In this extensive photo-location and visitor guidebook, award winning landscape and wildlife photographer Drew Buckley describes the most beautiful places in South Wales to visit and photograph whether you are using a high-end DSLR or a mobile phone camera. PHOTOGRAPHING SOUTH WALES is a photography-location and visitor guidebook. An essential companion for anyone with a camera who is visiting South Wales. South Wales is a land of big skies above majestic mountains, lush green countryside, idyllic wooded river valleys and towering waterfalls, all fringed by a coastline of sea cliffs, golden beaches and turquoise waters. Explore the Brecon Beacons National Park and the coastline of the Pembrokeshire Coast National Park, home to quaint fishing harbours, secret coves, grey seals and puffins. Then venture to hidden spots on the Gower and South East Wales, and as far north as Ceredigion and Aberystwyth in Mid Wales. South Wales is rich with history, myths and legends. You will discover the remains of iron age forts, bronze age burial chambers and prehistoric stones with many medieval castles bringing drama to the picturesque landscape. FEATURING: 62 locations and over 500 beautiful photographs Topographic maps Sat nav and map co-ordinates Sun compass Best times to visit and seasonal highlights Photographic tips Accessibility notes Travel information The best places to stay, eat and drink
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.
Focusing on one representative figure, Francis Bedford, this study emphasizes how photographs operated to form and transmit cultural ideas and values. The first writing on Bedford since the 1970s, the book examines this premier photographer who was also commercially successful. Major themes include the intersection of nature and culture, the practice of nineteenth-century tourism, attitudes toward historical identity, and the formation of a national identity in England and Wales.
Photographing Papua is a study of photography in the public domain in the late nineteenth and early twentieth centuries. It argues that southeastern New Guinea, known as British New Guinea and then as Papua when it became an Australian colony, was created as a geographical place through visual representation in illustrated magazines and newspapers, lavishly illustrated travelogues and mission hagiography, serial encyclopedia, lantern slides and postcards. Readers :knew" Papua because many thousands of black and white photographs of Papuans, villages and material culture rapidly swamped the reading public once the process of halftone, newsprint reproduction became possible. In an innovative and breakthrough fashion Photographing Papua switches attention from a few well known prints in museums and archives, in some cases repeatedly reproduced, but mostly rarely seen outside of scientific and scholarly circles. It deals instead with thousands of photographs, often used in ways not intended when the photograph was taken, but which editors and publishers (and subsequent photographers) gradually made conform to an iconographic imperative, a sort of abbreviated visual gallery of "natives" and a quick-access pathway to the actual and imagined lives of Papuans in the "last Unknown" as New Guinea was titled. It is a study of representation, colonialism, cross-cultural encounters and the early world of illustrated media and photo-journalism.
Richly illustrated with over 100 images, this volume explores the role of photography in raising historical consciousness from a variety of geographic, cultural, and historical perspectives. 128 photos.
The bioregion of Australia, New Zealand, Antarctica and New Guinea possesses a unique natural heritage stretching back over 50 million years since the break-up of the great southern continent of Gondwanaland. The South Australian Museum focuses on enhancing a general knowledge of this extraordinary legacy by encouraging photography of the region’s nature and wilderness, and promoting an annual competition to find the Nature Photographer of the Year. Australasian Nature Photography: ANZANG Ninth Collection presents the finest photographs submitted to the competition. Each photograph is accompanied by technical information as well as anecdotes about how the picture was taken, which will stimulate yet further interest in the flora and fauna and their conservation in the region.
The Ballets Russes in Australia and Beyond draws together essays by leading international and national scholars, who explore the rich legacy of the Ballets Russes. A dazzling array of pictures brings to life the sheer vitality of the companies in a way that makes the volume indispensable to balletomanes, scholars, and those fascinated by the synergies between the creative arts in general.
The definitive collection of photographs from the Shackleton expedition includes never-before-published images from the remarkable 1914 expedition to Antarctica.
