This book shows a series of portraits found in the trash bin of the "Gulu Real Art Studio," the oldest photographic studio in Gulu, Northern Uganda. The studio only has a machine that makes four ID images at a time, a number that most clients cannot afford, so the photographer takes single analog pictures, punches out the head with a special device, and discards the rest. In these faceless prints, one's focus shifts to the subject's individual posture and clothing, forming a typological portrayal of a community. Martina Bacigalupo also interviewed clients of Gulu, and their stories, many deeply moving, describe the political, economic, and social conditions common to contemporary East Africa.

In Listening to Images Tina M. Campt explores a way of listening closely to photography, engaging with lost archives of historically dismissed photographs of black subjects taken throughout the black diaspora. Engaging with photographs through sound, Campt looks beyond what one usually sees and attunes her senses to the other affective frequencies through which these photographs register. She hears in these photos—which range from late nineteenth-century ethnographic photographs of rural African women and photographs taken in an early twentieth-century Cape Town prison to postwar passport photographs in Birmingham, England and 1960s mug shots of the Freedom Riders—a quiet intensity and quotidian practices of refusal. Originally intended to dehumanize, police, and restrict their subjects, these photographs convey the softly buzzing tension of colonialism, the low hum of resistance and subversion, and the anticipation and performance of a future that has yet to happen. Engaging with discourses of fugitivity, black futurity, and black feminist theory, Campt takes these tools of colonialism and repurposes them, hearing and sharing their moments of refusal, rupture, and imagination.

Focusing on the presence of the photographer’s gaze as an integral part of constructing meaningful images, Roswell Angier combines theory and practice, to provide you with the technical advice and inspiration you need to develop your skills in portrait photography.Fully updated to take into account advances in creative work and photographic technology, this second edition also includes stunning new visuals and a discussion on the role of social media in the practice of portraiture.Each chapter includes a practical assignment, designed to help you explore various kinds of portrait photography and produce a range of different styles for your creative portfolio.

This innovative text recounts the history of photography through a series of thematically structured chapters. Designed and written for students studying photography and its history, each chapter approaches its subject by introducing a range of international, contemporary photographers and then contextualizing their work in historical terms. The book offers students an accessible route to gain an understanding of the key genres, theories and debates that are fundamental to the study of this rich and complex medium. Individual chapters cover major topics, including: · Description and Abstraction · Truth and Fiction · The Body · Landscape · War · Politics of Representation · Form · Appropriation · Museums · The Archive · The Cinematic · Fashion Photography Boxed focus studies throughout the text offer short interviews, curatorial statements and reflections by photographers, critics and leading scholars that link photography's history with its practice. Short chapter summaries, research questions and further reading lists help to reinforce learning and promote discussion. Whether coming to the subject from an applied photography or art history background, students will benefit from this book's engaging, example-led approach to the subject, gaining a sophisticated understanding of international photography in historical terms.

Campt explores the affective resonances of two archives of Black European photographs for those pictured, their families, and the community. Image Matters looks at photograph collections of four Black German families taken between 1900 and the end of World War II and a set of portraits of Afro-Caribbean migrants to Britain taken at a photographic studio in Birmingham between 1948 and 1960.

Here Eduardo Cadava demonstrates that Walter Benjamin articulates his conception of history through the language of photography. Focusing on Benjamin's discussions of the flashes and images of history, he argues that the questions raised by this link between photography and history touch on issues that belong to the entire trajectory of his writings: the historical and political consequences of technology, the relation between reproduction and mimesis, images and history, remembering and forgetting, allegory and mourning, and visual and linguistic representation. The book establishes the photographic constellation of motifs and themes around which Benjamin organizes his texts and thereby becomes a lens through which we can begin to view his analysis of the convergence between the new technological media and a revolutionary concept of historical action and understanding. Written in the form of theses--what Cadava calls "snapshots in prose"--the book memorializes Benjamin's own thetic method of writing. It enacts a mode of conceiving history that is neither linear nor successive, but rather discontinuous--constructed from what Benjamin calls "dialectical images." In this way, it not only suggests the essential rapport between the fragmentary form of Benjamin's writing and his effort to write a history of modernity but it also skillfully clarifies the relation between Benjamin and his contemporaries, the relation between fascism and aesthetic ideology. It gives us the most complete picture to date of Benjamin's reflections on history.

"I had the good fortune to grow up in a wonderful area of Jerusalem, surrounded by a diverse range of people: Rabbi Meizel, the communist Sala Marcel, my widowed Aunt Hannah, and the intellectual Yaacovson. As far as I'm concerned, the opinion of such people is just as authoritative for making social and economic decisions as the opinion of an expert using a model." Part memoir, part crash-course in economic theory, this deeply engaging book by one of the world's foremost economists looks at economic ideas through a personal lens. Together with an introduction to some of the central concepts in modern economic thought, Ariel Rubinstein offers some powerful and entertaining reflections on his childhood, family and career. In doing so, he challenges many of the central tenets of game theory, and sheds light on the role economics can play in society at large. Economic Fables is as thought-provoking for seasoned economists as it is enlightening for newcomers to the field.