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Le 7 janvier 1839, le physicien François Arago, lors d'une séance de l'Académie des sciences de Paris, présente un nouveau procédé permettant de reproduire de manière mécanique et chimique, sans intervention manuelle, les images qui se forment dans la chambre obscure : le daguerréotype, marquant ainsi la naissance officielle de la photographie. Image unique, sur plaque(...)
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Le 7 janvier 1839, le physicien François Arago, lors d'une séance de l'Académie des sciences de Paris, présente un nouveau procédé permettant de reproduire de manière mécanique et chimique, sans intervention manuelle, les images qui se forment dans la chambre obscure : le daguerréotype, marquant ainsi la naissance officielle de la photographie. Image unique, sur plaque(...)
Sujet:
Théorie de la photographie
Théorie de la photographie
Publication:
mai 2003, Paris
mai 2003, Paris
Titre:
Le daguerréotype français : un objet photographique
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Le 7 janvier 1839, le physicien François Arago, lors d'une séance de l'Académie des sciences de Paris, présente un nouveau procédé permettant de reproduire de manière mécanique et chimique, sans intervention manuelle, les images qui se forment dans la chambre obscure : le daguerréotype, marquant ainsi la naissance officielle de la photographie. Image unique, sur plaque de cuivre recouverte d'argent, aux reflets changeants, polie, et souvent réfléchissante comme un miroir, l'invention de Daguerre devait définitivement modifier le regard posé sur le monde et ses représentations, artistiques comme scientifiques. C'est bien cet un art nouveau au milieu d'une vieille civilisation », selon les propres termes du savant Gay-Lussac en 1839, que l'exposition et cet ouvrage entendent faire découvrir en s'attachant à la production française, dans toute sa diversité.
Le daguerréotype français : un objet photographique
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Le 7 janvier 1839, le physicien François Arago, lors d'une séance de l'Académie des sciences de Paris, présente un nouveau procédé permettant de reproduire de manière mécanique et chimique, sans intervention manuelle, les images qui se forment dans la chambre obscure : le daguerréotype, marquant ainsi la naissance officielle de la photographie. Image unique, sur plaque de cuivre recouverte d'argent, aux reflets changeants, polie, et souvent réfléchissante comme un miroir, l'invention de Daguerre devait définitivement modifier le regard posé sur le monde et ses représentations, artistiques comme scientifiques. C'est bien cet un art nouveau au milieu d'une vieille civilisation », selon les propres termes du savant Gay-Lussac en 1839, que l'exposition et cet ouvrage entendent faire découvrir en s'attachant à la production française, dans toute sa diversité.
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livres
livres
Publication:
mai 2003, Paris
mai 2003, Paris
Sujet:
Théorie de la photographie
Théorie de la photographie
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livres
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Moving the critical debate about photography away from its current Euro-American centre of gravity, "Photography’s Other Histories" breaks with the notion that photographic history is best seen as the explosion of a Western technology advanced by the work of singular individuals. This collection presents a different account, describing photography as a globally(...)
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Moving the critical debate about photography away from its current Euro-American centre of gravity, "Photography’s Other Histories" breaks with the notion that photographic history is best seen as the explosion of a Western technology advanced by the work of singular individuals. This collection presents a different account, describing photography as a globally(...)
Sujet:
Théorie de la photographie
Théorie de la photographie
Publication:
mars 2003, Durham, N.C.
mars 2003, Durham, N.C.
