SEIZING THE LIGHT A SOCIAL HISTORY OF PHOTOGRAPHY 2ND EDITION PDF, EPUB, EBOOK

Robert Hirsch | --- | --- | --- | 9780073379210 | --- | --- Seizing the light : a social history of photography in SearchWorks catalog

And while the artists shown and interviewed by Robert Hirsch in this fascinating book certainly vary widely in technique and their use of photography within their work, it is in their way of thinking and approaching the use of the image that is most revealing, challenging, and, I think, inspiring. The images, essays, and interviews in this book offer a survey of the developments in application and vision of many such artists over the last 50 years. A must for students and libraries, a great read with excellent image reproduction for anyone into the art and craft of photography. His book The Color of Loss: An Intimate Portrait of New Orleans after Katrina presents a hyper-realistic account of the devastation suffered by the city and its residents from within the damaged interiors. Such work that brings a pictorialist-style physicality to the digital image corresponds with his philosophical artistic approach. My job is to respond to visual intrigue and beauty, and then to create a photograph that conveys to the viewer my feelings for the subject. With the exception of the New Orleans work, where I wanted to show how nature and government had conspired against the citizens of New Orleans, visual intrigue and beauty are the two things that most interest me. Years ago, when I was a draft resister during the Vietnam War, I wished I could bring more socio-political concepts into my work. I realize now that, no matter what politics I feel outside of photography, the images I create will almost always be politics-free. Why do you interact with what the camera records? The old notions of photographic reality are not complete enough for me. Like many others, I use the captured image as a launch pad for the creative post-processing steps that lead up to the finished image. What do you think about postvisualization? I would put cellophane or a black stocking stretched on a cardboard frame and use it under the enlarging lens to diffuse the light and make the shadows spread and make the print highlights glow. These and a plethora of other darkroom techniques were all post-processing, so to suggest that post- processing is not photographic is complete horse manure. What qualities make your work stand out? No matter what the printing process, I return to my landscape roots. Even the iPhone work, though infused with a texture and palette all its own, carries on the landscape theme that has weaved in and out of my portfolio for decades. Yesterday I flipped down my high magnification magnifiers and using a tiny brush with eight hairs, painted in the gold in just the right place to create a split tone effect. In terms of materials and control of the medium, it puts me in a private castle. What has most influenced your work? My prison experience in the early s—refusing induction, turning in my draft cards—that gave me a moral anchor. This article is reserved for subscribed members only. If you are already a member, you can log in here below. Email Password Remember Me Lost your password? Share Tweet Share Pin it. Subscribe now. Today's headlines. Latest articles of the category "Publications". Keep an eye out for the latest photography news! Join our Newsletter Every morning, receive the latest world photography news and events. Something went wrong. Please try your request again later. Are you an author? Help us improve our Author Pages by updating your bibliography and submitting a new or current image and biography. Learn more at Author Central. Previous page. Kindle Edition. Light and Lens: Photography in the Digital Age. Next page. Unlimited One-Day Delivery and more. There's a problem loading this menu at the moment. Learn more about Amazon Prime. Books By Robert Hirsch. Other Formats: Hardcover , Paperback. The text continues to deliver inspiring leadership in the field of color photography with the latest accurate information, ideas, commentary, history, a diverse collection of contemporary images, and expanded cellphone photography coverage. More Information. Anything else? Editions of Seizing the Light: A History of Photography by Robert Hirsch

The new edition of this pioneering book allows students to acquire an essential foundation for digital photography. Fully updated, it clearly and concisely covers the fundamental concepts of imagemaking, how to use digital technology to create compelling images, and how to output and preserve images in the digital world. Exploring history, methods, and theory, this text offers classroom-tested assignments and exercises from leading photographic educators, approaches for analyzing, discussing, and writing about photographs, and tools to critically explore and make images with increased visual literacy. The long-awaited new edition of this seminal text features clear, reliable, step-by-step instructions on innovative alternative and traditional photographic processes. Over and above a full update and revision of the technical data, there are new sections on digital negative making, electrophotography, and self-publishing. The book showcases work and commentary from more than international artists. Covering the major events, practitioners, works, and social effects of photographic practice, Robert Hirsch provides a concise and discerning chronological account of Western photography. This fundamental starting place shows the diversity of makers, inventors, issues, and applications, exploring the artistic, critical, and