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Ideas of embodiment and performance have been crucial in destabilizing the visual hegemony of images, cameras, and gazes in tourist studies. This article discusses how a practice-inspired performance perspective potentially allows a more satisfying account of tourist photography's "nature" than conventional "representational" ones in which tourist photography is dismissed as "all eyes and no bodies and sometimes no brain." The author writes a new account, seeing tourist photography as performed rather than preformed and tourist photographers as framing as much as being framed. Tourist photography is a choreographed and experimental performance connecting the representational and nonrepresentational. Tourist photography is made less visual and more embodied, less concerned with "consuming" places than with producing social relationships, such as family life. The author examines the performances and performativities, the embodied practices and textual and corporeal choreographies, of tourist photography within a family photography context, the "family gaze." The article draws on ethnographic research of tourist photographic performances at northern Europe's largest medieval ruined castle, Hammershus.

Intro -- Table of Contents -- History of Photography -- Types of Photography -- Camera -- Camcorder -- Visible Spectrum -- Camera Obscura -- Electromagnetic Spectrum -- Aperture -- Diaphragm and Shutter -- Photographic Film -- Movie Projector -- Shutter Speed -- Cinematography -- View Camera -- Exposure Photography -- Photojournalism -- Fashion Photography -- Some Technical Terms -- Tips for Photography.

Includes index. ; "War Department. Document no. 5. Office of the Chief Signal Officer." ; Mode of access: Internet.

A Chronology of Photography presents a fresh perspective on the medium by taking a purely chronological approach to its history, tracing the complex links between technological innovations, social changes, and artistic interventions. Structured around a central timeline that charts the development of photography from early experiments with optics right up to the present-day explosion of digital media, it features sumptuous reproductions of key photographs, together with commentaries and contextual information about the social, political and cultural events of the period in which they were taken. Special technical sections that explain how the development of new camera technology impacted the practice of photography, while feature spreads highlight important themes and influential practitioners. Covering a wide selection of genres, styles and artists, it is invaluable as a comprehensive guide to photography in all its different forms and functions. Paul Lowe was the general editor and lead writer for the book.

Pinney's essay explores, in the context of both colonized and contemporary India, Ariella Azoulay's argument about the prophetic nature of photographic citizenship. The use of photographs in a number of key Indian National Congress reports reveals the destabilizing potential of the camera. This photographic counter-narrative presents a challenge to certain Althusserian and Foucauldian accounts for which the state is ultimately the arbiter of "evidence." As Pinney shows, political claims could be advanced in the space of photography that were disallowed in everyday life. This possibility was predicated on smaller and faster apparatuses, that is, a changing technics of media. However, in contemporary India an increasingly miniaturized technics is provoking widespread anxieties about the public visibility of what was formerly private and intimate. The changing form of photographic technics thus drives a social narrative that transforms the camera as a utopian tool of liberation into a dystopian means of transgression.