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THE HANDBOOK OF PHOTOGRAPHY STUDIES
 THE HANDBOOK OF
PHOTOGRAPHY STUDIES

Edited by Gil Pasternak

 First published 2020 by Bloomsbury Academic

Published 2020 by Routledge

2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
605 Third Avenue, New York, NY 10017

Routledge is an imprint of the Taylor & Francis Group, an informa

business

Copyright of the introduction and editorial content © Gil Pasternak,

individual chapters © the contributors, 2020

Gil Pasternak has asserted his right under the Copyright, Designs
and Patents Act, 1988, to be identified as Editor of this work.

For legal purposes the Acknowledgements on p. xx-xxii constitute an

extension of this copyright page.

Cover design: Eleanor Rose

Cover photograph: A Palestinian man hits a poster of US President
Donald Trump
to condemn Trump's policies at a protest over Israel's violations
against Palestinians, Hebron, West Bank, February 24, 2017 © Issam
Rimawi/Anadolu Agency/Getty Images

All rights reserved. No part of this book may be reprinted or

reproduced or utilised in any form or by any electronic, mechanical,
or other means, now known or hereafter invented, including
photocopying and recording, or in any information storage or
retrieval system, without permission in writing from the publishers.

Notice:
Product or corporate names may be trademarks or registered
 trademarks, and are used only for identification and explanation
without intent to infringe.

A catalogue record for this book is available from the British Library.

A catalogue record for this book is available from the Library of

Congress.

Typeset by Integra Software Services Pvt. Ltd.

ISBN 13: 978-1-4742-4220-2 (hbk)

To my past, present, and future students
 CONTENTS
LIST OF FIGURES
CONTRIBUTORS
PREFACE
Introduction: Photography Studies' Prehistory, Formation, and Evolution
Gil Pasternak

PART I HISTORIES AND APPROACHES

Studying Photography in Shifting Academic Landscapes

Gil Pasternak

1 A Canonical History of Photography

Marta Braun

2 The Social History of Photography

Douglas Nickel

3 The Eye-Witness of Humanity: Changing Approaches to Photography's

Relationship to Society and Culture
Melissa Miles

4 Photographic Itineraries in Time and Space: Photographs as Material

Objects
Costanza Caraffa

5 Forces and Forms: Theories and Methods in the History of Photography

Jae Emerling

PART II INTER/DISCIPLINARY CONCERNS

Disciplining Photography and Reframing Disciplinary Interests

Gil Pasternak
 6 Photography in the Social and Behavioral Sciences: Intersections,
Research Modes, and Prospects
Luc Pauwels