social aspects of the creative process. The third edition includes up-to-date information about contemporary photographers like Cindy Sherman and Yang Yongliang, and comprehensive coverage of the digital revolution, including the rise of mobile photography, the citizen as journalist, and the role of social media. Highly illustrated with full-color images and contributions from hundreds of artists around the world, Seizing the Light serves as a gateway to the history of photography. Written in an accessible style, it is perfect for students newly engaging with the practice of photography and for experienced photographers wanting to contextualize their own work. Now in its sixth edition, this pioneering text clearly and concisely instructs students and intermediate photographers in the fundamental aesthetic and technical building blocks needed to create thought-provoking digital and analog color photographs. Taking both a conceptual and pragmatic approach, the book avoids getting bogged down in complex, ever-changing technological matters, allowing it to stay fresh and engaging. Known as the Bible of Color Photography, its stimulating assignments encourage students to be adventurous and to take responsibility for learning and working independently. The emphasis on design and postmodern theoretical concepts stresses the thought process behind the creation of intriguing images. Many favor the historical techniques commonly known as alternative photographic processes, but all these makers demonstrate that the real alternative is found in their mental approach and not in their use of physical methods. Within this context, photographer and photography historian Robert Hirsch outlines the varied approaches these artists have utilized to question conventional photographic practices, to convey internal realities, and to examine what constitutes photographic reality. Hirsch explores the half-century evolution of these concepts and methodologies and their popularity among contemporary imagemakers who are merging digital and analog processes to express what was thought to be photographically inexpressible. Read an interview with the author at Photo. Select Your Cookie Preferences We use cookies and similar tools to enhance your shopping experience, to provide our services, understand how customers use our services so we can make improvements, and display ads. Sorry, there was a problem saving your cookie preferences. Try again. Accept Cookies Customise Cookies. Robert Hirsch. Something went wrong. Please try your request again later. Tight binding. Crisp, clean pages. Pasadena's finest new and used bookstore since Seller Inventory mon Ships with Tracking Number! May be re-issue. May not contain Access Codes or Supplements. May be ex-library. Buy with confidence, excellent customer service!. Seller Inventory q. Published by McGraw-Hill About this Item: McGraw-Hill, Book shows cornerwear and rubbing to covers, but it is otherwise in very good condition. A nice copy. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged. Seller Inventory CIN Soft cover. Condition: Near Fine. Pictorial sepia illustrated covers with light edge wear, col. Seizing the Light : A History of Photography is a much needed and refreshing addition to the literature of photographic history. It provides an exceptional twentieth-century assessment in addition to a well-grounded nineteenth-century overview. Its contextual approach allows for a greater understanding of the conditions under which photographers were motivated to produce the work they did. Size: Quarto. Satisfaction Guaranteed! Book is in Used-Good condition. Pages and cover are clean and intact. Used items may not include supplementary materials such as CDs or access codes. May show signs of minor shelf wear and contain limited notes and highlighting. Overall in great condition. Ships Fast! Satisfaction Guaranteed!. Pages are intact and are not marred by notes or highlighting, but may contain a neat previous owner name. Supplemental materials are not guaranteed with any used book purchases. Seller Inventory Julnd Condition: Acceptable. From: Poverty Hill Books Mt. Prospect, IL, U. Book is in NEW condition. Published by McGraw-Hill, Boston First Edition; First Printing. Very Good in wrappers. All domestic orders shipped protected in a Box. Published by McGraw-Hill Education Great condition for a used book! Minimal wear. Shows some signs of wear, and may have some markings on the inside. Very good paperback copy NOT ex-library. Spine is uncreased, binding tight and sturdy; text also very good. Exterior looks great, shelfwear is very minor. An excellent copy. Ships same or next business day from Dinkytown in Minneapolis, Minnesota. Item added to your basket View basket. Proceed to Basket. Seizing the Light: A Social & Aesthetic History of Photography - The Eye of Photography Magazine

