"The main story is divided into four phases and it is worthy of comment that, curiously, these phases of the main stages of photography also coincide with the periods of social change in the country. There is a good deal of inter-relations between the social scene and the photographic one. This is as it should be, for the important thing about photography is not so much the apparatus and the formulae, but the ghought in man's mind which led him to make his picture."--Avant-propos.

The Encyclopedia of Nineteenth-Century Photography is the first comprehensive encyclopedia of world photography up to the beginning of the twentieth century. It sets out to be the standard, definitive reference work on the subject for years to come. Its coverage is global – an important ‘first’ in that authorities from all over the world have contributed their expertise and scholarship towards making this a truly comprehensive publication. The Encyclopedia presents new and ground-breaking research alongside accounts of the major established figures in the nineteenth century arena. Coverage includes all the key people, processes, equipment, movements, styles, debates and groupings which helped photography develop from being ‘a solution in search of a problem’ when first invented, to the essential communication tool, creative medium, and recorder of everyday life which it had become by the dawn of the twentieth century. The sheer breadth of coverage in the 1200 essays makes the Encyclopedia of Nineteenth-Century Photography an essential reference source for academics, students, researchers and libraries worldwide.

On the photographic works of Deen Dayal, Indian photographer; includes reproductions of his photographs.

The fifth edition of this indispensable history of photography spans the history of the medium, from its early development to current practice, and providing a focused understanding of the cultural contexts in which photographers have lived and worked throughout, this remains an all-encompassing survey. Mary Warner Marien discusses photography from around the world and through the lenses of art, science, travel, war, fashion, the mass media and individual photographers. Professional, amateur and art photographers are all represented, with 'Portrait' boxes devoted to highlighting important individuals and 'Focus' boxes charting particular cultural debates. Mary Warner Marien is also the author of 100 Ideas that Changed Photography and Photography Visionaries. New additions to this ground-breaking global survey of photography includes 20 new images and sections on advances in technology and the influence of social media platforms. An essential text for anyone studying photography.

Providing a thorough and comprehensive introduction to the study of photography, this second edition of Photography: The Key Concepts has been expanded and updated to cover more fully contemporary changes to photography. Photography is a part of everyday life; from news and advertisements, to data collection and surveillance, to the shaping of personal and social identity, we are constantly surrounded by the photographic image. Outlining an overview of photographic genres, David Bate explores how these varied practices can be coded and interpreted using key theoretical models. Building upon the genres included in the first edition – documentary, portraiture, landscape, still life, art and global photography – this second edition includes two new chapters on snapshots and the act of looking. The revised and expanded chapters are supported by over three times as many photographs as in the first edition, examining contemporary practices in more detail and equipping students with the analytical skills they need, both in their academic studies and in their own practical work.An indispensable guide to the field, Photography: The Key Concepts is core reading for all courses that consider the place of photography in society, within photographic practice, visual culture, art, media and cultural studies.

A wedding couple gazes resolutely at viewers from the wings of a butterfly; a portrait surrounded by rose petals commemorates a recently deceased boy. These quiet but moving images represent the changing role of photographic portraiture in India, a topic anthropologist Christopher Pinney explores in Camera Indica. Studying photographic practice in India, Pinney traces photography's various purposes and goals from colonial through postcolonial times. He identifies three key periods in Indian portraiture: the use of photography under British rule as a quantifiable instrument of measurement, the later role of portraiture in moral instruction, and the current visual popular culture and its effects on modes of picturing. Photographic culture thus becomes a mutable realm in which capturing likeness is only part of the project. Lavishly illustrated, Pinney's account of the change from depiction to invention uncovers fascinating links between these evocative images and the society and history from which they emerge.

This edited collection brings together new research by world-leading historians and anthropologists to examine the interaction between images of plague in different temporal and spatial contexts, and the imagination of the disease from the Middle Ages to today. The chapters in this book illuminate to what extent the image of plague has not simply reflected, but also impacted the way in which the disease is experienced in different historical periods. The book asks what is the contribution of the entanglement between epidemic image and imagination to the persistence of plague as a category of human suffering across so many centuries, in spite of profound shifts in our medical understanding of the disease. What is it that makes plague such a visually charismatic subject? And why is the medical, religious and lay imagination of plague so consistently determined by the visual register? In answering these questions, this volume takes the study of plague images beyond its usual, art-historical framework, so as to examine them and their relation to the imagination of plague from medical, historical, visual anthropological, and postcolonial perspectives.

In this innovative study, Gita V. Pai traces the history of the Pudu Mandapam (Tamil, 'new hall') – a Hindu temple structure in Madurai – through the rise and fall of empires in south India from the seventeenth century to the present. This wide-ranging work illustrates how south Indian temples became entangled in broader conflicts over sovereignty, from early modern Nayaka kings, to British colonial rule, to the post-independence government today. Drawing from methodologies in anthropology, religious studies, and art and architectural history, the author argues that the small temple site provides profound insight into the relationship between aesthetics, sovereignty, and religion in modern South Asia.