Hybrid Photography

Intermedial Practices in Science and Humanities
1. Auflage 2024
ISBN: 978-0-367-74444-1
Verlag: Taylor & Francis Ltd

Buch, Englisch, 220 Seiten, Format (B × H): 247 mm x 173 mm, Gewicht: 562 g

Reihe: Routledge History of Photography

This book explores the territories where manual, graphic, photographic, and digital techniques interfere and interlace in sciences and humanities.

It operates on the assumption that when photography was introduced, it did not oust other methods of image production but rather became part of ever more specialized and sophisticated technologies of representation. The epistemological break commonly set with the advent of photography since the nineteenth century has probably been triggered by photographic techniques but certainly owes much to the availability of a plethora of hybrid media—media that influence the relation of sciences, humanities, and their methods and subjects.

This book will be of interest to scholars in art and visual culture, photography, and history of photography.

Zielgruppe

Academic

Autoren/Hrsg.

Tietjen, Friedrich

Hillnhuetter, Sara

Klamm, Stefanie

Fachgebiete

• Geisteswissenschaften Geschichtswissenschaft Weltgeschichte & Geschichte einzelner Länder und Gebietsräume Weltgeschichte
• Geisteswissenschaften Kunst Fotografie Fotografie: Geschichte und Sammlungen
• Geisteswissenschaften Kunst Fotografie Fotografie: Ausrüstung & Technik

Inhaltsverzeichnis

Introduction: Where Does Photography Start? And Where Does it End? A Hybrid Introduction

Sara Hillnhuetter, Stefanie Klamm, Friedrich Tietjen

Part 1: Hybrid Measurement
Sara Hillnhetter

1. Hybrid Photography in the History of Science: The Case of Astronomical Practice

Omar W. Nasim

2. The Map as a Photograph: Theodor Scheimpflug’s Balloon Aerial Photogrammetry

Michael Kempf

3. Seen from Above: Wilhelm Halffter’s Photographs of 1854, Depicting the Terrain Models of Hermann and Adolph Schlagintweit

Sigrid Schulze

4. In Order of Disappearance: Photography, Measurement and Art Historical Practice in Nineteenth-Century German

Sara Hillnhetter

Part 2: Hybrid Materiality

Stefanie Klamm

5. “Imageability”: Aligning Bodies and Imaging Technologies

Kathrin Friedrich

6. Beyond Retouching: Hans Virchow’s Mixed Media and His X-ray Drawings of the Lotus Foot

Vera Dünkel

7. From Photography to Printing: the Chronophotography of Étienne-Jules Marey

Linda Bertelli

8. Entangled Environments: Diorama, Photography, and the Staging of Natural Surroundings

Alexander Streitberger

9. Reconfiguring the Use of Photography in Archaeology

Stefanie Klamm

Part 3: Hybrid Reproduction
Friedrich Tietjen

10. “The Camera That Takes a Face, Can Take a Page”: Microfilm as a Scientific Aid

Estelle Blaschke

11. Stereo Atlases as Hybrid Knowledge

Kelley Wilder

12. Retouching, Staging, and Authenticity: Early Animal Photography and the Tradition of Popular Zoological Illustration around 1900

Alexander Gall

13. “Offering Pleasures to the Eye.” Max Semrau’s Kunst des Altertums (1899), Its Illustrations, and Art History’s Ignorance Towards Reproduction

Friedrich Tietjen

14. Fantasy of a World Without Humans

Jimena Canales

Über Autor(innen)

Sara Hillnhuetter is a research associate in the LOEWE cluster "Architectures of Order" at the Goethe University Frankfurt.

Stefanie Klamm is a research associate at Gotha Research Centre, University of Erfurt.

Friedrich Tietjen works as a researcher and curator and is one of the founders and co-organizers of the annual conference "After Post-Photography" in St. Petersburg, Russia.