Titre:
Photography's other histories
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Moving the critical debate about photography away from its current Euro-American centre of gravity, "Photography’s Other Histories" breaks with the notion that photographic history is best seen as the explosion of a Western technology advanced by the work of singular individuals. This collection presents a different account, describing photography as a globally disseminated and locally appropriated medium. Essays firmly grounded in photographic practice — in the actual making of pictures — suggest the extraordinary diversity of nonwestern photography "Photography’s Other Histories" explores from a variety of geographic, cultural, and historic perspectives the role of photography in raising historical consciousness. It includes two first-person pieces by indigenous Australians and one by a Seminole/Muskogee/Diné artist. Some of the essays analyze representations of colonial subjects—from the limited ways Westerners have depicted Navajos to Japanese photos recording the occupation of Manchuria and from the changing nature of the "contract" between Aboriginal subjects and photographers to the surprising range of cultural influences evident in the photographs colonialist F. R. Barton took in New Guinea in the late 1800s and early 1900s. Focusing on photographic self-fashioning and the development of vernacular modernisms, other essays highlight the visionary quality of much popular photography. Case studies centered in early-twentieth-century Peru and contemporary India, Kenya, and Nigeria chronicle the diverse practices that have flourished in postcolonial societies. "Photography’s Other Histories" recasts popular photography around the world, as not simply reproducing culture but creating it.
Photography's other histories
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Moving the critical debate about photography away from its current Euro-American centre of gravity, "Photography’s Other Histories" breaks with the notion that photographic history is best seen as the explosion of a Western technology advanced by the work of singular individuals. This collection presents a different account, describing photography as a globally disseminated and locally appropriated medium. Essays firmly grounded in photographic practice — in the actual making of pictures — suggest the extraordinary diversity of nonwestern photography "Photography’s Other Histories" explores from a variety of geographic, cultural, and historic perspectives the role of photography in raising historical consciousness. It includes two first-person pieces by indigenous Australians and one by a Seminole/Muskogee/Diné artist. Some of the essays analyze representations of colonial subjects—from the limited ways Westerners have depicted Navajos to Japanese photos recording the occupation of Manchuria and from the changing nature of the "contract" between Aboriginal subjects and photographers to the surprising range of cultural influences evident in the photographs colonialist F. R. Barton took in New Guinea in the late 1800s and early 1900s. Focusing on photographic self-fashioning and the development of vernacular modernisms, other essays highlight the visionary quality of much popular photography. Case studies centered in early-twentieth-century Peru and contemporary India, Kenya, and Nigeria chronicle the diverse practices that have flourished in postcolonial societies. "Photography’s Other Histories" recasts popular photography around the world, as not simply reproducing culture but creating it.
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livres
Publication:
mars 2003, Durham, N.C.
mars 2003, Durham, N.C.
Sujet:
Théorie de la photographie
Théorie de la photographie
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livres
livres
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Art and photography
Art and photography
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"Art and Photography" is the first book of its kind to survey the major presence of photography in artistic practice from the 1960s onwards. Today photography is art's pre-eminent medium, yet it took the whole of the last century for it to acquire this status. On its invention, the photograph was considered a purely mechanical, artless object which could not be considered(...)
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"Art and Photography" is the first book of its kind to survey the major presence of photography in artistic practice from the 1960s onwards. Today photography is art's pre-eminent medium, yet it took the whole of the last century for it to acquire this status. On its invention, the photograph was considered a purely mechanical, artless object which could not be considered(...)
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Art and photography
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"Art and Photography" is the first book of its kind to survey the major presence of photography in artistic practice from the 1960s onwards. Today photography is art's pre-eminent medium, yet it took the whole of the last century for it to acquire this status. On its invention, the photograph was considered a purely mechanical, artless object which could not be considered among the fine arts. Despite its increasing use by the century's most significant artists, only since the late 1960s have art museums gradually begun to exhibit and acquire the photograph as an artwork. This volume provides an authoritative overview of photography's place in recent art history, contextualised in the Documents section by original artists statements and interviews, and texts by leading critics, writers and theorists of the late twentieth century.
Art and photography
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"Art and Photography" is the first book of its kind to survey the major presence of photography in artistic practice from the 1960s onwards. Today photography is art's pre-eminent medium, yet it took the whole of the last century for it to acquire this status. On its invention, the photograph was considered a purely mechanical, artless object which could not be considered among the fine arts. Despite its increasing use by the century's most significant artists, only since the late 1960s have art museums gradually begun to exhibit and acquire the photograph as an artwork. This volume provides an authoritative overview of photography's place in recent art history, contextualised in the Documents section by original artists statements and interviews, and texts by leading critics, writers and theorists of the late twentieth century.
