Book
xiv, 280 pages : illustrations ; 23 cm
  • The type and the gaze: racial photography as scientific evidence, 1876-1918
  • Racial photographs from icons to schemes: the "case" of Central and Eastern European Jews, 1880-1927
  • Serialization as construction of meaning: the photographic practice of Hans F.K. Günther in context
  • Racial photographs as "thought experiments": the photographic method of Ludwig Ferdinand Clauß
  • Racial photography in Palestine.
Race and Photography studies the changing function of photography from the 1870s to the 1940s within the field of the "science of race, " what many today consider the paradigm of pseudo-science. Amos Morris-Reich looks at the ways photography enabled not just new forms of documentation but new forms of perception. Foregoing the political lens through which we usually look back at race science, he holds it up instead within the light of the history of science, using it to explore how science is defined; how evidence is produced, used, and interpreted; and how science shapes the imagination and vice versa. Exploring the development of racial photography wherever it took place, including countries like France and England, Morris-Reich pays special attention to the German and Jewish contexts of scientific racism. Through careful reconstruction of individual cases, conceptual genealogies, and patterns of practice, he compares the intended roles of photography with its actual use in scientific argumentation. He examines the diverse ways it was used to establish racial ideologies-as illustrations of types, statistical data, or as self-evident record of racial signs. Altogether, Morris-Reich visits this troubling history to outline important truths about the roles of visual argumentation, imagination, perception, aesthetics, epistemology, and ideology within scientific study.
(source: Nielsen Book Data)
Green Library
Book
87 pages : color illustrations ; 22 cm
Art & Architecture Library (Bowes)
Book
216 pages : ill. (some color) ; 23 cm
Art & Architecture Library (Bowes)
Book
206 p. : ill (some col) ; 27 cm.
Art & Architecture Library (Bowes)
Book
xiv, 165 pages : ill. ; 23 cm.
  • 1. Introduction: shared media, differing projects and projections 2. Enter Maxwell 3. Photographic illustrations 4. What objectivity? Whose objectivity? Automatic objectivity is social and scientific 5. Photography organized and scientific: from amateurs to professionals 6. Photography as instrument and profession: Art versus science 7. Photographic collaborations: two more cases 8. Maxwell's pictorial and photographic background 9. Methodology of experimental inaction 10. Enter Sutton 11. The place of collaboration and chemistry between men 12. Technologies of projection and color: Different problems and images. Color and truth. 13. A Tale of two experiments: From professional to cognitive autonomy 14. Photographic consequences 15. Conclusion.
  • (source: Nielsen Book Data)
The 1861 collaboration between physicist James Clerk Maxwell and photographer Thomas Sutton was a landmark episode in the history of optics and photography, resulting in the famous "Tartan ribbon" image: the first permanent color photograph in history. This focused and incisive study from Maxwell scholar Jordi Cat reassesses this partnership, situating it within the histories of objectivity, experiment, and collaboration. Cat reveals that Maxwell and Sutton were closer to true partners than has commonly been assumed, and shows how their experiments illuminate the role of Victorian technology, representational practices, and modes of participation in Maxwell's natural philosophy.
(source: Nielsen Book Data)
SAL3 (off-campus storage)
Book
192 p. : ill. (some col.) ; 22 cm.
  • 1 Setting Out 2 Conquering the Unknown 3 Picturing Nature 4 Encounters and Exchanges 5 Returns and Reputations References Select Bibliography Acknowledgements Photo Acknowledgements Index.