7 After Photography as Contemporary Art

Ben Burbridge

8 Photography after Philosophy

Daniel Rubinstein

9 Photography and the Business of Doing History

Elizabeth Edwards

10 Archaeology and Photography

Christina Riggs

PART III ISSUES AND DEBATES

Enduring Concerns in Photography Studies

Gil Pasternak

11 Politics and Photography: Being Together, with Photographs

Gil Pasternak

12 Photography and the Making of Modern Science

Jennifer Tucker

13 Photography as a Cultural Industry: A Historical-Theoretical Overview

Paul Frosh

14 Site of Ongoing Struggle: Race and Gender in Studies of Photography

Sarah Parsons

15 Objects of Denigration and Desire: Taking the Amateur Photographer

Seriously
Annebella Pollen

16 Photography Meets Social Media: Image Making and Sharing in a

Continually Networked Present
 Martin Hand

PART IV CULTURE AND GEOPOLITICS

Global and Local Forces in Photography Studies

Gil Pasternak

17 Australian Photographic Histories After Colonialism

jane Lydon

18 Beyond Orientalism: Toward a History of Indigenista Photography in

the Arab World
Stephen Sheehi

19 Photography's Appearances in China

Oliver Moore

20 From Authenticity to Intimacy: Practicing Photography and Studying

its History in Czechoslovakia and the Czech Republic
Eva Pluhařová-Grigienė

21 Photographic Histories and Practices in Southern Africa

Darren Newbury

22 American Photographic Indicators: Addressing the Photo-Political

State of a Contested Union
Louis Kaplan

PART V USES AND INTERACTIONS

Photography's Changing Faces

Gil Pasternak

23 Viewing and Display: Pre-Photography to the 1970s

Margaret Denny

24 Representing News with Photographs: A Visual Economy

Thierry Gervais
 25 Photographs at/of/and Museums
Susan A. Crane

26 "Working Objects in Their Own Time": Photographs in Archives

Joan M. Schwartz

27 Domestic Collections
Martha Langford

28 Future Technology in Photography: From Capture to Use of Images

David M. Frohlich

INDEX
 FIGURES
3.1 Cindy Sherman, Untitled Film Still #52, 1979
3.2 Nikki S. Lee, The Hip Hop Project (1), 2001
3.3 Tacita Dean, FLOH Ice Rink, 2001
3.4 Unknown/Courtesy Nadir K. Nadirov, living in Kazakhstan
3.5 Moh Naem, Untitled, 2014
8.1 Albrecht Dürer Artist Drawing a Nude with a Perspective
Device, 1525
8.2 A Turkish police officer carries a migrant child's dead body
(Aylan Shenu) off the shores in Bodrum
8.3 The first three hours, 10.15-13.15, September 2, 2015 from the
appearance of the first picture of the body of Alan Kurdi on Twitter
10.1 Archaeologist Gerard Avery Wainwright at Gerzeh cemetery,
Egypt, in 1910, showing the camera position for photographing a
burial
10.2 Félix Bonfils, "Details of the Colonnade of the Parthenon"
10.3 John Hartmann photographing the side of a coffin in a gallery
of the Egyptian Museum, Cairo, in the early 1920s
10.4 Two Egyptian foremen and a boy at work in the tomb of
Tutankhamun, December 1, 1923
10.5 "In the best parlour." Archaeologist Joseph Grafton Milne with
an unidentified woman in living quarters at the Ramesseum
excavation site, Luxor, Egypt
11.1 $100,000 Reward! The Murderer of Our Late Beloved President,
Abraham Lincoln, is Still at Large. Washington D.C, 1865
11.2 Execution of the Conspirators at Washington, July 7, 1865
11.3 Palestinians hit a poster of US President Donald Trump
11.4 Madres de Plaza de Mayo demonstrate in Buenos Aires during
the military dictatorship (1976-83), c. 1982
11.5 Screenshot captured from the lovenotleave account page on
Instagram
11.6 @g6pictures, Twitter Post, August 13, 2015
11.7 ©DrBFPalmer, Twitter Post, August 12, 2015
11.8 ©ProfLSimmons, Twitter Post, August 12, 2015
12.1 Théodore Maurisset, "La Daguerreotypomanie"
12.2 Edward Emerson Barnard, A Photographic Atlas of Selected
Regions of the Milky Wa
12.3 Program for a tableaux or lantern-slides entertainment (front
cover), 1878
12.4 Photomicrographs by Gravelle in printed promotional
pamphlet showing nationally advertised products (Eberhard Faber),
c. 1935
14.1 Sojourner Truth. I sell the shadow to support the substance.
Eastern District, Michigan, 1864
14.2 Andrea Bowers, Trans Liberation: Building a Movement (Cece
McDonald), 2016
14.3 Carrie Mae Weems, Untitled (Some Laughed Long & Hard &
Loud) from the series From Here I Saw What Happened and I Cried
(1995-6)
14.4 Jonathan Bachman, "Lone activist Ieshia Evans stands her
ground while offering her hands for arrest as she is charged by riot
police during a protest against police brutality outside the Baton
Rouge Police Department in Louisiana, USA, 9 July 2016."
17.1 Portraits of an Aboriginal woman ... and Simon based on a
photograph by Hubert Haselden
17.2 Uncle Poonthie, Aunty Belle, Aunty Irene Richards, and an
unknown non-Indigenous man at One Mile, c. late 1940s - early
1950s. Aunty Joyce Kerswell collection. Courtesy Tom and Ellen
Trevorrow
17.3 Michael Aird, "Vincent Brady leads a protest march, Brisbane,
December 9, 1987"
17.4 John William Lindt. No. 11 Mary Ann of Ulmarra
17.5 Shauna Bostock-Smith in front of Mary Ann of Ulmarra in the
Grafton Regional Gallery
19.1 Yami men in silver helmets, Taiwan, photographed by Torii
Ryūuzū, 1897
19.2 Erwo Studio, Hangzhou, c. 1920
19.3 Weixin Studio, Shanghai
19.4 Unknown studio, c. 1950
19.5 Unknown studio, c. 1930
19.6 Zhou Hai, Beijing 1999 from the series Gongye de chenzong
(Weight of Industry)
19.7 Ai Weiwei, Study of Perspective, Tiananmen Square, 1995
19.8 Xue Zijiang, Longmen [sic] Stone Buddha, 1958
20.1 Dana Kyndrová, 1. Máj (1 May), from the series Komunistická
slavnosti (Communist celebrations), Prague, 1983
20.2 Jindřich Štreit, Nesou pivo (They carry beer), Vrbno, 1981
20.3 Ivan Kyncl, Symbol Charty 77 (Charter 77 symbol), Prague,
1977-1980
20.4 Tono Stano, Fashion 2, 1985
20.5 Libuse Jarcovjáková, Máma (Mum), Prague, November 23, 2011
20.6 Dita Pepe, Radomír, Eliiška, Kateřina, Ida, from the series Self-
portraits with Men, 2007
21.1 Santu Mofokeng (b. 1956), The Black Photo Album \ Look at Me
1890-1950, slide projection, 1997
21.2 José dos Santos Rufino, Beira: Batelão recebendo carga. Cais de
desembarque. A Capitania do Porto (Beira: Loading a Lighter.
Landing Pier. The Port Captain's Offices, 1929
21.3 Omar Badsha, Touting for customers, Victoria Street, 1979
21.4 Cecilie//Geises, All Red netball team, sports fields, Usakos old
location
21.5 Cedric Nunn, Cuito Cuanavale, Angola, 2008
21.6 Paul Grendon, Town centre, Usakos, 2015
23.1 Underwood & Underwood, The Great Sphinx and Pyramid of
Chefren, Egypt, 1902
23.2 Underwood & Underwood, Philae, the "Pearl of Egypt," 1902
23.3 T. W. Ingersoll, Sears Roebuck & Co. Chicago, Camels on the
Street, Jaffa, 1904
23.4 The Grant Monument, Lincoln Park, Chicago, Illinois
23.5 Haidi's Soldiers, Fez, Morocco
25.1 Exhibition announcement, Camera Obscured, Presentation
House, Vancouver 1999
25.2 Sue Frause, Chihuly Glass and Garden, Northwest Room
25.3 Arizona State Museum, The Pottery Project: 2,000 Years—20,000
Vessels: "Mohave Water Carrier by Edward Curtis 1903," 2014
25.4 Curtis Refrained advertising pamphlet, 2014
25.5 Diego Romero, No Pictures Please, 2014
28.1 Audiocamera and audioscanner prototypes
28.2 The audioprint album and audioprint player prototypes
28.3 The story creator and story repository interfaces developed on
the StoryBank project
28.4 A trio of home photo displays: Photomesh, Photoillume, and
Photoswitch
28.5 The Pearl and 4streams photo display prototypes
 Contributors
Marta Braun teaches at Ryerson University and is Director of its graduate
program in Film+Photography Preservation and Collections Management.
She is author of Picturing Time: The Work of Etienne-Jules Marey 1830-1904
(1992), Eadweard Muybridge (2010), and the children's book Muybridge and
the Riddle of Locomotion (2013). Her essays have appeared in Italian
Futurism, 1909-1944: Reconstructing the Universe (2014), Helios, the Art of
Eadweard Muybridge (2010), Musée de quai Branly; la collection (2008), and
L'Art de la Photographie des origins á nos jours (2007). She has been made a
fellow of the Internationales Kolleg für Kulturtechnikforschung und
Medienphilosophie, Weimar Germany (IKKM), a Chevalier de l'Ordre des
Palmes Academiques (France) and a Fellow of the Royal Society of Canada.

