Introduction | |
1 | Introduction to photographic trends |
Geographical spread of photography | |
2 | The global spread of photography |
Geographical spread of photography | |
3 | Cartes de visite: Backs: Geographical spread |
The end of commercial analog photography | |
4 | The end of commercial analog photography |
5 | Robert Burley: The Disappearance of Darkness - Photography at the End of the Analogue Era |
6 | John Cyr: Developer Trays |
The rise of digital photography | |
7 | The rise of digital photography |
The rise of photography departments within museums and art galleries | |
8 | A history of photographic galleries |
Museums | |
9 | Museums and photography |
10 | Museums and the amateur |
Challenges to professional photography | |
11 | Reasons Why Professional Photographers Cannot Work for Free |
Stock photography | |
12 | Challenges to stock photography |
Facial recognition | |
13 | Facial recognition and historical photographs |
The New Pictorialism | |
14 | Examples of the New Pictorialism |
The fragmentation of genre | |
15 | Genre studies: Introduction |
16 | The fragmentation of genre |
17 | Photographic genres and intention |
Aesthetics and photography | |
18 | The aesthetics of conflict |
Disjunctions | |
19 | Temporal disjunctions |
20 | Technical disjunctions |
21 | Periods, styles, movements and disjunctions |
Gradations of content | |
22 | Observation, intervention and creation |
Non-canonical photography | |
23 | Non-canonical photography |
Series | |
24 | The tyranny of series, typologies and editions |
The ubiquitous camera | |
25 | Ubiquitous Photography |
26 | The contemporary street and surveillance |
27 | Trevor Paglen: Aerial photographs of US government agencies (2014) |
28 | Drone-borne photography |
29 | Introduction to EXIF and C2PA |
The quest for novelty | |
30 | The continual quest for novelty |
31 | Intentions and motivations |
Introduction | |
1 | Introduction to photographic trends |
Geographical spread of photography | |
2 | The global spread of photography |
Geographical spread of photography | |
3 | Cartes de visite: Backs: Geographical spread |
The end of commercial analog photography | |
4 | The end of commercial analog photography |
5 | Robert Burley: The Disappearance of Darkness - Photography at the End of the Analogue Era |
6 | John Cyr: Developer Trays |
The rise of digital photography | |
7 | The rise of digital photography |
The rise of photography departments within museums and art galleries | |
8 | A history of photographic galleries |
Museums | |
9 | Museums and photography |
10 | Museums and the amateur |
Challenges to professional photography | |
11 | Reasons Why Professional Photographers Cannot Work for Free |
Stock photography | |
12 | Challenges to stock photography |
Facial recognition | |
13 | Facial recognition and historical photographs |
The New Pictorialism | |
14 | Examples of the New Pictorialism |
The fragmentation of genre | |
15 | Genre studies: Introduction |
16 | The fragmentation of genre |
17 | Photographic genres and intention |
Aesthetics and photography | |
18 | The aesthetics of conflict |
Disjunctions | |
19 | Temporal disjunctions |
20 | Technical disjunctions |
21 | Periods, styles, movements and disjunctions |
Gradations of content | |
22 | Observation, intervention and creation |
Non-canonical photography | |
23 | Non-canonical photography |
Series | |
24 | The tyranny of series, typologies and editions |
The ubiquitous camera | |
25 | Ubiquitous Photography |
26 | The contemporary street and surveillance |
27 | Trevor Paglen: Aerial photographs of US government agencies (2014) |
28 | Drone-borne photography |
29 | Introduction to EXIF and C2PA |
The quest for novelty | |
30 | The continual quest for novelty |
31 | Intentions and motivations |