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livres
Publication:
août 2003, London
août 2003, London
Sujet:
Théorie de la photographie
Théorie de la photographie
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In "Faking Death", Penny Cousineau-Levine presents Canadian art photography since 1952 as a coherent body of work and articulates a provocative framework for its interpretation. Contrasting Canadian photography with American and European traditions, she shows that Canadian photographers are often preoccupied with a place that is "elsewhere," a doubling and a duality that(...)
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In "Faking Death", Penny Cousineau-Levine presents Canadian art photography since 1952 as a coherent body of work and articulates a provocative framework for its interpretation. Contrasting Canadian photography with American and European traditions, she shows that Canadian photographers are often preoccupied with a place that is "elsewhere," a doubling and a duality that(...)
Sujet:
Théorie de la photographie
Théorie de la photographie
Publication:
janvier 1900, Montreal and Kingston
janvier 1900, Montreal and Kingston
Titre:
Faking death : Canadian art photography and the Canadian imagination
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In "Faking Death", Penny Cousineau-Levine presents Canadian art photography since 1952 as a coherent body of work and articulates a provocative framework for its interpretation. Contrasting Canadian photography with American and European traditions, she shows that Canadian photographers are often preoccupied with a place that is "elsewhere," a doubling and a duality that also occur in Canadian literature, film, and political life. Exploring the ambivalent preoccupations Canadian photographers have with death and dying, bondage and entrapment, she argues that the forms of death depicted in the works are 'faked' and express a collective Canadian wish for a symbolic passage to national maturity. Penny Cousineau-Levine discusses the works of over 120 artists. The book includes 16 colour reproductions and 150 duotones of photographs by artists such as Raymonde April, Geneviève Cadieux, Lynne Cohen, Donigan Cumming, Evergon, Janieta Eyre, Charles Gagnon, Thaddeus Holownia, Geoffrey James, Michel Lambeth, Ken Lum, Shelley Niro, Gabor Szilasi, Diana Thorneycroft, Jeff Wall, Ian Wallace, and Jin-me Yoon.
Faking death : Canadian art photography and the Canadian imagination
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In "Faking Death", Penny Cousineau-Levine presents Canadian art photography since 1952 as a coherent body of work and articulates a provocative framework for its interpretation. Contrasting Canadian photography with American and European traditions, she shows that Canadian photographers are often preoccupied with a place that is "elsewhere," a doubling and a duality that also occur in Canadian literature, film, and political life. Exploring the ambivalent preoccupations Canadian photographers have with death and dying, bondage and entrapment, she argues that the forms of death depicted in the works are 'faked' and express a collective Canadian wish for a symbolic passage to national maturity. Penny Cousineau-Levine discusses the works of over 120 artists. The book includes 16 colour reproductions and 150 duotones of photographs by artists such as Raymonde April, Geneviève Cadieux, Lynne Cohen, Donigan Cumming, Evergon, Janieta Eyre, Charles Gagnon, Thaddeus Holownia, Geoffrey James, Michel Lambeth, Ken Lum, Shelley Niro, Gabor Szilasi, Diana Thorneycroft, Jeff Wall, Ian Wallace, and Jin-me Yoon.
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livres
livres
Publication:
janvier 1900, Montreal and Kingston
janvier 1900, Montreal and Kingston
Sujet:
Théorie de la photographie
Théorie de la photographie
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livres
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L'auteur vous invite à explorer les limites et les avancées des cinquante premières années en photographie et montre aussi comment certains des plus grands photographes de l'époque entendentla faire reconnaître comme un art.
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L'auteur vous invite à explorer les limites et les avancées des cinquante premières années en photographie et montre aussi comment certains des plus grands photographes de l'époque entendentla faire reconnaître comme un art.
Titre:
L'image révélée : l'invention de la photographie
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L'auteur vous invite à explorer les limites et les avancées des cinquante premières années en photographie et montre aussi comment certains des plus grands photographes de l'époque entendentla faire reconnaître comme un art.