Ben Burbridge is Senior Lecturer in Art History and Co-Director of the

Centre for Photography and Visual Culture at the University of Sussex. His
curated exhibitions include Revelations: Experiments in Photography (2015)
and the 2012 Brighton Photo Biennial, Agents of Change: Photography and
the Politics of Space. Co-founder of Ph: The Photography Research Network
and a former editor of Photoworks magazine, his writing on photography,
contemporary art, and politics has been published widely. Burbridge is the
editor of two books on photography—Revelations (2015) and Photography
Reframed (2018; with Annebella Pollen). He is currently completing work on
his first monograph, provisionally titled Nothing Personal: Photography in
the Age of Communicative Capitalism.

Costanza Caraffa is Head of Photothek at the Kunsthistorisches Institut in

Florenz, Max-Planck-Institut. She edited the volumes Photo Archives and the
Photographic Memory of Art History (2011) and Photo Archives and the Idea
of Nation (2015; with Tiziana Serena), among others, and in 2009 she
initiated the Photo Archives open conference series (London and Florence
2009, New York 2011, Florence 2011, Los Angeles 2016, Oxford 2017,
Florence/Abu Dhabi 2019). Between 2015 and 2018 Caraffa was coordinator
of the collaborative project Photo-Objects – Photographs as (Research)
Objects in Archaeology, Ethnology and Art History, and in 2018 she co-
curated the exhibition Unboxing Photographs at Kunstbibliothek (Berlin).

