Photography A Cultural History FOURTH EDITION ‘Mary Warner Marien,Sct on Ser pert pc Die ee Siesta a oi a ug Pr apg 02,201 207 en King Pi Pty oe us ae pe ae Re ‘Aare hb patel phan pemison ‘tal tel en ie irr pt pon, ‘occ dm nn nme ma emo) se mt a a aie et ret in epee pe ifn ashy Fb ony ery Wao i, oto 1 ae nin mmartans PEARSON ‘erg enn” ‘soneigse ‘ming a ney Sh tps Grafts ct ral oe angi Ten te Pe 8 ian st i hen aia Cefn Grate ge yn ny Di ae ny pn Me CONTENTS Preface Introduction x» PART ONE Photography's Double Invention 1 The Orpins of Photography (0188) 5 etre haoganhy 4 feca: The Ft Phatograph & The mvenion o"tocopaphes” 2 Anne roca he ston of Sitaneus enon 9 Te Pretiom of Permanence Wewood ond any 3 The'Sun ven of pee 1 The caoborn of Wipe at Dope 12 Reporte Announcement ofthe Dogue 6 Henckels Prterp he Specimens 17 ecu The Song Taber Pope Bowing 19 The Po oenton 20 ‘heSecond Invention of Photography (1839-1856) 25 caso Gass and Photpopy 27 FecuPhtapy, ace ovary 36 Perming Har The De Merton Convoy 37 econo whe Caer 38 rand Pocaaphy 40 Beh Cofino pedeonay and ave Potogphy 44 fayptand he Hay Land 44 Calan nage 6 TheProorphy So 62 ery Potopy 2 TheFem of Souda and Howes 6 The Cape Poa Hi on Adon Tents Eccomempocary photography In that eg, new Portal bar dns ben added on the Conceptual art, Ed Ruscha. Throughout ‘the new ition materia on the histor of photography in ‘China ranging fom the nineteenth entry the pee, asbeen adel. In eddion to many new pte spied redesign sual integrates the chapters. ‘Of coars, the ght of enalog photography andthe vigorous ongoing a of iil phtopraphy long with ‘iting setae dependable computer uplink nd webstes— havea an irimensorale impact oth on photographic soy contemporary cto ard every Acct 0 and ident ohisorc photographs has grey increased, the many photog aber now miata clare wees co hich one an vew thei pst work nd presen ventures AS seen in thelast cape ofthis book the eae and frequency veh wich people worldwide re digital cameras and camer hones toma and upload image sj boning pact, the mediom In beet words therehave never been an? phonopraher! ACKNOWLEDGMENTS. Many people generously fered information apd sistance il hs editon induding Anne McCauley, lan Gaiths {and hisbae-chl, the webste, Luminous Lint), Lary Sch ‘nd Janes Zeng Hoang Speci thanks to David Mtb and his sudents for their observations nd question. shoul aso lketoetend my gratitude othe member of the pehograpic Istoy ster, whos exchanges ave been ep and stimalatig. Asay, have ried onthe keen ye ad god. Jdgment my spouse ad tein edie Micha Maren Talo wish wo thankthe flowing reviewers who made ‘ef comment forte development ofthe fourth eon: ‘Rihab Kasay Bagnole, Savannah Colege of Art & Design “et Wessman, Unive of nos Urban Champaign Jeanine kth, Massachusetts Collegeof Ar nd Desi Margret Denny, Columbia College Chicago Moras O Nal, Wake Foret University Tam fortunate wo have ad the bight and able asitance ofthe aft Laurence King Pabishing Ld Kara Hately Sth has god jadgment, puienc, an wisdom, John aoa dito comments and adc uve Bena imble a ls tne ‘onthe svoard Pictur elitr Peter Kents enh or mages snatched by his esourefless nd sothing sense of humor and Simeon Wath has smoothed thiscompliated book ho the rns wth conicued expert. My thanks to Gita Rose Ines of Rose Innes Asoc who wes responsible forthe wonder edesgn ofthe fourth eon, {Endo Kiry Seymour Ureand Angela Koo fr their ptaing, ‘opr eting end prksendingthecghont DEDICATION My resist debt contnaes tobe to gion of people {ave ‘eter me whee ongingvetearch and wring on photography ‘tar informs and shapes ny thinking Without the ests, could ot have concave ths book, nor ofeed revised eons. "humbly diate this book othe international crmmuty cof photographers scholar, and cries whose efit enrich cur fl Mary Warner Marien er Pfr ‘Syracie Unnerty Src New Yk aAp2013 Introduction LIGHT WRITING: FROM THE DAGUERREOTYPE To DIGITAL The basicmeznng ofthe word “photography” sigh weting ‘he medium ert hat designation n 1838 soon afer photography war announced the wold. Despite its many {apd technical changes from the DAGUERAEOTYPE fo BIITAL the photograph stl en img ote nthe agency aight Whe inetent entry photograpec placed ea on ight seniaed paper and exposed the paper to snlght the rel wat 2 photograph Today dial camers me dectrnic econo Tigh, fom which one can make print or mas archives. “The concept flight writings starting pont for under sanding photography. At the sme times importnt 0 precise that photography has ever een ae thing, 1838, there were thee yps of photography. The dagueeotype,an Image produced ona ber-costd copper pit, was named forts vento Louis Jacques-Mande Daguert. In addition, ‘wo form of photography on paper were mented by Wiliam Henry Fox Tahoe One employe acamers athe kere photogenic deavig wesw contact pit nade by lacing en ject on igh senstve paper Whe the daguerreotype Was ‘tone-of--knd image, photographs on paper an photogenic ravings had the potetal tobe made ito wzcATIvE, rom trick atonal copies could be prodace, Throughout Thntory photography oily changed ts ecologies mean, though ech ype was vata fight wating. Bren Before photography was resented othe word, the medi was rased trough the imagination sn prior experienc ofthese who read or ear abou In ther words, phcography was set of sumptions in advance of experience Soon manifold uses fox photography appeared Win a decade oferta thor pgp a eed Inwhich owe incesingy vised. By 1852, photograph: practice had enlendd 0 0 many applications {hat ane observer conlded “photography a the same ine ‘cence, nar and an nds” Photograhy has aways Ben rss dsiptinry. Photographers who used the medium oats expression, econ keep jrolis, cet documentation Tami Fistoryor ob dvere photographic endeaors cached beyond ‘heimmedate els fer igpraton and information Indeed photographs areomalvores When asked thee were sy Inlsences se wanted to mention, American photographer Helen Levit (1913-2008) ep, Everything eer nunced me" I comesas no surprise that poogephers Inve ben athe foreront of cg! invention. ‘Cros-dipinary arenes and interest o not equate it harmony. By 1450 photography was immered in societal eke and Sep at odds wih uel as conjectured to ‘be vartouslyan art dangerto a ascence,revalaionary mens of elation, amines mache fr rendering, and ‘threat oscil onder Beas photography appeared to be {slant reap way fo dent information sexed to Sugurathera modern, Moodle, estar evolton or ‘cial degeneration in which viewer would gt themaies with ‘Pleasing batter images of ey, ‘Some of es od bate aretil being wage, The camer ject continues fo be bath beloved and berated by ‘hotogrpers andthe ener pl The sy eanipeaton ‘of photogs using dgtal stare has enlvned the protracted concern withthe character of photographic elim, ‘eraculr and pop phoographs sch arcamere-hoe sd paper pres we persed Harned lowering the public jdgnen 1n 1923 he mmaker and photographer Pal Strand spoke tostident the Clarence White Schoo! of Photography in Nov ors nd reece on tear poe He ped photograpiars to belong students ofthe chang techie