Abstract
In an era of proliferating visual images, from ‘selfies’ and ‘point and snap’ photography of the ubiquitous mobile phone to commercial art and advertising, this textbook provides an introduction to the history, theory and discussion of contemporary photographic practice in the United Kingdom.
Written by art historian Peter Smith and photographic artist Carolyn Lefley while they were teaching an undergraduate photography course at the University of West London, this book is presented in four quite distinct sections, interspersed with five case studies developed for initiating classroom discussions and augmented by two further case studies available on a related website.
The first two sections provide relevant history, theory and case studies to support undergraduate teaching for photography students with a vocational focus. The histories of photography are introduced drawing primarily on European and North American developments incorporating illustrations with a number of iconic photographs from across the last two centuries and lead into the rise of photography theory including anti-realist trends, the constructed photograph, conceptual art and social radicalism, and the return of the real as well as contemporary issues such as the politics of representation and the relationship of the photograph with words and iconic and symbolic signs, and the tensions of photographs as documentary and reportage as well as art.
The first case study explains how photography became accessible, affordable and popular with Snapshot Photography and the Portable Box Camera, while the second continues this development with the Digital Camera. The third case study introduces the terminology and historical background to semiology and usefully outlines technical codes for undertaking visual analysis informed by semiology.
The latter two sections are devoted to the practice of teaching photography primarily in the United Kingdom, outlining the history of the development of photography courses alongside the rise of polytechnic institutions with the upgrade of art schools to university status and providing commentary on the continuing divide of vocational and non-vocational courses as well as making mention of the place of photographic and image-making skills today in industries well beyond the academy and creative industries including health and scientific imaging but providing no further detail.
Linked to this part is the fourth case study focussing on Digital and Mobile Phone Cultures and the more vocationally focused fifth and very specific case study on the use of Computer-Generated Imagery (CGI) in Car Photography. This provides a brief opportunity to look at future employment opportunities for this mix of technical and aesthetic skills.
As a textbook, the first two sections provide good introductions and clear definitions to key concepts taught in theoretical undergraduate photography courses but is somewhat limited by the almost universal omission from discussion of the role of photo-journalism. The discussion of photography education is of limited interest beyond the United Kingdom, while the conflict that aspiring professional photographers face between fine art photography with creative freedom and commercial work where the photographer must respond to the demands of clients is a useful reminder for the photography student when selecting a career.