Susan A. Crane is Associate Professor of Modern European History at the

University of Arizona. Her research focuses on thematic issues of collective
memory, historical consciousness, and how historians use historical
photographs as sources. She is the author of Collecting and Historical
Consciousness in Early Nineteenth-Century Germany (2000) and editor of
Museums and Memory (2000). Crane is currently editing The Cultural
History of Memory, vol. 5: The Nineteenth Century (Bloomsbury) and
completing a monograph titled "... and then Nothing Happened": On Seeing
the Past as Nothing.

Margaret Denny is an independent photo historian with a PhD in Art

History that she was awarded by the University of Illinois at Chicago in
2010. Denny has taught the survey of photography at colleges and
universities in Chicago for over fifteen years, and presented papers at
national and international conferences. American and British women in
commercial photography are her area of research specialization. Her essay
"Mrs. Albert Broom's Interesting 'Snap Shot' Post Cards" appeared in the
Museum of London exhibition catalogue Soldiers and Suffragettes: The
Photography of Christina Broom (2015). In 2018 Denny collaborated on
Margaret Bourke-White's Different World exhibition and catalogue at the
Cornell Fine Arts Museum, Rollins College (Winter Park, Florida).

Elizabeth Edwards is a visual and historical anthropologist. She is Emeritus

Professor of Photographic History at De Montfort University (Leicester),
Andrew W. Mellon Visiting Professor at VARI (the Victoria and Albert
Museum Research Centre, London, 2017-2020), Honorary Professor in the
Department of Anthropology at University College London, and a Fellow of
the British Academy. Edwards has worked extensively on the relationships
between photography, history, and anthropology. She has written over
ninety papers and articles, and her monographs and edited works include
The Camera as Historian: Amateur Photographers and Historical
Imagination 1885-1912 (2012), Sensible Objects (2006), Photographs Objects
Histories (2004), Raw Histories (2001), Anthropology and Photography (1992).

Jae Emerling is Professor of Modern and Contemporary Art History in the

College of Arts and Architecture at the University of North Carolina,
Charlotte. He is the author of Theory for Art History and Photography:
History and Theory. His work has also appeared in the journal of Visual
Culture, History of Photography, CAA Reviews, Journal of Art
Historiography, and X-TRA: Contemporary Art Quarterly. He is currently
working on a book about the aesthetic-historiographic concept of
transmissibility. Some of this work has appeared in the books Contemporary
Art about Architecture, Bergson and The Art of Immanence, a special issue
of the journal of Visual Culture entitled Architecture!, and The Dark
Precursor: Deleuze and Artistic Research.

David M. Frohlich is Director of Digital World Research Centre at the

University of Surrey and Professor of Interaction Design. He joined the
Centre in January 2005 to establish a new research agenda on new media
innovation with social and cultural benefit. Prior to joining Digital World,
Frohlich worked for fourteen years as a senior research scientist at HP Labs,
conducting design research on the future of mobile, domestic and
photographic technology. He has a PhD in psychology from the University
of Sheffield and post-doctoral training in Conversation Analysis from the
University of York.

Paul Frosh is a Professor in the Department of Communication and

Journalism at the Hebrew University of Jerusalem. His research spans visual
culture, media aesthetics, consumer culture, and media witnessing. His
books include The Poetics of Digital Media (2018), Media Witnessing:
Testimony in the Age of Mass Communication (2011; edited with Amit
Pinchevski), Meeting the Enemy in the Living Room: Terrorism and
Communication in the Contemporary Era (2006; edited with Tamar Liebes),
and The Image Factory: Consumer Culture, Photography and the Visual
Content Industry (2003). He is currently researching iconic photographs and
Israeli collective memory, and writing about digital visual culture.

Thierry Gervais is Associate Professor at Ryerson University and Head of

Research of the Ryerson Image Centre (RIC), Toronto. Between 2007 and
2013 he was the editor-in-chief of Études photographiques. He curated the
exhibition Dispatch: War Photographs in Print, 1854-2008 (RIC, 2014) and co-
curated exhibitions at the Centre Pompidou-Metz (2013), the Musée d'Orsay
(2008), and the Jeu de Paume (2007). At the RIC, he organized five symposia
(2012-2018) and edited The "Public" Life of Photographs (2016), the first
volume of the academic RIC Book series published in partnership with MIT
Press. His most recent book is, The Making of Visual News: A History of
Photography in the Press (Bloomsbury, 2017; co-authored with Gaëlle
Morel).