L'image révélée : l'invention de la photographie
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L'auteur vous invite à explorer les limites et les avancées des cinquante premières années en photographie et montre aussi comment certains des plus grands photographes de l'époque entendentla faire reconnaître comme un art.
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livres
Publication:
janvier 1900, Paris
janvier 1900, Paris
Sujet:
Théorie de la photographie
Théorie de la photographie
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$100.00
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Based on decades of research, this book chronicles Baker and Burke's early days in Peshawar and their move to Muree, the Himalayan hill station on the border of Kashmir. It follows their documenting of the Afghan Wars, some of the earliest war photography, and their return to the plains of Lahore, where they continued to photograph the region’s people and landscape.
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Résumé:
Based on decades of research, this book chronicles Baker and Burke's early days in Peshawar and their move to Muree, the Himalayan hill station on the border of Kashmir. It follows their documenting of the Afghan Wars, some of the earliest war photography, and their return to the plains of Lahore, where they continued to photograph the region’s people and landscape.
Titre:
From Kashmir to Kabul : the photographs of John Burke and William Baker 1860-1900
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Based on decades of research, this book chronicles Baker and Burke's early days in Peshawar and their move to Muree, the Himalayan hill station on the border of Kashmir. It follows their documenting of the Afghan Wars, some of the earliest war photography, and their return to the plains of Lahore, where they continued to photograph the region’s people and landscape.
From Kashmir to Kabul : the photographs of John Burke and William Baker 1860-1900
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Based on decades of research, this book chronicles Baker and Burke's early days in Peshawar and their move to Muree, the Himalayan hill station on the border of Kashmir. It follows their documenting of the Afghan Wars, some of the earliest war photography, and their return to the plains of Lahore, where they continued to photograph the region’s people and landscape.
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livres
livres
Publication:
octobre 2002, Munich
octobre 2002, Munich
Sujet:
Théorie de la photographie
Théorie de la photographie
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livres
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Using New York as an example, the photographic project "EndCommercial" deals with the urban space, dissecting it into its semantic components. Picture for picture, photograph for photograph, the inner grammar of the urban context reveals itself. Collected in and on the streets, the principles of order and life signs of biotopes at the bottom end of the economic process(...)
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Using New York as an example, the photographic project "EndCommercial" deals with the urban space, dissecting it into its semantic components. Picture for picture, photograph for photograph, the inner grammar of the urban context reveals itself. Collected in and on the streets, the principles of order and life signs of biotopes at the bottom end of the economic process(...)
Sujet:
Théorie de la photographie
Théorie de la photographie
Publication:
septembre 2002, Ostfildern
septembre 2002, Ostfildern
Titre:
Endcommercial : reading the city
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Using New York as an example, the photographic project "EndCommercial" deals with the urban space, dissecting it into its semantic components. Picture for picture, photograph for photograph, the inner grammar of the urban context reveals itself. Collected in and on the streets, the principles of order and life signs of biotopes at the bottom end of the economic process are documented: writings on the wall, signs on the street, codes, symbols, fragments, authorship of the anonymous, wear and tear of the public living space and the people who use it. The surprise the book holds is the sudden perception of what has frequently been seen but seldom registered.
Endcommercial : reading the city
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Using New York as an example, the photographic project "EndCommercial" deals with the urban space, dissecting it into its semantic components. Picture for picture, photograph for photograph, the inner grammar of the urban context reveals itself. Collected in and on the streets, the principles of order and life signs of biotopes at the bottom end of the economic process are documented: writings on the wall, signs on the street, codes, symbols, fragments, authorship of the anonymous, wear and tear of the public living space and the people who use it. The surprise the book holds is the sudden perception of what has frequently been seen but seldom registered.
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livres
livres
Publication:
septembre 2002, Ostfildern
septembre 2002, Ostfildern
Sujet:
Théorie de la photographie
Théorie de la photographie
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livres
livres
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$37.95
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In 1976, Robert Adams shot "Fort Collins, Colorado," a nighttime picture of a lone tree in a Colorado parking lot, the crescent moon hanging in the sky above. More than 30 years earlier, Ansel Adams had captured "Moonrise, Hernandez, New Mexico," showing a magnificent vista of desert scrub and clustered buildings, snow-capped mountains in the distance, the full moon(...)
