Suchergebnisse

A lively and polemical analysis of photography and today's vernacular photographic culture. In Photography After Capitalism, Benedict Burbridge makes the case for a radically expanded conception of photography, encompassing the types of labor too often obscured by black-boxed technologies, slick platform interfaces, and the compulsion to display lives to others. His lively and polemical analysis of today's vernacular photographic cultures shines new light on the hidden work of smartphone assembly teams, digital content moderators, Street View car drivers, Google "Scan-Ops", low-paid gallery interns, homeless participant photographers, and the photo-sharing masses

CONTENTS: Basics and the 35mm Camera; Cameras Other Than the 35mm SLR; Film and Filters; Lighting Source, and Effect; Lenses, Depth of Field, and Shutter Speed; Purchasing and Care of Equipment and Automated Labs; Autopsy, Assault, and Child Abuse; Traffic Fatalities and the Hit and Run; Latent Prints; Crime Scene; Fire Investigation and Arson; Surveillance; Court Presentation and Challenge. Glossary

Contexts introduction chapter -- Cities and urbanism -- Photography concepts -- Photography and/in/of the city -- The documented city -- Walking the city -- Social and political practices -- The metaphorical city -- Postmodern megalopolis -- City and subject -- Pyschogeographies and the city

This article represents an attempt to approach the notion of colonial discourse and photography more closely with the exigencies that put Morocco under the zoom of the colonial lens. This photographic documentation shows that nations, Morocco, in this case, were annexed to imperial powers through the utilization of various means of representation. This annexation was carried out not only by military officers, missionaries and spies but also by cartographers, travel writers and photographers who never ceased to polish the lens of their cameras so as to be able to represent indigenous identities, as well as their social lifestyles, and cultures. Therefore, the purpose of the present work is to sketch the colonial experience that links the imperializers with the imperialized through chronological documentation of colonial power and domination. Therefore, the main interest centres around the question of rereading this colonial history by analyzing and questioning colonial photography and its role in colonial expansion over Morocco. Besides, it is to unmask the alleged objective embedded in this country's 'civilizing mission'.

In Photography After Capitalism, Ben Burbridge makes the case for a radically expanded conception of photography, encompassing the types of labor too often obscured by black-boxed technologies, slick platform interfaces, and the compulsion to display lives to others. His lively and polemical analysis of today's vernacular photographic cultures shines new light on the hidden work of smartphone assembly teams, digital content moderators, Street View car drivers, Google "Scan-Ops," low-paid gallery interns, homeless participant photographers, and the photo-sharing masses. Bringing together cultural criticism, social history, and political philosophy, Burbridge examines how representations of our photographic lives—in advertising, journalism, scholarship and, particularly, contemporary art—shape a sense of what photography is and the social relations that comprise it. More precisely, he focuses on how different critical and creative strategies—from the appropriation of social media imagery to performative traversals of the network, from documentaries about secretive manual labor to science fiction fantasies of future sabotage—affect our understanding of photography's interactions with political and economic systems.

'Race and Photography' studies the changing function of photography from the 1870s to the 1940s within the field of the 'science of race', what many today consider the paradigm of pseudo-science. Amos Morris-Reich looks at the ways photography enabled not just new forms of documentation but new forms of perception