122, 122
(123), 123-124, 125; see also individual
visions; personal expression
seeing and thinking photographically: awareness
14-15; camera vision 2; Exposure Triangle
14-15; ‘Battening’ 3-D world 8, 9; focal
point 11-12, 11, 12, 13; framing 4, 4;
‘ghosting’ 17; illusion and photographic
‘mistake’ 10, 10; juxtaposition 14, 14, 18;
lenses and angles 5, 5, 6, 7; metaphors
and symbols 15, 16; misc-like effect 19;
practice 14, 17; pre-visualisation 2, 4;
reading photographs 2, 4; stilling/freezing
of time 2, 3, 4; cones and hues 8, 9; see also
pose-visualisation stage
selection 29
self-expression 116, 117-119; see also search of
self and the metaphor
selfies 82
self-portraits 116, 120
self-publishing 64, 65; zines 69
semiology, and photography 155-156
sequence and series 37, 38, 38-40, 40-41, 41,
51, 125, 126–133
shadows 10, 12, 14,117,139,143
Shakeshaft, Marcin: aerial image of agricultural
land 32; aerial image of managed
moorlands 105; triptych ofWelsh mine/
miner 87
‘shoot first and ask questions lacer’ 54
shutter speed: and Exposure Triangle 14-15;
Shutter-Priority 15
signs (signified and signifiers), and photography
155-156, 156, 163
Simmons, Mike, reflection on death of facher
(mixed media) 53
smarcphones see mobile phones
snapshots 80, 81, 82, 120, 121; ‘snapshot
aesthetic’ 82
social media 62, 67, 160, 160, 163, 167
Sorgi, I. Russell, Suicide (1942) 72
Spence, Jo, Me at 8 ½ months and Me at 44
years 9 months 84
spirit of place 110,122,122 (123), 123-124,
125
Steele-Perkins, Chris, National Front marchers/
anti-racists clashes (Lewisham, London,
1977) 97
Scieglicz, Alfred 84
stilling (freezing) of time 2, 3, 4
strobe Bash 51
Surrealism 47; and new documentary 138, 140,
140,141,142, 142-145
symbols 15, 16, 140, 155
T
Talbot, William Henry Fox: 19ch-century
haystack 45 (44); negative/positive
method 44
Taylor, Roger, foreword viii-ix
teaching (of photography) 136, 152, 154, 155
telephoto lenses 5, 6, 156
themes and individual visions 35-36
theoretical approaches (to photography) 152
‘the thing itself’ (celebrating/photographing)
107, 110
tides 59, 59, 60, 61, 61
cones and hues see under colours
topographies 146, 147-149
tourism: and democratisation of photography
100; and idealisation of exotic locations
110
truth: and electronic imaging 168; and the
media 158-159; and photography 34,
54,89
typologies 40
U
UKIP, “Breaking Point” poster 156
university/college courses 136, 152, 154, 155
uses of photography: books (monographs and
V
others) 64, 65 ; captions and cities 59,
59, 60, 61, 61 ; commissions 67, 68,
69; context and interpretations 58, 58;
galleries and other exhibition oudets
62, 63 ; hanging prints 62, 63 ; Internee,
blogging and electronic publishing
66-67, 66, 67; magazines and zines 69;
newspapers 70, 71, 72-74, 72, 73, 74;
portfolios 63; posters and phoromurals
75-76, 75; publishing and reproduction
64, 65; virtual-reality galleries 67
V
‘victim’: photographer as 119, 120; in
photographs of events 97; in portraits 86,
87
Victorian times, and search for romantic beauty
in art 47, 100, 101
virtual-reality galleries 67
visual impact 54, 55
W
Wallace, Rachel, funeral procession in field 82
Ware, Mike, cyanotype phorogram 112
Washburn, Bradford, snow-covered mountain
vista 102
Weston, Edward, Pepper No.30 (1930) 107
wide-angle lenses 5, 5, 51, 54, 72, 140, 141
Williamson, Mick, contact sheets as pages of
diary 29
Wilson, Harold, smoking his pipe (Paul Hill)
77
Winogrand, Garry 59
witnessing: documentary 89, 90, 91, 91, 92,
93; events 94 (95), 95-96, 96, 97; making
a record 80; portraits 83-88, 83, 84,
85, 86, 87; portraits, environmental 86,
88; portraits without faces 88; selfies 82;
snapshots 80, 81, 82, 82
Wolmuth, Philip, fungus and peeling wallpaper
58
women: as sexual objects 157, 158; see also
feminist photographers
Wordsworth, William: ‘I wandered lonely as
a cloud’ 49; and Iddon’s Spots o/Time
project 103
XYZ
Yellowstone national park (USA) 105
Yosemite (USA) 105
zines 69
zoom lenses 5, 54