Hybrid Photography
Intermedial Practices in Science and Humanities
Herausgeber: Hillnhuetter, Sara; Tietjen, Friedrich; Klamm, Stefanie
Hybrid Photography
Intermedial Practices in Science and Humanities
Herausgeber: Hillnhuetter, Sara; Tietjen, Friedrich; Klamm, Stefanie
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This book explores the territories where manual, graphic, photographic, and digital techniques interfere and interlace in sciences and humanities.
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This book explores the territories where manual, graphic, photographic, and digital techniques interfere and interlace in sciences and humanities.
Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Produktdetails
- Produktdetails
- Routledge History of Photography
- Verlag: Taylor & Francis Ltd
- Seitenzahl: 200
- Erscheinungstermin: 8. April 2021
- Englisch
- Abmessung: 246mm x 175mm x 25mm
- Gewicht: 650g
- ISBN-13: 9781501341656
- ISBN-10: 1501341650
- Artikelnr.: 55887587
- Routledge History of Photography
- Verlag: Taylor & Francis Ltd
- Seitenzahl: 200
- Erscheinungstermin: 8. April 2021
- Englisch
- Abmessung: 246mm x 175mm x 25mm
- Gewicht: 650g
- ISBN-13: 9781501341656
- ISBN-10: 1501341650
- Artikelnr.: 55887587
Sara Hillnhuetter is a research associate in the LOEWE cluster "Architectures of Order" at the Goethe University Frankfurt. Stefanie Klamm is a research associate at Gotha Research Centre, University of Erfurt. Friedrich Tietjen works as a researcher and curator and is one of the founders and co-organizers of the annual conference "After Post-Photography" in St. Petersburg, Russia.
Introduction: Where Does Photography Start? And Where Does it End? A Hybrid
Introduction
Sara Hillnhuetter, Stefanie Klamm, Friedrich Tietjen
Part 1: Hybrid Measurement
Sara Hillnhetter
1. Hybrid Photography in the History of Science: The Case of Astronomical
Practice
Omar W. Nasim
2. The Map as a Photograph: Theodor Scheimpflug's Balloon Aerial
Photogrammetry
Michael Kempf
3. Seen from Above: Wilhelm Halffter's Photographs of 1854, Depicting the
Terrain Models of Hermann and Adolph Schlagintweit
Sigrid Schulze
4. In Order of Disappearance: Photography, Measurement and Art Historical
Practice in Nineteenth-Century German
Sara Hillnhetter
Part 2: Hybrid Materiality
Stefanie Klamm
5. "Imageability": Aligning Bodies and Imaging Technologies
Kathrin Friedrich
6. Beyond Retouching: Hans Virchow's Mixed Media and His X-ray Drawings of
the Lotus Foot
Vera Dünkel
7. From Photography to Printing: the Chronophotography of Étienne-Jules
Marey
Linda Bertelli
8. Entangled Environments: Diorama, Photography, and the Staging of Natural
Surroundings
Alexander Streitberger
9. Reconfiguring the Use of Photography in Archaeology
Stefanie Klamm
Part 3: Hybrid Reproduction
Friedrich Tietjen
10. "The Camera That Takes a Face, Can Take a Page": Microfilm as a
Scientific Aid
Estelle Blaschke
11. Stereo Atlases as Hybrid Knowledge
Kelley Wilder
12. Retouching, Staging, and Authenticity: Early Animal Photography and the
Tradition of Popular Zoological Illustration around 1900
Alexander Gall
13. "Offering Pleasures to the Eye." Max Semrau's Kunst des Altertums
(1899), Its Illustrations, and Art History's Ignorance Towards Reproduction
Friedrich Tietjen
14. Fantasy of a World Without Humans
Jimena Canales
Introduction
Sara Hillnhuetter, Stefanie Klamm, Friedrich Tietjen
Part 1: Hybrid Measurement
Sara Hillnhetter
1. Hybrid Photography in the History of Science: The Case of Astronomical
Practice
Omar W. Nasim
2. The Map as a Photograph: Theodor Scheimpflug's Balloon Aerial
Photogrammetry
Michael Kempf
3. Seen from Above: Wilhelm Halffter's Photographs of 1854, Depicting the
Terrain Models of Hermann and Adolph Schlagintweit
Sigrid Schulze
4. In Order of Disappearance: Photography, Measurement and Art Historical
Practice in Nineteenth-Century German
Sara Hillnhetter
Part 2: Hybrid Materiality
Stefanie Klamm
5. "Imageability": Aligning Bodies and Imaging Technologies
Kathrin Friedrich
6. Beyond Retouching: Hans Virchow's Mixed Media and His X-ray Drawings of
the Lotus Foot
Vera Dünkel