Martin Hand is Associate Professor of Sociology at Queen's University,

Kingston (Canada), where he teaches courses on New Media, Consumer
Culture, and Sociological Theory. His central research trajectory has been
the unintended social and cultural consequences of digitization in everyday
life. Hand's previous publications include Big Data? (2014; co-edited with
Sam Hillyard), Ubiquitous Photography (2012), Making Digital Cultures
(2008), The Design of Everyday Life (co-authored, 2007), as well as articles
and essays about visual culture, photography, digitization, technology, and
consumption. He is currently conducting research into the mediatization of
time.

Louis Kaplan is Professor of History and Theory of Photography and New

Media at the University of Toronto, He is the author of numerous books in
photography studies including Laszlo Moholy-Nagy: Biographical Writings
(1995), American Exposures (2005), The Strange Case of William Mumler,
Spirit Photographer (2008), and Photography and Humour (2016). He has
collaborated with artist Melissa Shiff on research-creation projects supported
by the Social Science and Humanities Research Council of Canada that
utilize the emergent technologies of augmented reality (Mapping Ararat)
and virtual reality (The Imaginary Jewish Homelands of I.N. Steinberg).
Kaplan serves on the editorial boards of History of Photography and
Photography & Culture.

Martha Langford is Research Chair and Director of the Gail and Stephen A.
Jarislowsky Institute for Studies in Canadian Art and a professor of Art
History at Concordia University in Montreal. Her most recent publication is
an edited collection: Narratives Unfolding: National Art Histories in an
Unfinished World (2017). Books on photography include Suspended
Conversations: The Afterlife of Memory in Photographic Albums (2001),
Scissors, Paper, Stone: Expressions of Memory in Contemporary Photographic
Art (2007), and A Cold War Tourist and His Camera (2011; co-written with
John Langford). Langford is a Fellow of the Royal Society of Canada.

Jane Lydon is the Wesfarmers Chair of Australian History at the University

of Western Australia, Her research centers upon Australia's colonial past and
its legacies in the present. Her work in partnership with European museums
and Aboriginal communities has produced a website portal that provides a
major heritage resource for Aboriginal communities in providing access to
historical photograph collections at: https://ipp.arts.uwa.edu.au. Her books
include The Flash of Recognition: Photography and the emergence of
Indigenous rights (2012), and most recently she has edited Remembering the
Myall Creek Massacre (2018; with Lyndall Ryan) and Visualising Human
Rights (2018), which examines the cultural impact of the framework of
human rights through visual culture.

Melissa Miles is a Professor of Art History and Theory at Monash

University in Melbourne, Australia. Her research centers on the history and
theory of photography, with a particular focus on its connections to politics
and intercultural relations. She is author of Photography, Truth and
Reconciliation (2019), Pacific Exposures: Photography and the Australia-
Japan Relationship (2018; with Robin Gerster), The Language of Light and
Dark: Light and Place in Australian Photography (2015), The Burning
Mirror: Photography in an Ambivalent Light (2008), and co-editor of The
Culture of Photography in Public Space (with Anne Marsh and Daniel
Palmer, 2015).

Oliver Moore is Professor of Chinese Language and Culture at the

University of Groningen. He studied at the universities of London,
Cambridge, and Fudan (Shanghai), taught at the universities of Leiden and
Kyoto, and curated collections of Chinese art and material culture at the
British Museum and the Dutch National Museum of Ethnology. He is the
author of Rituals of Recruitment in Tang China (2004), a social history of
early Chinese civil service examinations, as well as essays on early and
modern Chinese art, science, and society. His current project, Photography's
Chinese Metaphors, a study of photography's early concepts and reception in
China, is forthcoming with Bloomsbury.

Darren Newbury is Professor of Photographic History and Director of

Postgraduate Studies (Arts and Humanities) at the University of Brighton.
He is the author of Defiant Images: Photography and Apartheid South Africa
(2009) and People Apart: 1950s Cape Town Revisited. Photographs by Bryan
Heseltine (2013); and co-editor of The African Photographic Archive:
Research and Curatorial Strategies (2015; with Christopher Morton) and a
Special Issue of Visual Studies on "Photography and African Futures" (2017;
with Richard Vokes). Newbury was editor of the international journal Visual
Studies from 2003 to 2015, and has curated exhibitions at the Pitt Rivers
Museum, University of Oxford, and District Six Museum (Cape Town).

