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There has been a recent shift in perceptions of photography and privacy in Australia. The view that our privacy is under threat has created an atmosphere of paranoia and fueled demands for law reform in relation to photography in public space. As photographers and privacy advocates battle each other by opposing the right to privacy with the right to free expression, there seems little chance of finding a workable solution. This article will consider this issue more deeply by analyzing the links between photography, privacy and the public, and assessing the cultural and political implications of this new climate.

The first part of this essential handbook provides an art-business analysis of the market for art photography and explains how to navigate it; the second is an art-historical account of the evolution of art photography from a marginal to a core component of the international fine-art scene. In tracing the emergence of a robust art-world sub-system for art photography, sustaining both significant art-world presence and strong trade, the book shows the solid foundations on which today's international market is built, examines how that market is evolving, and points to future developments

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

When the US acquired its colonies of Puerto Rico and the Philippines in the aftermath of the 1898 war with Spain, those colonies had to be made known to American citizens. Lanny Thompson has described what he calls the "principle narratives" of the different colonies, and the ways that those narratives helped shape political debates about those colonies. Thompson notes that photography played an instrumental role in developing and representing those narratives. "Colonial Photography Across Empires and Islands" discusses the specific uses of photography in the US colonial regimes in the Philippines and Puerto Rico, the two colonies most frequently deemed "unfit" for self-rule. It traces the contours of those themes and ideas that were shared across the different colonies, as well as the particular subject matter that photographers were attracted to in each colony. It also finds points of connection and continuity between US colonial photography, and photography in the Philippines in the Spanish colonial era. The triangulation of these three colonial contexts helps clarify both the generalized nature of colonial photography and the specific uses of photography in particular colonial contexts.