Photographic equipment & techniques.

Collects photographs from around the world involving the different ways people work.

Almost all museums hold photographs in their collections, and museum professionals and their audiences engage with photographs in a myriad of ways. Yet despite some three decades of critical museology and photographic theory, and an extensive debate on the politics of representation, outside art museums, almost no critical attention has been given specifically to the roles, purposes and lives of these photographs within museums. This book brings into focus the ubiquitous yet entirely unconsidered work that photographs are put to in museums. The authors' argument is that there is an economy of photographs in museums which is integral to the processes of the museum, and integral to the understanding of museums. The international contributors, drawn from curators and academics, reflect a range of visual and museological expertise. After an introduction setting out the range of questions and problems, the first part addresses broad curatorial strategies and ways of thinking about photographs in museums. Shifting the emphasis from curatorial practices and anxieties to the space of the gallery, this is followed by a series of case studies of exhibitionary practices and the museum strategies that support them. The third section focuses on the role of photographs in the museum articulation of ’difficult histories’. A final section addresses photograph collections in a digital environment. New technologies and new media have transformed the management, address and purposing in photographs in museums, from cataloguing practices to streaming on social media. These growing practices challenge both traditional hierarchies of knowledge in museums and the location of authority about photographs. The volume emerges from PhotoCLEC, a HERA funded project on museums and the photographic legacy of the colonial past in a postcolonial and multicultural Europe.

Many of the early twentieth century's finest examples of photography and modernist art reached their widest audience in the fifty issues of Camera Work, edited and published by the legendary photographer Alfred Stieglitz from 1903 to 1917. The lavishly illustrated periodical established photography as a fine art, and brought a new sensibility to the American art world. This volume reproduces chronologically all the photographs and other illustrations (except for advertisements) that ever appeared in the publication. Included here are some of the finest and best-known works by American and European artists and photographers, including numerous photos by Stieglitz himself as well as Edward (as Eduard) Steichen, Paul Strand, Alvin Langdon Coburn, Clarence White, Robert Demachy, Frank Eugene, Julia Margaret Cameron, Gertrude Käsebier, Heinrich Kühn, and many others. Paintings, drawings, and sculpture by Van Gogh, Cézanne, Mary Cassatt, Picasso, Matisse, John Marin, Rodin, Brancusi, and Nadelman—to name just a famous few—appear here as well. Marianne Fulton Margolis provided an extensive historical Introduction about Stieglitz and the magazine and prepared three complete Indexes of the pictures, by title, artist, and sitter. Painstakingly accurate and complete, Camera Work is an indispensable reference for an outstanding period in the history of photography and art.

The first definitive monograph of color photographs by American street photographer Vivian Maier. Photographer Vivian Maier’s allure endures even though many details of her life continue to remain a mystery. Her story—the secretive nanny-photographer who became a pioneer photographer—has only been pieced together from the thousands of images she made and the handful of facts that have surfaced about her life. Vivian Maier: The Color Work is the largest and most highly curated published collection of Maier’s full-color photographs to date. With a foreword by world-renowned photographer Joel Meyerowitz and text by curator Colin Westerbeck, this definitive volume sheds light on the nature of Maier’s color images, examining them within the context of her black-and-white work as well as the images of street photographers with whom she clearly had kinship, like Eugene Atget and Lee Friedlander. With more than 150 color photographs, most of which have never been published in book form, this collection of images deepens our understanding of Maier, as its immediacy demonstrates how keen she was to record and present her interpretation of the world around her.

Learn to ask better, more helpful questions of your work so that you can create stronger and more powerful photographs.

Photographers often look at an image—one they’ve either already created or are in the process of making—and ask themselves a simple question: “Is this a good photograph?” It’s an understandable question, but it’s really not very helpful. How are you supposed to answer that? What does “good” even mean? Is it the same for everyone?

What if you were equipped to ask better, more constructive questions of your work so that you could think more intentionally and creatively, and in doing so, bring more specific action and vision to the act of creating photographs? What if asking stronger questions allowed you to establish a more effective approach to your image-making? In The Heart of the Photograph: 100 Questions for Making Stronger, More Expressive Photographs, photographer and author David duChemin helps you learn to ask better questions of your work in order to craft more successful photographs—photographs that express and connect, photographs that are strong and, above all, photographs that are truly yours.

From the big-picture questions—What do I want this image to accomplish?—to the more detail-oriented questions that help you get there—What is the light doing? Where do the lines lead? What can I do about it?—David walks you through his thought process so that you can establish your own. Along the way, he discusses the building blocks from which compelling photographs are made, such as gesture, balance, scale, contrast, perspective, story, memory, symbolism, and much more. The Heart of the Photograph is not a theoretical book. It is a practical and useful book that equips you to think more intentionally as a photographer and empowers you to ask more helpful questions of you and your work, so that you can produce images that are not only better than “good,” but as powerful and authentic as you hope them to be.

TABLE OF CONTENTS
Better Questions

PART ONE: A GOOD PHOTOGRAPH?
Is It Good?
The Audience's Good
The Photographer's Good

PART TWO: BETTER THAN GOOD
Better Subjects

PART THREE: BETTER EXPRESSION
Exploration and Expression
What Is the Light Doing?
What Does Colour Contribute?
What Role Do the Lines and Shapes Play?
What's Your Point of View?
What Is the Quality of the Moment?
Where Is the Story?
Where Is the Contrast?
What About Balance and Tension?
What Is the Energy?
How Can I Use Space and Scale?
Can I Go Deeper?
What About the Frame?
Do the Elements Repeat?
Harmony
Can I Exclude More?
Where Does the Eye Go?
How Does It Feel?
Where's the Mystery?
Remember When?
Can I Use Symbols?
Am I Being Too Literal?

PART FOUR: BETTER PHOTOGRAPHS
The Heart of the Photograph
Index