Douglas Nickel is the Andrea V. Rosenthal Professor of Modern Art in the

Department of the History of Art and Architecture at Brown University,
Providence, Rhode Island. Prior to his arrival at Brown, he served as a
curator in the Photography Department at the San Francisco Museum of
Modern Art and as director of the Center for Creative Photography at the
University of Arizona, in Tucson, Arizona. His publications include Francis
Frith in Egypt and Palestine: A Victorian Photographer Abroad (2004),
Carleton Watkins: The Art of Perception (1999), and Snapshots: The
Photography of Everyday Life, 1888-present (1998).

Sarah Parsons is an associate professor in Art History and Visual Culture at

York University, Toronto. She specializes in the history of photography and
is the editor of a volume of essays by Abigail Solomon-Godeau entitled
Photography After Photography: Gender, Genre, and History (2017) and of
Emergence: Contemporary Canadian Photography (2009). Parsons's research
on Susan Sontag, Sally Mann, and William Notman has been published in
the journals History of Photography, Photography & Culture, and at the Art
Canada Institute online. She is co-editor of Photography & Culture and a
founding member of the Toronto Photography Seminar.

Gil Pasternak is Reader in Social and Political Photographic Cultures in the

Photographic History Research Centre (PHRC) at De Montfort University
(UK). His research investigates intersections of photography with
sociopolitical realities and cultural heritage practices, especially in Israeli
society, twentieth-century Poland, and the histories of Polish Jewry from the
interwar to the post-communist era. Currently finalizing a monograph on
Israel's sociopolitical photographic cultures, he previously published
Visioning Israel–Palestine: Encounters at the Cultural Boundaries of Conflict
(2020), Visual Conflicts: On the Formation of Political Memory in the History
of Art and Visual Cidtures (2011; with Paul Fox), and a special issue of
Photography & Culture titled "Photography in Transitioning European
Communist and Post-Communist Histories" (2019). Pasternak is also co-
convener of Ph: The Photography Research Network and a member of the
advisory board for Apna Heritage Archive and the journal Photography &
Culture. Earlier in life, Pasternak worked as photojournalist and
photography archivist, as well as an editorial and fine art photographer.

Luc Pauwels is Professor of Visual Research Methods at the University of

Antwerp, Founder and Director of the Visual & Digital Cultures Research
Center (ViDi) and Vice-President Research of the "Visual Sociology" Research
Committee of the International Sociological Association (ISA). He has
published widely on visual research methodologies, visual ethics, family
photography, website analysis, anthropological filmmaking, visual corporate
culture, urban culture, and scientific visualization. Pauwels's books include:
Visual Cultures of Science (2006), The Sage Handbook of Visual Research
Methods (2011; with E. Margolis), and Refraining Visual Social Science:
Towards a More Visual Sociology and Anthropology (2015). He is on the
editorial board of the journals Visual Studies, Visual Communication, and
Journal of Visual Literacy.

Eva Pluhařrová-Grigienė is an Associate Lecturer in Art History at

Europa-Universität Flensburg. Her current research focuses on social
documentary photography in socialist Central Europe in its global contexts.
Among other institutions, she has taught at Humboldt University Berlin and
provided consultancy for the Fritz Thyssen Foundation. She is the author of
Die Migration der Bilder. Das Memelgebiet in fotografisch illustrierten
Büchern, 1889-1991 (2017) and has published in German, British, Polish,
Lithuanian, and Czech journals, exhibition catalogues, and edited volumes.

Annebella Pollen is Principal Lecturer in the History of Art and Design at

the University of Brighton, where she teaches and researches visual and
material culture. Her major publications include Mass Photography:
Collective Histories of Everyday Life (2015) and a study of an interwar artist-
led youth movement, The Kindred of the Kibbo Kift: Intellectual Barbarians
(2015) with an accompanying 2015-16 exhibition at Whitechapel Gallery
(London). Pollen has also edited Dress History: New Directions in Theory
and Practice (2015; with Charlotte Nicklas) and Photography Refrained: New
Visions in Contemporary Photographic Culture (2018; with Ben Burbridge).

Christina Riggs is a historian of archaeology, photography, and ancient

Egyptian art. She is Professor of the History of Art and Archaeology at the
University of East Anglia and a fellow of All Souls College, Oxford
University. Her books include Photographing Tutankhamun: Archaeology,
Ancient Egypt, and the Archive (2018), Tutankhamun: The Original
Photographs (2017), and Unwrapping Ancient Egypt (2014). Riggs's work on
the photographic archive of the Tutankhamun excavation formed the basis
of the exhibition Photographing Tutankhamun, together with her Wordpress
blog of the same name.

