Throughout its early history, photography's authenticity was contested and challenged: how true a representation of reality can a photograph provide? Does the reproduction of a photograph affect its value as authentic or not?
Throughout its early history, photography's authenticity was contested and challenged: how true a representation of reality can a photograph provide? Does the reproduction of a photograph affect its value as authentic or not?
Geoffrey Belknap is a post-doctoral research fellow on the 'Constructing Scientific Communities' project at the University of Leicester, UK, and a research fellow at the Centre for Arts and Humanities Research in the Natural History Museum in London, UK. He is a co-editor of Volume 9 of the John Tyndall Correspondence Project (forthcoming).
Inhaltsangabe
IntroductionSection I: Placing Trust In PhotographsChapter 1 - Illustrating Victorian Culture: Photography and the Popular PressChapter 2 - Illustrating Nature: Photography and the Scientific PressSection II: Photographic Trust in UseChapter 3 - The Pigeon, The Microphotograph and the Hot Air Balloon: Technologies of CommunicationChapter 4 - Photographing the Invisible: The Periodical and the Reproduction of the InstantChapter 5 - Photography at a Distance: Reproducing the 1874 Transit of Venus EnterpriseConclusion BibliographyIndex
IntroductionSection I: Placing Trust In PhotographsChapter 1 - Illustrating Victorian Culture: Photography and the Popular PressChapter 2 - Illustrating Nature: Photography and the Scientific PressSection II: Photographic Trust in UseChapter 3 - The Pigeon, The Microphotograph and the Hot Air Balloon: Technologies of CommunicationChapter 4 - Photographing the Invisible: The Periodical and the Reproduction of the InstantChapter 5 - Photography at a Distance: Reproducing the 1874 Transit of Venus EnterpriseConclusion BibliographyIndex
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