In , the chemist Carl Wilhelm Scheele was studying the more intrinsically light-sensitive silver chloride and determined that light darkened it by disintegrating it into microscopic dark particles of metallic silver. Of greater potential usefulness, Scheele found that ammonia dissolved the silver chloride, but not the dark particles. This discovery could have been used to stabilize or "fix" a camera image captured with silver chloride, but was not picked up by the earliest photography experimenters. Scheele also noted that red light did not have much effect on silver chloride, a phenomenon that would later be applied in photographic darkrooms as a method of seeing black-and-white prints without harming their development. Although Thomas Wedgwood felt inspired by Scheele's writings in general, he must have missed or forgotten these experiments; he found no method to fix the photogram and shadow images he managed to capture around see below. English photographer and inventor Thomas Wedgwood is believed to have been the first person to have thought of creating permanent pictures by capturing camera images on material coated with a light-sensitive chemical. He originally wanted to capture the images of a camera obscura, but found they were too faint to have an effect upon the silver nitrate solution that was recommended to him as a light-sensitive substance. Wedgwood did manage to copy painted glass plates and captured shadows on white leather, as well as on paper moistened with a silver nitrate solution. Attempts to preserve the results with their "distinct tints of brown or black, sensibly differing in intensity" failed. It is unclear when Wedgwood's experiments took place. He may have started before ; James Watt wrote a letter to Thomas Wedgwood's father Josiah Wedgwood to thank him "for your instructions as to the Silver Pictures, about which, when at home, I will make some experiments". This letter now lost is believed to have been written in , or Davy added that the method could be used for objects that are partly opaque and partly transparent to create accurate representations of, for instance, "the woody fibres of leaves and the wings of insects". He also found that solar microscope images of small objects were easily captured on prepared paper. Davy, apparently unaware or forgetful of Scheele's discovery, concluded that substances should be found to eliminate or deactivate the unexposed particles in silver nitrate or silver chloride "to render the process as useful as it is elegant". He died at age 34 in Davy seems not to have continued the experiments. Although the journal of the nascent Royal Institution probably reached its very small group of members, the article must have been read eventually by many more people. It was reviewed by David Brewster in the Edinburgh Magazine in December , appeared in chemistry textbooks as early as , was translated into French and was published in German in Readers of the article may have been discouraged to find a fixer, because the highly acclaimed scientist Davy had already tried and failed. French balloonist, professor and inventor Jacques Charles is believed to have captured fleeting negative photograms of silhouettes on light-sensitive paper at the start of the 19th century, prior to Wedgwood. Charles died in without having documented the process, but purportedly demonstrated it in his lectures at the Louvre. He later wrote that the first idea of fixing the images of the camera obscura or the solar microscope with chemical substances belonged to Charles. Later historians probably only built on Arago's information, and, much later, the unsupported year was attached to it. Disenchanted with silver salts , he turned his attention to light-sensitive organic substances. Exposure times in the camera, although substantially reduced, were still measured in hours. As with the bitumen process, the result appeared as a positive when it was suitably lit and viewed. Exposure times were still impractically long until Daguerre made the pivotal discovery that an invisibly slight or "latent" image produced on such a plate by a much shorter exposure could be "developed" to full visibility by mercury fumes. This brought the required exposure time down to a few minutes under optimum conditions. A strong hot solution of common salt served to stabilize or fix the image by removing the remaining silver iodide. On 7 January , this first complete practical photographic process was announced at a meeting of the French Academy of Sciences, [28] and the news quickly spread. Looking for another method to copy graphic designs he captured their images on paper treated with silver nitrate as contact prints or in a camera obscura device. He did not manage to properly fix his images and abandoned the project after hearing of the Daguerreotype process in [33] and didn't properly publish any of his findings. He reportedly referred to the technique as "photographie" in French as early as , also helped by a suggestion of De Mello. Henry Fox Talbot had already succeeded in creating stabilized photographic negatives on paper in , but worked on perfecting his own process after reading early reports of Daguerre's invention. In early , he acquired a key improvement, an effective fixer, from his friend John Herschel , a polymath scientist who had previously shown that hyposulfite of soda commonly called "hypo" and now known formally as sodium thiosulfate would dissolve silver salts. Talbot's early silver chloride "sensitive paper" experiments required camera exposures of an hour or more. In , Talbot invented the calotype process, which, like Daguerre's process, used the principle of chemical development of a faint or invisible "latent" image to reduce the exposure time to a few minutes. Paper with a coating of silver iodide was exposed in the camera and developed into a translucent negative image. Unlike a daguerreotype, which could only be copied by rephotographing it with a camera, a calotype negative could be used to make a large number of positive prints by simple contact printing. The calotype had yet another distinction compared to other early photographic processes, in that the finished product lacked fine clarity due to its translucent paper negative. This was seen as a positive attribute for portraits because it softened the appearance of the human face [ citation needed ]. Talbot patented this process, [37] which