Daniel Rubinstein is Reader in Philosophy and the Image at Central Saint

Martins, University of the Arts, London. Internationally recognized for his
writings on the digital image in the context of contemporary philosophy,
modern science, and online platforms, his research spans the entangled
dimensions of art, media, and biopolitics. His new book Fragmentation of
the Photographic Image in Digital Culture (2019) examines the radically
fractal nature of images with a specific link to desire and memory.
Rubinstein is the founding editor of the journal Philosophy of Photography,
and Course Leader of MA Contemporary Photography: Practices and
Philosophies.

Joan M. Schwartz is a historical geographer, photographic historian, and

archival theorist. She is Professor and Head, Department of Art History and
Art Conservation at Queen's University, Kingston (Canada), where she
teaches courses in the history of photography and nineteenth-century visual
culture. From 1977 to 2003, Schwartz was a specialist in Photography
Acquisition and Research at the National Archives of Canada, Ottawa. Her
research and writing focus on the power of archives and photographs to
shape notions of place and identity. She is a Fellow of the Royal Society of
Canada, the Royal Canadian Geographical Society, and the Society of
American Archivists.

Stephen Sheehi is the Sultan Qaboos bin Said Chair of Middle East Studies
at the College of William and Mary (Virginia). He is the author of Arab
Imago: A Social History of Portrait Photography, 1860-1910 (2016),
Islamophobia: The Ideological Campaign Against Muslims (2011), and
Foundations of Modem Arab Identity (2004). He is also a co-author of
Psychoanalysis Under Occupation: Theories and Practice of Psychoanalysis
in Palestine (forthcoming; with Lara Sheehi) and Camera Palaestina:
Photographic Witnessing in the Albums of Wasif Jawharriyeh (forthcoming;
with Salim Tamari and Issam Nassar). Currently, Sheehi is developing the
research project "Decolonizing Photography."

