Photo Album brings together seven distinct bodies of work by Chino Otsuka, covering the period 1998 to 2012. Born in Tokyo, Chino came to Britain at the age of 10. The core of her photographic work is based on the personal experience arising from this move and her sense of a dual inheritance from both East and West. In many of her projects she uses self-portraiture to explore themes of belonging, identity and memory. The imagined and the real, reflection and projection, past and present are all recurring themes.

Whether pasted into an album, framed or shared on social media, the family photograph simultaneously offers a private and public insight into the identity and past of its subject. Long considered a model for understanding individual identity, the idea of the family has increasingly formed the basis for exploring collective pasts and cultural memory. Picturing the Family investigates how visual representations of the family reveal both personal and shared histories, evaluating the testimonial and social value of photography and film.Combining academic and creative, practice-based approaches, this collection of essays introduces a dialogue between scholars and artists working at the intersection between family, memory and visual media. Many of the authors are both researchers and practitioners, whose chapters engage with their own work and that of others, informed by critical frameworks. From the act of revisiting old, personal photographs to the sale of family albums through internet auction, the twelve chapters each present a different collection of photographs or artwork as case studies for understanding how these visual representations of the family perform memory and identity. Building on extensive research into family photographs and memory, the book considers the implications of new cultural forms for how the family is perceived and how we relate to the past. While focusing on the forms of visual representation, above all photographs, the authors also reflect on the contextualization and ‘remediation’ of photography in albums, films, museums and online.

A maverick in the history of photography, Ishiuchi Miyako (b. 1947) burst onto the scene in Tokyo during the mid-1970s, at a time when men dominated the field in Japan. Working prodigiously over the last forty years, she has created an impressive oeuvre and quietly influenced generations of photographers born in the postwar era. Recipient of the prestigious Hasselblad Award in 2014, Ishiuchi ranks as one of the most significant photographers working in Japan today. Spurred by her contentious relationship with her hometown, Yokosuka — site of an important American naval base since 1945 — Ishiuchi chose that city as her first serious photographic subject. Grainy, moody, and deeply personal, these early projects established her career. This choice of subject also defined the beginning of Ishiuchi’s extended exploration of the American occupation and the shadows it cast over postwar Japan. Ishiuchi has since addressed the theme of occupation both indirectly — through her photographs of scars, skin, and other markers of time on the human body — and more explicitly, with her images of garments and accessories once owned by victims of the atomic blast in Hiroshima. Essays featured in this volume reveal the past as the wellspring of Ishiuchi’s work and the present moment as her principal subject. Ishiuchi Miyako: Postwar Shadows — which includes a selection of more than 100 works — is published on the occasion of an exhibition by the same name, on view at the J. Paul Getty Museum at the Getty Center, Los Angeles, from October 5, 2015, to February 21, 2016.

Whether pasted into an album, framed or shared on social media, the family photograph simultaneously offers a private and public insight into the identity and past of its subject. Long considered a model for understanding individual identity, the idea of the family has increasingly formed the basis for exploring collective pasts and cultural memory. Picturing the Family investigates how visual representations of the family reveal both personal and shared histories, evaluating the testimonial and social value of photography and film.Combining academic and creative, practice-based approaches, this collection of essays introduces a dialogue between scholars and artists working at the intersection between family, memory and visual media. Many of the authors are both researchers and practitioners, whose chapters engage with their own work and that of others, informed by critical frameworks. From the act of revisiting old, personal photographs to the sale of family albums through internet auction, the twelve chapters each present a different collection of photographs or artwork as case studies for understanding how these visual representations of the family perform memory and identity. Building on extensive research into family photographs and memory, the book considers the implications of new cultural forms for how the family is perceived and how we relate to the past. While focusing on the forms of visual representation, above all photographs, the authors also reflect on the contextualization and ‘remediation’ of photography in albums, films, museums and online.

This lavish book marks the 40th anniversary of Barthes' renowned work Camera Lucida in 2020. Artist Odette England invited 199 of the world's best-known contemporary photographers, writers, critics, curators and art historians to contribute an image or text that reflects on Barthes' unpublished snapshot of his mother, aged five. This snapshot is known as the winter garden photograph. Barthes discusses it at length in Camera Lucida, but never reproduces it. It is one of the most famous unseen photographs in the world.

Despite our stereotypical ideas on photographic images as a snapshots (slices of time), photography is fundamentally a time-based medium. The relationships between photography and time are manifold: time can be directly represented within the image, it can be its theme and philosophical horizon, but it can also represent the global framework in which photographic practices develop and change through time. It is the ambition of this book to bring together the various aspect of time in photography as well as of photography in time, and to illustrate them in a series of case studies that focus on seminal authors (e.g. Fox Talbot, Victor Burgin, Robert Morris) and genres (e.g. spirit photography, montage photobooks and tableau photography), with examples ranging from the very first photographic pictures to the most recent cross-medial uses of photography in and outside art.

Japan’s traditional and fragile satoyama landscape system was developed over centuries of human life on mountainous island terrain in a monsoon climate. The carefully managed coppice woodlands on the hillsides, the villages strung along the base of the hills, and the carefully tended paddy fields of rural Japan made possible the sustainable interaction of nature and humans. Radical changes in the middle of the twentieth century led to the abandonment of satoyama landscapes which now are being rediscovered. There is a new realization that these woodlands still play a vital role in the management of the Japanese landscape and a new determination to manage them for the future. This multifaceted book explores the history, nature, biodiversity, current conservation measures, and future uses of satoyama. The information presented here will be of interest in all parts of the world where patterns of sustainable development are being sought.

This seminal photography text, now in its 11th edition, has been revamped, reorganized, and modernized to include the most up-to-date and need-to-know information for photographers. Introducing all the key concepts and fundamentals of photography, this book is a must-have for any photographer’s bookcase. Providing examples and practical information throughout to allow photographers to apply concepts to their own work, the text explains the fundamentals of photography in an accessible way. Fully updated to reflect the dynamic changes in the industry, this 11th edition includes expanded and updated content focusing on advances in camera technology and digital lighting, connecting with the global photography industry and professional networks through social media, updated images throughout, and a new chapter on new digital outputs. Ideal as a foundational text for students of photography as well as a key reference for professionals.

The most complete, one-stop reference for fiber optic sensor theory and application Optical Fiber Sensors: Fundamentals for Development of Optimized Devices constitutes the most complete, comprehensive, and up-to-date reference on the development of optical fiber sensors. Edited by two respected experts in the field and authored by experienced engineers and scientists, the book acts as a guide and a reference for an audience ranging from graduate students to researchers and engineers in the field of fiber optic sensors. The book discusses the fundamentals and foundations of fiber optic sensor technology and provides real-world examples to illuminate and illustrate the concepts found within. In addition to the basic concepts necessary to understand this technology, Optical Fiber Sensors includes chapters on: Distributed sensing with Rayleigh, Raman and Brillouin scattering methods Biomechanical sensing Gas and volatile organic compound sensors Application of nanotechnology to optical fiber sensors Health care and clinical diagnosis And others Graduate students as well as professionals who work with optical fiber sensors will find this volume to be an indispensable resource and reference.