The Handbook of Photography Studies is a state-of-the-art overview of the field of photography studies, examining its thematic interests, dynamic research methodologies and multiple scholarly directions. It is a source of well-informed, analytical and reflective discussions of all the main subjects that photography scholars have been concerned with as well as a rigorous study of the field’s persistent expansion at a time when digital technology regularly boosts our exposure to new and historical photographs alike. Split into five core parts, the Handbook analyzes the field’s histories, theories and research strategies; discusses photography in academic disciplinary and interdisciplinary contexts; draws out the main concerns of photographic scholarship; interrogates photography’s cultural and geopolitical influences; and examines photography’s multiple uses and continued changing faces. Each part begins with an introductory text, giving historical contextualization and scholarly orientation. Featuring the work of international experts, and offering diverse examples, insights and discussions of the field’s rich historiography, the Handbook provides critical guidance to the most recent research in photography studies. This pioneering and comprehensive volume presents a systematic synopsis of the subject that will be an invaluable resource for photography researchers and students from all disciplinary backgrounds in the arts, humanities and social sciences.
With their power to create a sense of proximity and empathy, photographs have long been a crucial means of exchanging ideas between people across the globe; this book explores the role of photography in shaping ideas about race and difference from the 1840s to the 1948 Declaration of Human Rights. Focusing on Australian experience in a global context, a rich selection of case studies – drawing on a range of visual genres, from portraiture to ethnographic to scientific photographs – show how photographic encounters between Aboriginals, missionaries, scientists, photographers and writers fuelled international debates about morality, law, politics and human rights.Drawing on new archival research, Photography, Humanitarianism, Empire is essential reading for students and scholars of race, visuality and the histories of empire and human rights.
Colin Boococks' railway photographs are already familiar as they have been featured in a variety of railway books and magazines. This book shows around 300 of his favorite images that illustrate the many different aspects of railway photography.The key seven chapters in this book each cover one decade from the 1940s up to the present day. Not only do they display the early improvement in his photography as he gained experience, they also bring into focus how much railways have changed over the last seventy years. Grimy steam locomotives in smoky surroundings persisted in ever-reducing pockets as more modern forms of traction spread across our railways. Working steam finally disappeared from UK main lines in 1968 and around coal mines in the mid–1980s.The later chapters benefit greatly from Colins' worldwide travels, in which he searched for more unfamiliar railways. The growth of heritage railways also features.Useful appendices add insights into Colins' experience of camera technologies and photographic techniques. These emphasize the changes that have faced him as his photography has moved from black-and-white to color, and from films and darkrooms to the computer and the digital age. Colin last used film in early 2004, having embraced digital photography with enthusiasm.
Colonialist Photography is an absorbing collection of essays and photographs exploring the relationship between photography and European and American colonialism. The book is packed with well over a hundred captivating images, ranging from the first experiments with photography as a documentary medium up to the decolonization of many regions after World War II. Reinforcing a broad range of Western assumptions and prejudices, Eleanor M. Hight and Gary D. Sampson argue that such images often assisted in the construction of a colonial culture.
James William Newland’s (1810–1857) career as a showman daguerreotypist began in the United States but expanded into Central and South America, across the Pacific to New Zealand and colonial Australia and onto India. Newland used the latest developments in photography, theatre and spectacle to create powerful new visual experiences for audiences in each of these volatile colonial societies. This book assesses his surviving, vivid portraits against other visual ephemera and archival records of his time. Newland’s magic lantern and theatre shows are imaginatively reconstructed from textual sources and analysed, with his short, rich career casting a new light on the complex worlds of the mid-nineteenth century. It provides a revealing case study of someone brokering new experiences with optical technologies for varied audiences at the forefront of the age of modern vision. This book will be of interest to scholars in art and visual culture, photography, the history of photography and Victorian history.
'Photography and Australia' focuses on those aspects of photographic practice that can be considered distinctively Australian. It argues that the colonial experience has been crucial in shaping photographers' concerns.