7. From Photography to Printing: the Chronophotography of Étienne-Jules
Marey
Linda Bertelli
8. Entangled Environments: Diorama, Photography, and the Staging of Natural
Surroundings
Alexander Streitberger
9. Reconfiguring the Use of Photography in Archaeology
Stefanie Klamm
Part 3: Hybrid Reproduction
Friedrich Tietjen
10. "The Camera That Takes a Face, Can Take a Page": Microfilm as a
Scientific Aid
Estelle Blaschke
11. Stereo Atlases as Hybrid Knowledge
Kelley Wilder
12. Retouching, Staging, and Authenticity: Early Animal Photography and the
Tradition of Popular Zoological Illustration around 1900
Alexander Gall
13. "Offering Pleasures to the Eye." Max Semrau's Kunst des Altertums
(1899), Its Illustrations, and Art History's Ignorance Towards Reproduction
Friedrich Tietjen
14. Fantasy of a World Without Humans
Jimena Canales
Introduction: Where Does Photography Start? And Where Does it End? A Hybrid
Introduction
Sara Hillnhuetter, Stefanie Klamm, Friedrich Tietjen
Part 1: Hybrid Measurement
Sara Hillnhetter
1. Hybrid Photography in the History of Science: The Case of Astronomical
Practice
Omar W. Nasim
2. The Map as a Photograph: Theodor Scheimpflug's Balloon Aerial
Photogrammetry
Michael Kempf
3. Seen from Above: Wilhelm Halffter's Photographs of 1854, Depicting the
Terrain Models of Hermann and Adolph Schlagintweit
Sigrid Schulze
4. In Order of Disappearance: Photography, Measurement and Art Historical
Practice in Nineteenth-Century German
Sara Hillnhetter
Part 2: Hybrid Materiality
Stefanie Klamm
5. "Imageability": Aligning Bodies and Imaging Technologies
Kathrin Friedrich
6. Beyond Retouching: Hans Virchow's Mixed Media and His X-ray Drawings of
the Lotus Foot
Vera Dünkel
7. From Photography to Printing: the Chronophotography of Étienne-Jules
Marey
Linda Bertelli
8. Entangled Environments: Diorama, Photography, and the Staging of Natural
Surroundings
Alexander Streitberger
9. Reconfiguring the Use of Photography in Archaeology
Stefanie Klamm
Part 3: Hybrid Reproduction
Friedrich Tietjen
10. "The Camera That Takes a Face, Can Take a Page": Microfilm as a
Scientific Aid
Estelle Blaschke
11. Stereo Atlases as Hybrid Knowledge
Kelley Wilder
12. Retouching, Staging, and Authenticity: Early Animal Photography and the
Tradition of Popular Zoological Illustration around 1900
Alexander Gall
13. "Offering Pleasures to the Eye." Max Semrau's Kunst des Altertums
(1899), Its Illustrations, and Art History's Ignorance Towards Reproduction
Friedrich Tietjen
14. Fantasy of a World Without Humans
Jimena Canales
Introduction
Sara Hillnhuetter, Stefanie Klamm, Friedrich Tietjen
Part 1: Hybrid Measurement
Sara Hillnhetter
1. Hybrid Photography in the History of Science: The Case of Astronomical
Practice
Omar W. Nasim
2. The Map as a Photograph: Theodor Scheimpflug's Balloon Aerial
Photogrammetry
Michael Kempf
3. Seen from Above: Wilhelm Halffter's Photographs of 1854, Depicting the
Terrain Models of Hermann and Adolph Schlagintweit
Sigrid Schulze
4. In Order of Disappearance: Photography, Measurement and Art Historical
Practice in Nineteenth-Century German
Sara Hillnhetter
Part 2: Hybrid Materiality
Stefanie Klamm
5. "Imageability": Aligning Bodies and Imaging Technologies
Kathrin Friedrich
6. Beyond Retouching: Hans Virchow's Mixed Media and His X-ray Drawings of
the Lotus Foot
Vera Dünkel
7. From Photography to Printing: the Chronophotography of Étienne-Jules
Marey
Linda Bertelli
8. Entangled Environments: Diorama, Photography, and the Staging of Natural
Surroundings
Alexander Streitberger
9. Reconfiguring the Use of Photography in Archaeology
Stefanie Klamm
Part 3: Hybrid Reproduction
Friedrich Tietjen
10. "The Camera That Takes a Face, Can Take a Page": Microfilm as a
Scientific Aid
Estelle Blaschke
11. Stereo Atlases as Hybrid Knowledge
Kelley Wilder
12. Retouching, Staging, and Authenticity: Early Animal Photography and the
Tradition of Popular Zoological Illustration around 1900
Alexander Gall
13. "Offering Pleasures to the Eye." Max Semrau's Kunst des Altertums
(1899), Its Illustrations, and Art History's Ignorance Towards Reproduction
Friedrich Tietjen
14. Fantasy of a World Without Humans
Jimena Canales