I would like to thank my friends, colleagues and students in the fields of photography, visual studies and visual anthropology for inspiration, information and ideas: especially Charlie Meecham, Kate Mellor, Maureen Thomas, Michael Moore, and the staff and students of the MFA Photography and PhD programmes at Belfast School of Art, Ulster University. Many of the insights into photographic practice were gained during my freelance work with BBC Television: I am indebted to the experience, professionalism and friendship of the News and Current Affairs staff. I would like to thank the staff of The Guardian, especially the picture editor Fiona Shields for allowing me, once again, to observe and report on their working practices. Many thanks to Jerome Crowder (Institute of Medical Humanities, University of Texas Medical Branch) for allowing me to use his research material for the photo-elicitation case study, as well as his advice, friendship and help in facilitating my work on this new edition at UTMB. I am also very grateful for the patience and attentiveness of my editor at Routledge, Niall Kennedy. Finally, a very special thanks to my wife Janice for her support, guidance and wisdom.
Publisher acknowledgements
Image credits
Don McCullin, Fallen North Vietnamese soldier, 1968, Gelatin-silver print. Reproduced courtesy of Victoria and Albert Museum, London.
Camera obscura engraving from Athanasius Kircher, 1671. Reproduced courtesy of Science and Society Picture Library.
Calum Colvin, Heroes 1, 1986. Reproduced courtesy of Calum Colvin.
Jo Spence, Industrialisation (1), 1982 and Industrialisation (2), 1982. Reproduced courtesy of Terry Dennett/Jo Spence Memorial Archive.
Peter Kennard, Crushed Cruise, 1982. Reproduced courtesy of Peter Kennard.
Cindy Sherman, Untitled Film Still #48, 1979. Reproduced courtesy of Metro Pictures.
Wendy McMurdo, In a shaded place, 1995. © Wendy McMurdo. All Rights Reserved, DACS 2015.
Henry Taunt, Camping at Hart’s Wood Reach, c.1880. Reproduced courtesy of Oxford County Council Photographic Archive.
Homer Sykes, The Abbots Bromley horn dance, 1977. Reproduced courtesy of Homer Sykes.
Nick Ut, Phan Thi Kim Phuc in napalm attack, Vietnam, 1972. Reproduced courtesy of Press Association Images.
J.H. Lartigue, Bichonnade in flight, c.1904. © Ministère de la Culture, France/Association des Amis de J.H. Lartigue.
Red Saunders, The Agreement 1713–2013, 2013. Reproduced courtesy of Red Saunders.
John Hilliard, Cause of Death, 1974 and Ash in Crag Lough, 1976. Reproduced courtesy of John Hilliard.
Grigory Dukor, photograph published in The Times, 7 May 1996. Reproduced courtesy of The Times.
Grigory Dukor, photograph published in The Guardian, 7 May 1996. Reproduced courtesy of Guardian News and Media Ltd.
Courbet and the Communards, Paris, c.1871. Reproduced courtesy of Bibliothèque Nationale de France.
David Sillitoe, The Monet exhibition at the National Gallery, 1997 and the photograph as it appeared in The Guardian, 6 March 1997. Reproduced courtesy of Guardian News and Media Ltd.
Reuters, Helicopter rescue, Mozambique, 2001 and poster of Osama Bin Laden and Bert, in Bangladesh protest, 2001, photograph by Rafiqur Rahman. Reproduced courtesy of Reuters.
Stephen Shore, Broad Street, Regina, Saskatchewan, 1974. © Stephen Shore/Art + Commerce.
Kate Mellor, Stadttor, Düsseldorf, 2011. Reproduced courtesy of Kate Mellor.
Charlie Meecham, Kendal Museum, 2012 (Dodo model made by Carl Church). Reproduced courtesy of Charlie Meecham.
J. Lamprey, Anthropometric image of Malayan male, c.1868–9. Reproduced courtesy of Royal Anthropological Institute.
Kultured kameraden: a study of Hun physiognomy, 1917. Reproduced courtesy of Imperial War Museum.
Heinrich Hoffman, Adolf Hitler, 20 April 1944. Reproduced courtesy of Bayerische Staatsbibliothek/Heinrich Hoffman Picture Archive.
Charles Meade, L.J.M. Daguerre: a daguerreotype, 1848. Reproduced courtesy of J. Paul Getty Museum.
Henry Peach Robinson, Carolling: a composite photograph, 1887. Reproduced courtesy of Art Institute of Chicago.