greatly limited its adoption, and spent many years pressing lawsuits against alleged infringers. He attempted to enforce a very broad interpretation of his patent, earning himself the ill will of photographers who were using the related glass-based processes later introduced by other inventors, but he was eventually defeated. Nonetheless, Talbot's developed-out silver halide negative process is the basic technology used by chemical film cameras today. Hippolyte Bayard had also developed a method of photography but delayed announcing it, and so was not recognized as its inventor. In , John Herschel made the first glass negative, but his process was difficult to reproduce. Victor , published his invention of a process for making glass plates with an albumen emulsion; the Langenheim brothers of Philadelphia and John Whipple and William Breed Jones of Boston also invented workable negative-on- glass processes in the mids. In , English sculptor Frederick Scott Archer invented the collodion process. Herbert Bowyer Berkeley experimented with his own version of collodion emulsions after Samman introduced the idea of adding dithionite to the pyrogallol developer. In , he published his discovery. Berkeley's formula contained pyrogallol, sulfite, and citric acid. Ammonia was added just before use to make the formula alkaline. Nineteenth- century experimentation with photographic processes frequently became proprietary. The German-born, New Orleans photographer Theodore Lilienthal successfully sought legal redress in an infringement case involving his "Lambert Process" in the Eastern District of Louisiana. Roger Fenton 's assistant seated on Fenton's photographic van, Crimea, Black , the first recorded aerial photograph, The daguerreotype proved popular in response to the demand for portraiture that emerged from the middle classes during the Industrial Revolution. Roger Fenton and Philip Henry Delamotte helped popularize the new way of recording events, the first by his Crimean War pictures, the second by his record of the disassembly and reconstruction of The Crystal Palace in London. Other mid-nineteenth-century photographers established the medium as a more precise means than engraving or lithography of making a record of landscapes and architecture: for example, Robert Macpherson 's broad range of photographs of Rome, the interior of the Vatican, and the surrounding countryside became a sophisticated tourist's visual record of his own travels. Photographers encouraged chemists to refine the process of making many copies cheaply, which eventually led them back to Talbot's process. Ultimately, the photographic process came about from a series of refinements and improvements in the first 20 years. In George Eastman , of Rochester, New York , developed dry gel on paper, or film , to replace the photographic plate so that a photographer no longer needed to carry boxes of plates and toxic chemicals around. In July Eastman's Kodak camera went on the market with the slogan "You press the button, we do the rest". A midth century "Brady stand" armrest table, used to help subjects keep still during long exposures. It was named for famous US photographer Mathew Brady. An Punch cartoon satirized problems with posing for Daguerreotypes: slight movement during exposure resulted in blurred features, red-blindness made rosy complexions look dark. In this multiple-exposure trick photo, the photographer appears to be photographing himself. It satirizes studio equipment and procedures that were nearly obsolete by then. Note the clamp to hold the sitter's head still. A comparison of common print sizes used in photographic studios during the 19th century. Sizes are in inches. Charles Wheatstone developed his mirror stereoscope around , but did not really publicize his invention until June He recognized the possibility of a combination with photography soon after Daguerre and Talbot announced their inventions and got Henry Fox Talbot to produce some calotype pairs for the stereoscope. He received the first results in October , but was not fully satisfied as the angle between the shots was very big. Between and Henry Collen made calotypes of statues, buildings and portraits, including a portrait of Charles Babbage shot in August Wheatstone also obtained daguerreotype stereograms from Mr. Beard in and from Hippolyte Fizeau and Antoine Claudet in None of these have yet been located. David Brewster developed a stereoscope with lenses and a binocular camera in Light and Lens: Photography in the Digital Age. Next page. Unlimited One-Day Delivery and more. There's a problem loading this menu at the moment. Learn more about Amazon Prime. Books By Robert Hirsch. Other Formats: Hardcover , Paperback. The text continues to deliver inspiring leadership in the field of color photography with the latest accurate information, ideas, commentary, history, a diverse collection of contemporary images, and expanded cellphone photography coverage. More Information. Anything else? Provide feedback about this page. Back to top. Get to Know Us. Amazon Music Stream millions of songs. Audible Download Audiobooks. DPReview Digital Photography. Shopbop Designer Fashion Brands. The spine may show signs of wear. Pages include considerable notes in pen or highlighter, but the text is not obscured. Choose between standard or expedited shipping to make sure that your textbooks arrive in time for class. When your books are due, just pack them up and ship them back. And don't worry about shipping - it's absolutely free! List Price. Ask the provider about this item. Most renters respond to questions in 48 hours or less.

