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<p>List of Figures ix</p> <p>Notes on Contributors xi</p> <p>Acknowledgments xvii</p> <p>1 Introduction: Photography in the Twenty‐first Century 1<br /><i>Stephen Bull</i></p> <p><b>Part I Themes 9</b></p> <p>2 Histories 11<br /><i>Sabine T. Kriebel</i></p> <p>3 Locating Photography 29<br /><i>Christopher Pinney</i></p> <p>4 The Participation of Time in Photography 49<br /><i>Anthony Luvera</i></p> <p>5 Photographic Acts and Arts of Memory 61<br /><i>Martha Langford</i></p> <p>6 The Indexical Imagination 85<br /><i>David Bate</i></p> <p>7 The Thingness of Photographs 97<br /><i>Elizabeth Edwards</i></p> <p>8 Beyond Representation?: The Database‐driven Image and the Non‐human Spectator 113<br /><i>Katrina Sluis<br /><br /></i><b>Part II Interpretation 131<i><br /></i></b></p> <p>9 Semiotics 133<br /><i>Paul Cobley and David Machin</i></p> <p>10 A Culture of Texts 155<br /><i>Matthew Lindsey</i></p> <p>11 Psychoanalysis and Photography: Mary Kelly and Cindy Sherman 173<br /><i>Kathy Kubicki</i></p> <p>12 Reviewing the Gaze 189<br /><i>Roberta McGrath</i></p> <p><b>Part III Markets 209</b></p> <p>13 Marketing Photography: Selling Popular Photography on the British High Street 211<br /><i>Annebella Pollen</i></p> <p>14 Advertising and Photography: Rhetoric and Representation 237<br /><i>Malcolm Barnard</i></p> <p>15 Fashion’s Image: The Complex World of the Fashion Photograph 253<br /><i>Karen de Perthuis</i></p> <p>16 Value Systems in Photography 275<br /><i>Francis Hodgson</i></p> <p><b>Part IV Popular Photography 289</b></p> <p>17 Snapshot Photography: History, Theory, Practice, and Esthetics 291<br /><i>Catherine Zuromskis</i></p> <p>18 Mobile Photography 307<br /><i>Rachel K. Gillies</i></p> <p>19 Famous for a Fifteenth of a Second: Andy Warhol, Celebrity, and Fan Photography 329<br /><i>Stephen Bull</i></p> <p>20 Boring Pictures: Photography as Art of the Everyday 351<br /><i>Clare Gallagher</i></p> <p><b>Part V Documents 369</b></p> <p>21 “Things as they are”: The Problematic Possibilities of Documentary 371<br /><i>Ian Walker</i></p> <p>22 Citizens’ Photojournalism: History’s New First Draft 393<br /><i>David Brittain</i></p> <p>23 Seeing is not Believing: On the Irrelevance of Looking in the Age of Operational Images 411<br /><i>Edward Dowsett</i></p> <p>24 Travel Books, Photography, and National Identity in the 1950s and 1960s, Seen Through the Prism of the <i>LIFE World Library </i>429<br /><i>Val Williams</i></p> <p><b>Part VI Art 437</b></p> <p>25 Photography’s Conflicting Modernisms and Modernities 439<br /><i>Sarah E. James</i></p> <p>26 Spectacle and Anti‐spectacle: American Art Photography and Consumer Culture 465<br /><i>David Campbell and Mark Durden</i></p> <p>27 What Can Photography Do?: Considerations on Photography’s Potential as Contemporary Art 483<br /><i>Hilde Van Gelder</i></p> <p>28 Practicing Desires: Authorship in Contemporary Photographic Art 501<br /><i>Fergus Heron</i></p> <p>Index 527</p>

<p><b>STEPHEN BULL</b> is a writer and Senior Lecturer in Photography at the University of Brighton. He is the author of <i>Photography</i> (2010) and <i>Photography and Celebrity</i> (2021, forthcoming) and since 1995 has been a regular contributor to books, conferences, and journals including <i>Source: The Photographic Review.</i> He has exhibited as an artist at venues such as Tate Britain and the Pingyao International Photography Festival, and has published photobooks including <i>Meeting Hazel Stokes</i> (2006). He has run courses at Tate Modern and is the host of the Photoworks talks series, Desert Island Pics.

<p>The study of photography has never been more important. A look at today's digital world reveals that a greater number of photographs are being taken each day than at any other moment in history. Countless photographs are disseminated instantly online and more and more photographic images are earning prominent positions—and garnering record prices—in the rarefied realm of top art galleries. <p>Reflecting this dramatic increase in all things photographic, <i>A Companion to Photography</i> presents a comprehensive collection of original essays that explore a variety of key areas of current debate around the state of photography in the twenty-first century. Essays are grouped and organized in themed sections—including photographic interpretation, markets, popular photography, documents, and fine art—and provide comprehensive coverage of the subject. Representing a diversity of approaches, essays are written by both established and emerging photographers and scholars, as well as various experts in their respective areas. <p><i>A Companion to Photography</i> offers scholars and professional photographers alike an essential and up-to-date resource that brings the study of contemporary photography into clear focus.

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