  • (source: Nielsen Book Data)
When Ferdinand Magellan set out to circumnavigate the globe in 1519, he wasn't able to bring a digital camera or a smartphone with him. Yet, as the eagerly awaited images from the Mars rover prove, modern exploration is inconceivable without photography. Since its invention in 1839, photography has been integral to exploration, used by explorers, sponsors, and publishers alike, and the early twentieth century, advances in technology--and photography's newfound cultural currency as a truthful witness to the world--made the camera an indispensable tool. In Photography and Exploration, James Ryan uses a variety of examples, from polar journeys to space missions, to show how exploration photographs have been created, circulated and consumed as objects of both scientific research and art. Examining a wide range of photographs and expeditions, Ryan considers how nations have often employed images as a means to scientific advancement or territorial conquest. He argues that because exploration has long been bound up with the construction of national and imperial identity, expeditionary photographs have often been used to promote claims to power--especially by the West. These images also challenge the way audiences perceive the world and their place within it. Featuring one hundred images, Photography and Exploration shines new light on how photography has shaped the image of explorers, expeditions, and the worlds they discovered.
(source: Nielsen Book Data)
Art & Architecture Library (Bowes)
Book
178 p. : ill ; 32 cm.
Chemistry & ChemEng Library (Swain)
Book
xi, 265 p. : ill ; 27 cm.
"Examines three projects in late nineteenth-century scientific photography: the endeavors of Alphonse Bertillon, Francis Galton, and Etienne-Jules Marey. Develops new theoretical perspectives on the history of photographic technology, as well as the history of scientific imaging more generally"--Provided by publisher.
SAL1&2 (on-campus shelving)
Book
x, 290 p. : ill. ; 26 cm.
  • I: PROGRESS IN PHOTOGRAPHIC SCIENCE -- 1. Introduction to Photographic Science -- 2. Structure and Preparation of Silver Halide Grains -- 3. Physical Properties of Silver Halides -- 4. Mechanisms of Photographic Sensitivity -- 5. Dye Sensitization -- II: APPLICATION OF PHOTOGRAPHIC SCIENCE TO NEW AREAS -- 6. Analog and Digital Photography -- 7. Silver Halide Nano-Particles for Nuclear-Track Emulsions -- 8. Preparation and Performance of Silver Nano-Particles -- 9. Dye Sensitization for Solar Cells -- 10. J-Aggregated Dye Layers for Organic Semiconductors -- 11. Models for Research and Development in Manufacturing Industry.
  • (source: Nielsen Book Data)
This book provides a guide to modern developments in photographic science and their possible applications to new and exciting areas, including nano-technology, solar cells, and organic semiconductors. Part I of this book describes the state of the art in photographic science, including recent developments. It describes the structure, formation and properties of silver halide (AgX) nano-particles and grains, the formation and performance of Ag clusters and nano-particles, and dye sensitization with J-aggregated dye layers. Part II describes the applications to new areas now in development, including digital photography, new nuclear-track emulsions, silver nano-particles for surface plasmon resonance, dye-sensitized solar cells, and organic semiconductors in relation to J-aggregated dye layers. Creating a record of accumulated knowledge in photographic science, this book also provides for these new areas a guide to the knowledge and ideas that arise from synergetic interactions between photographic science and technology which have pioneered unique applications of nano-particles, J-aggregates, and dye sensitization.
(source: Nielsen Book Data)
SAL1&2 (on-campus shelving)
Book
239 p. ; ill. (some col.) ; 31 cm.
Art & Architecture Library (Bowes)
Book
82 p. : col. ill., ports. ; 27 cm.
Art & Architecture Library (Bowes)
Book
139 p. : ill. (some col.) ; 23 cm.
Since the middle of the nineteenth century, the histories of science and photography are so closely related that it might very well be impossible for one to be told without the other. Not only was photography invented by scientists, both amateur and professional, it was presented, discussed and refined in the halls of some of the world's most prestigious scientific institutions. Photography acquired a scientific patina very early, borrowing terms, analogies, and metaphors from science, gaining its identity and reputation by close association with key scientific ideas and practices. But science also borrowed from photography - scientists relied on photography's ability to capture experimental results that would otherwise be impossible to record, and the resulting images helped to mould the early public perception of science in many crucial ways."Photography and Science" is a richly-illustrated introduction to this complex and fascinating interconnection, serving as both an introduction to photography's technical innovations, and also to some key concepts in the history of science. Kelley Wilder tackles the thorny debate over photography's 'success' in the sciences, its use in practical fields like medicine (the X-ray), and the relationship of scientific theory to art practice. Featuring around 80 illuminating photographs, many published here for the first time, this book is a thought-provoking, broad-based examination, and will be an essential addition to the bookshelves of scientists, photographers, and art-historians alike.