History of photography - Wikipedia

The third edition includes up-to-date information about contemporary photographers like Cindy Sherman and Yang Yongliang, and comprehensive coverage of the digital revolution, including the rise of mobile photography, the citizen as journalist, and the role of social media. Illustrated with full- color images, written in an accessible style, this book is perfect for students newly engaging with the practice of photography and for experienced photographers wanting to contextualize their own work. Create an account or log in to read more and see all pictures. Subscribe for full access to The Eye of Photography archives! Explore how photography, as an art and as a social phenomenon, continue to define our experience of the world. Two offers are available. Remember Me. Subscribe now for full access to The Eye of Photography! Every morning, receive the latest world photography news and events. Even though posing equipment was still required, shorter exposure times allowed more naturalistic styles to evolve, and people appeared less rigid and stern. The backgrounds could be neutral, or they could be elaborate painted settings. Most scene included props, such as fancy upholstered chairs, balustrades, columns, drapery, and furniture. People often wore clothes or held objects that revealed their status or their aspirations. Cartes were personal, hand-held portraits made to be preserved in albums and stir memories. The completed negative was often varnished to prevent the thin collodion film from being scratched. Prints were made on albumenized stock that was commercially available in several surface finishes. The paper too had to be sensitized before printing by floating it, albumen side sown, in a bath of silver nitrate. The paper was sometimes fumed with ammonia after being sensitized, in order to increase its speed. Covering the major events, practitioners, works, and social effects of photographic practice, Robert Hirsch provides a concise and discerning chronological account of Western photography. This fundamental starting place shows the diversity of makers, inventors, issues, and applications, exploring the artistic, critical, and social aspects of the creative process. The third edition includes up-to-date information about contemporary photographers like Cindy Sherman and Yang Yongliang, and comprehensive coverage of the digital revolution, including the rise of mobile photography, the citizen as journalist, and the role of social media. Highly illustrated with full-color images and contributions from hundreds of artists around the world, Seizing the Light serves as a gateway to the history of photography. Written in an accessible style, it is perfect for students newly engaging with the practice of photography and for experienced photographers wanting to contextualize their own work. Seeing America by Melissa A. McEuen Seeing America explores the camera work of five women who directed their visions toward influencing social policy and cultural theory. Taken together, they visually articulated the essential ideas occupying the American consciousness in the years between the world wars. Melissa McEuen examines the work of Doris Ulmann, who made portraits of celebrated artists in urban areas and lesser-known craftspeople in rural places; Dorothea Lange, who magnified human dignity in the midst of poverty and unemployment; Marion Post Wolcott, a steadfast believer in collective strength as the antidote to social ills and the best defense against future challenges; Margaret Bourke-White, who applied avant-garde advertising techniques in her exploration of the human condition; and Berenice Abbott, a devoted observer of the continuous motion and chaotic energy that characterized the modern cityscape. Combining feminist biography with analysis of visual texts, McEuen considers the various prisms though which each woman saw and revealed America. Their documentary photographs were the result of personal visions that had been formed by experiences and emotions as well as by careful calculations and technological processes. These photographers captured the astounding variety of occupations, values, and leisure activities that shaped the nation, and their photographs illuminate the intricate workings of American culture in the s and s. Peres Editor Over color images, plus never before published images provided by the George Eastman House collection, as well as images from Ansel Adams, Howard Schatz, and Jerry Uelsmann to name just a few The role and value of the picture cannot be matched for accuracy or impact. This comprehensive treatise, featuring the history and historical processes of photography, contemporary applications, and the new and evolving digital technologies, will provide the most accurate technical synopsis of the current, as well as early worlds of photography ever compiled. This Encyclopedia, produced by a team of world renown practicing experts, shares in highly detailed descriptions, the core concepts and facts relative to anything photographic. https://uploads.strikinglycdn.com/files/79cb49e0-577a-4fbe-80b2-0b84ff3c1b94/der-kampf-mit-den-seeraubern-476.pdf https://files8.webydo.com/9586288/UploadedFiles/77387F5D-E97D-314D-5A40-7B56E7397768.pdf https://files8.webydo.com/9592264/UploadedFiles/88B397DE-22CE-A6A2-44D8-76866CF3EBA1.pdf https://files8.webydo.com/9590864/UploadedFiles/CA26C95C-8CEE-A6CF-EA92-998B95ECB0F3.pdf https://uploads.strikinglycdn.com/files/02292772-43d0-4862-a474-5efa13125a5c/blitzkrieg-legende-der-westfeldzug-1940-605.pdf https://files8.webydo.com/9589173/UploadedFiles/AA1BAC05-8654-3D02-2339-AD9301FF0809.pdf https://files8.webydo.com/9592277/UploadedFiles/B01164D1-FBFE-EE07-CA53-B79286A21028.pdf