Introduction |
995.01 | Introduction to photographic trends |
Geographical spread of photography |
995.02 | The global spread of photography |
Geographical spread of photography |
995.03 | Cartes de visite: Backs: Geographical spread |
The end of commercial analog photography |
995.04 | The end of commercial analog photography |
995.05 | Robert Burley: The Disappearance of Darkness - Photography at the End of the Analogue Era |
995.06 | John Cyr: Developer Trays |
The rise of digital photography |
995.07 | The rise of digital photography |
The rise of photography departments within museums and art galleries |
995.08 | A history of photographic galleries |
Museums |
995.09 | Museums and photography |
995.10 | Museums and the amateur |
Challenges to professional photography |
995.11 | Reasons Why Professional Photographers Cannot Work for Free |
Stock photography |
995.12 | Challenges to stock photography |
Facial recognition |
995.13 | Facial recognition and historical photographs |
The New Pictorialism |
995.14 | Examples of the New Pictorialism |
The fragmentation of genre |
995.15 | The fragmentation of genre |
995.16 | Photographic genres and intention |
Aesthetics and photography |
995.17 | The aesthetics of conflict |
Disjunctions |
995.18 | Temporal disjunctions |
995.19 | Technical disjunctions |
995.20 | Periods, styles, movements and disjunctions |
Gradations of content |
995.21 | Observation, intervention and creation |
Non-canonical photography |
995.22 | Non-canonical photography |
Series |
995.23 | The tyranny of series, typologies and editions |
The ubiquitous camera |
995.24 | Ubiquitous Photography |
995.25 | The contemporary street and surveillance |
995.26 | Trevor Paglen: Aerial photographs of US government agencies (2014) |
995.27 | Drone-borne photography |
995.28 | Introduction to EXIF and C2PA |
The quest for novelty |
995.29 | The continual quest for novelty |
995.30 | Intentions and motivations |