Jennifer Tucker is a cultural historian of science specializing in the study of

technology, law, photography, and visual culture. The author of Nature
Exposed: Photography as Eyewitness in Victorian Science (2006), she also has
published numerous articles and book chapters and recently completed a
book manuscript about photography and facial likeness in the Victorian
courtroom. Her current projects include a study of photographic chemistry
and the Victorian alkali industry. The editor in 2009 of an issue of History
and Theory about photography and history, she is co-editor of a forthcoming
Photography and Law Reader and served as co-editor of "Political Histories
of Technoscience" for Radical History Review.
 PREFACE
Just like the history of photography, the story of The Handbook of
Photography Studies has more than one beginning. On a practical level, the
decision to start working on a book proposal came about in June 2015,
during a conversation I had with Davida Forbes, who at the time
commissioned photography titles for Bloomsbury Publishing. Davida
attended that year's international conference that colleagues and I organize
annually in the Photographic History Research Centre at De Montfort
University in Leicester (United Kingdom), where I have taught and worked
with students of all academic levels since 2013. The conference was
dedicated to the exploration of photography in print. In hindsight it
probably provided an appropriate background for the discussion Davida and
I were having around the question of what themes and topics might scholars
in the arts, humanities, and social sciences want to read about in a printed
volume on photography studies.
To find an answer, I reminded myself of the many questions I carried
around when I studied the history and theory of photography and
photographic practice during my bachelor and master's education. I also
reflected on all the things I tried to understand when I wanted to learn how
to work with photographs as social, cultural, and historical primary research
sources during my years as a doctoral research student. Although already
then I knew that one volume could not possibly satisfy all my interests, I
remember clearly how much I was hoping to walk into the library one day
and find a book that would help me understand: how do photography
scholars go about researching; how do they evaluate the sources they
encounter; what informs their thought processes; how do they put theory
into practice; how do they employ photography in disciplines not so familiar
to me; what research approaches are "in"; how come other approaches are all
of a sudden "out"; did everyone around the world understand and practice
photography the same way throughout the medium's history; does everyone
understand and practice photography the same way in our time; and so on
and so forth. Many of these questions ended up informing the way I decided
to structure the handbook and the choices I had to make about its scope. It
is, therefore, safe to say that my wish to have such a book when I had just
begun my journey into the academic study of photography—and also later,
when my research interests gradually shifted—can probably be considered as
another beginning for the story of the present volume.
Editing a book with only one's own interests in mind is probably never a
good idea, however. To keep myself in check as it were, I considered the
courses and modules I have delivered since I began working in academia in
2006. I also brought to mind as many recollections as I was able of the
questions my students have raised during sessions and one-to-one meetings
over the years. I asked myself what worked well, what was less effective,
what students struggled with most, what could help them make additional
progress, and what kinds of informative texts I wish I could have shared
with them. As earlier in life I worked as a photojournalist, photography
archivist, and editorial and commercial photographer, and because I also
practiced and exhibited fine art photography, I have had the privilege of
working with students in diverse academic fields since I joined academia.
Some of them trained as professional and fine art photographers. Others
specialized in history and theory of photography. Still others researched
social, cultural, and political histories as well as other realities with
photographs. Bearing in mind the curiosities, needs, and skill sets of this
distinct range of students has led me to bring into the handbook an equally
diverse range of scholarly voices from discrete academic backgrounds in
order to showcase and communicate the intellectual wealth of the field of
photography studies. In this sense, it could be said that each of the student
cohorts I have worked with so far marks another beginning moment in the
story of this handbook.
Despite my attempt to make this volume as wide ranging and inclusive as
possible, it would seem that every book must have its word and page limit.
Large, thick, and heavy as it may be, this handbook, similar to any other,
was mainly designed to offer a detailed but still broad overview of the field
it covers. It discusses its histories and it explains the key methodologies field
scholars have employed. It considers a diverse range of historical and
current photographic technologies and practices. It also gives generous
information about the field's subjects of interest. Although there are indeed
other themes and topics I had to either leave out completely or play down,
so to speak, the handbook makes the field's numerous excitements clear and
accessible, demonstrating why photography has mattered so much since its
appearance, why it still greatly matters today, and how we might go about
studying and understanding its significance even better.
Anyone who might have edited an academic book, especially of a large
scale such as this handbook, will know all too well how much time and work
it takes to endeavor to make it read and flow as if every part, chapter,
paragraph, and word has fallen into place naturally. Truth be told, the result
often conceals enormous efforts that even most of the contributors to the
publication are not aware of, as they are usually only familiar with what
they experienced while writing their chapters and responding to the editor's
comments, queries, and requests. Editors greatly care about their
contributors and the satisfaction of those. At the same time, they have many
other responsibilities to attend to that go beyond their work on the texts
submitted by the authors. Conceptualizing, commissioning, negotiating,
tweaking, accommodating, and persuading are but some of the activities I
carried out to bring the idea of this handbook to fruition, always keeping in
mind the needs of interested readers above anything else.
The reason I refer to my editorial duties and the challenges they entailed
is because one can rarely complete such a project without the help and
assistance of others. The project of which the outcome is this volume is no
different and, indeed, along the way I had the honor of meeting, working
with, and consulting some magnificent people who certainly deserve special
mention.
A lineup of people at Bloomsbury Publishing have provided me with help
and sound advice throughout the four-year period of my work on the
volume. I am grateful to each one of them, but two were particularly
instrumental at key moments, and they deserve a more personal
acknowledgement in my opinion. For her unconditional support and
guidance from the moment I began writing the proposal for this volume and
until the latter was commissioned, the first of them is Davida Forbes, whom
I mentioned earlier. The second is Sophie Tann, who assisted me especially
during the year leading to publication of the volume. I am thankful to
Sophie for being always ready to make time to address my questions and
provide me with the help I needed in order to keep the production of this
volume on track.
Next, I would like to thank all the chapter authors across this volume, not
least for working with me to make their fabulous contributions even
stronger and clearer. It is of course above all because of their commitment
that I was able to turn the dream of this volume into a reality. In particular I
want to thank Martha Langford, Jane Lydon, and Douglas Nickel for
providing me assistance and good advice throughout the process, whether
by recommending authors, sharing impressions, or discussing ideas. I am
especially grateful to Elizabeth Edwards with whom I have had the pleasure
of working at the Photographic History Research Centre. Our countless
conversations about this handbook and about photography more broadly
have certainly informed many of my editorial choices and decisions
regarding the selection of authors, themes, and topics included here. If the
volume still has any flaws, however, let all the blame be on me.
Many thanks must also go to all individuals, institutions, and
organizations who have granted permission to include copies of the images
reproduced in the volume. The authors and I have made every effort to
obtain permission to publish copyright material but if for one reason or
another a request has not been received, the copyright holder should get in
touch with the publisher.
Now that work on this volume is complete I can say with confidence that
it offers a series of thoroughly informative introductions to the highly
diverse field of photography studies and its interests. As on many levels it is
the volume I have always wanted to have to teach from, I dedicate it to all
the bachelor, master's, and doctoral students I have worked with at
University College London, Chelsea College of Arts, the University of
Huddersfield, and De Montfort University, as well as to those I will work
with in the future.

Gil Pasternak, Editor, 2019

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