(source: Nielsen Book Data)9781861893994 20160527
Art & Architecture Library (Bowes)
Book
215 p. : ill. (some col.) ; 31 cm.
"Brought to Light" invites readers to step back to a time when photography, X-rays, and movies were new, when forays into the world beneath the skin or the realm beyond our everyday vision captivated scientists and the public alike. In this book, accounts of scientific experimentation blend with stories of showmanship to reveal how developments in nineteenth-century technology could enlighten as well as frighten and amaze. Through a series of 200 vintage images, produced by photographers, scientists, and amateur inventors, this book ultimately traces the rise of popular science.The images demonstrate early experiments with microscopes, telescopes, electricity and magnetism, motion studies, X-rays and radiation, and spirit photography. We learn how these pictures circulated among the public, whether through the press, world's fairs, or theatres. What started out as scientific progress, however, often took on the trappings of magic and superstition, as photography was enlisted to offer visual evidence of clairvoyance, spirits, and other occult influences. With beautifully reproduced plates and engaging narratives, this book embodies the aesthetic pleasures and excitement of the tale it tells.
(source: Nielsen Book Data)9780300142105 20160528
Art & Architecture Library (Bowes)
Book
140 p. : ill. ; 24 cm.
SAL3 (off-campus storage)
Book
xi, 301 pages : illustrations (some color) ; 23 cm
Medical Library (Lane)
Book
ix, 301 p. : ill. (some col.) ; 23 cm.
Book
ix, 294 p. : ill. ; 25 cm.
In "Nature Exposed", Jennifer Tucker studies the intersecting trajectories of photography and modern science in late Victorian Britain. She examines the role of photograph as witness in scientific investigation and explores the interplay between photography and scientific authority. Almost immediately after the invention of photography in 1839, photographs were characterized as offering objective access to reality - unmediated by human agency, political ties, or philosophy. This mechanical objectivity supposedly eliminated judgment and interpretation in reporting and picturing scientific results. But photography is a labor-intensive process that allows for, and sometimes requires, manipulation. In the late nineteenth century, the nature of this new technology sparked a complex debate about scientific practices and the value of the photographic images in the production and dissemination of scientific knowledge. Recovering the controversies and commentary surrounding the early creation of scientific photography and drawing on a wide range of new sources and critical theories, Tucker establishes a greater understanding of the rich visual culture of Victorian science and alternative forms of knowledge, including psychical research.
(source: Nielsen Book Data)9780801879913 20160528
SAL1&2 (on-campus shelving)
Book
49 p. : ill. (some col.) ; 28 cm.
SAL3 (off-campus storage)
Book
49 p. : digital, PDF file.
Book
232 p. : col. ill. ; 30 cm.
  • A cloud of uncertainty
  • Bugs in the machine
  • Anatomy without knives
  • Supersenses
  • Echoes in the ether
  • Our place in the cosmos
  • Beyond light.
What we see, even on the brightest summer's day, is only a fraction of what is really there. But we have been inventing new ways of seeing, delving ever deeper into the invisible world, for more then a century now. We can now 'see' heat, sound and all manner of exotic energies and radiations. We can look deep into our minds and witness fleeting thoughts. We can look back in time to the dawn of the universe and we can even see the particles that we think might be the fundamental building blocks of reality. And computer simulations powered by 21st-century mathematics are hinting that there are still greater truths to be glimpsed beyond the clumsy realms of light and matter. With over 100 incredible images that take us from inside the atom to the edge of our universe and beyond, this book explores our journey into worlds inaccessible to our natural senses.
(source: Nielsen Book Data)9780297843429 20160527
SAL1&2 (on-campus shelving)

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