Dan Ponting, Self(ish) Characters #14, 2009. Reproduced courtesy of Dan Ponting.
Cover of Country Life magazine. Reproduced courtesy of Terence Wright and Country Life Picture Library.
Jerome Crowder, Eduardo builds a window, El Alto, Bolivia, 2011; Ruben Mamani, The Mamanis, 2003; Donald, Who cut off the water?, 2006; Tiffany Hinson, Me and my friend, 2006. All images reproduced courtesy of Jerome Crowder. All images originally in colour.
Andrea Pozzo, Saint Ignatius entering Heaven, c.1707; Oxford Street, London, 1998; Baronet Street, Derry, 2014; Williams Tower in Houston, Texas (1), 2015; Williams Tower in Houston, Texas (2), 2015; Williams Tower in Houston, Texas (3), 2015; An example of deliberate false attachment ‘selfie’, 2015; The Strand, Galveston, Texas, 2015; Wooton, Oxfordshire, taken with a long lens, 1997; Wooton, Oxfordshire, taken with a wide lens, 1997; President Reagan and Prime Minister Thatcher, 1984; The old school, 1904 and 1997: a digital photograph; Maurice Bishop, 1983; A ‘found’ caption, 2015; ‘Reading’ on-screen thumbnails; Rainstorm, Paris, 1988; The Guardian front page: Wednesday 21 January 2015; A photograph taken from a ‘conventional’ angle; Terence Wright, Post-production cropping; Periyar, India: an example of angled cropping, 1996; Factory fire, Cricklewood, London, 1985; Photo-call at the National Gallery; The Guardian (Australia) webpage; The Guardian Kings Place Offices; Fiona Shields, Picture Editor, The Guardian; The Guardian layout wall; David Hay, 1980; New Year’s Eve, Trafalgar Square, London, 1979–80; Police with guns at the beginning of the siege at the Libyan People’s Bureau, 17 April 1984; The press set-up at the siege; The end of the siege; The siege photograph which was used on BBC Television News; Charlie Meecham and Kate Mellor, Nanholm Studio, Yorkshire, 1997; Tube Theatre, London, 1983; Tube Theatre, London: detail of analogue image, 1983; Tube Theatre, London: detail of digital image, 1983. All images reproduced courtesy of Terence Wright.
Text credits
I.R. Sorgi ‘Suicide’ image and associated text reproduced courtesy of Buffalo State College Archives and Special Collections.
Quotation from Rosler, M. (1991) ‘Image Simulations, Computer Manipulations, Some Considerations’, Ten-8: Digital Dialogues, 2 (2), pp. 52–63. Slightly revised, abridged version of ‘Image Simulations, Computer Manipulations: Some Ethical Considerations’, Digital Photography (San Francisco Camera-work, 1988) and ‘Image Simulations, Computer Manipulations, Some Considerations’, Afterimage, 17 (4), 1989, and included in Martha Rosler, Decoys and Disruptions: Selected Writings, 1975–2001 (Cambridge, MA: MIT Press, 2004). Reprinted courtesy of Martha Rosler.
Quotation from ‘Camera Art’ by L. Levine, Studio International, vol. 190 (1976), pp. 52–4. Reprinted courtesy of Studio International. www.studiointernational.com.
Quotation from ‘Would We Care Without the Tide of TV Images?’ by Austin, M. published 5 March 2000. Courtesy of The Times. Quotation reprinted from Consciousness and Cognition, Vol. 13, Issue 2, Epstein, R. ‘Consciousness, Art, and the Brain: Lessons from Marcel Proust’, pp. 213–40, copyright (2004), with permission from Elsevier.
Quotation from Sommerlad, N. (2014) ‘MI6 closing in on WPC Yvonne Fletcher’s killer on 30th anniversary of her death’ Mirror Online www.mirror.co.uk/news/uk-news/yvonne-fletcher-murder-mi6-closing-3421949. 17 April. Reprinted courtesy of Mirrorpix.
Quotation from Wright, C. E. (2013) ‘Photography and Copyright Law’ http://blog.kenkaminesky.com/photography-copyright-and-the-law/. Reprinted courtesy of Ken Kaminesky.
Quotation from Swan, P.A. (1995) ‘The Ethics of Photo Digital Manipulation’, Military Review, LXXV (6). Reprinted courtesy of Military Review.
The Scottish Parliament Parliamentary News Release, information licensed under the Open Scottish Parliament Licence V.2.
While every effort has been made to trace copyright holders and obtain permission, this has not been possible in all cases. Any omissions brought to our attention will be remedied in future editions.