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In 1976, Robert Adams shot "Fort Collins, Colorado," a nighttime picture of a lone tree in a Colorado parking lot, the crescent moon hanging in the sky above. More than 30 years earlier, Ansel Adams had captured "Moonrise, Hernandez, New Mexico," showing a magnificent vista of desert scrub and clustered buildings, snow-capped mountains in the distance, the full moon(...)
Sujet:
Théorie de la photographie
Théorie de la photographie
Publication:
juin 2002, Andover, Massachusetts
juin 2002, Andover, Massachusetts
Titre:
Reinventing the West : the photography of Ansel Adams and Robert Adams
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In 1976, Robert Adams shot "Fort Collins, Colorado," a nighttime picture of a lone tree in a Colorado parking lot, the crescent moon hanging in the sky above. More than 30 years earlier, Ansel Adams had captured "Moonrise, Hernandez, New Mexico," showing a magnificent vista of desert scrub and clustered buildings, snow-capped mountains in the distance, the full moon majestically presiding in the expansive sky overhead. These two pictures could be neither more different nor more similar; nor could the younger Adams have made his photograph without knowledge of his greatly admired predecessor's. If Ansel Adams created singular images in search of a platonic ideal of nature, Robert Adams explored repetition and conformity; both were responding, in their own personal and aesthetic way, to the landscape of the American West. The first book to juxtapose bodies of work by these two 20th-century master photographers, Reinventing the West reveals how their photographs reflect changing attitudes toward the western landscape and the natural world.
Reinventing the West : the photography of Ansel Adams and Robert Adams
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In 1976, Robert Adams shot "Fort Collins, Colorado," a nighttime picture of a lone tree in a Colorado parking lot, the crescent moon hanging in the sky above. More than 30 years earlier, Ansel Adams had captured "Moonrise, Hernandez, New Mexico," showing a magnificent vista of desert scrub and clustered buildings, snow-capped mountains in the distance, the full moon majestically presiding in the expansive sky overhead. These two pictures could be neither more different nor more similar; nor could the younger Adams have made his photograph without knowledge of his greatly admired predecessor's. If Ansel Adams created singular images in search of a platonic ideal of nature, Robert Adams explored repetition and conformity; both were responding, in their own personal and aesthetic way, to the landscape of the American West. The first book to juxtapose bodies of work by these two 20th-century master photographers, Reinventing the West reveals how their photographs reflect changing attitudes toward the western landscape and the natural world.
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livres
livres
Publication:
juin 2002, Andover, Massachusetts
juin 2002, Andover, Massachusetts
Sujet:
Théorie de la photographie
Théorie de la photographie
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livres
livres
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$59.95
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This book tells the intertwined stories of photography and the American West--a new medium and a new place that came of age together in the nineteenth century. The story begins just a few years after the invention of the daguerreotype in 1839, as pioneering photographers followed American troops into the Mexican-American War. Taking advantage of rapidly developing(...)
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Résumé:
This book tells the intertwined stories of photography and the American West--a new medium and a new place that came of age together in the nineteenth century. The story begins just a few years after the invention of the daguerreotype in 1839, as pioneering photographers followed American troops into the Mexican-American War. Taking advantage of rapidly developing(...)
Sujet:
Théorie de la photographie
Théorie de la photographie
Publication:
octobre 2002, New Haven / London
octobre 2002, New Haven / London
Titre:
Print the legend : photography and the American West
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This book tells the intertwined stories of photography and the American West--a new medium and a new place that came of age together in the nineteenth century. The story begins just a few years after the invention of the daguerreotype in 1839, as pioneering photographers followed American troops into the Mexican-American War. Taking advantage of rapidly developing technology, photographers soon set out across the overland trails, recorded the shifting fortunes of California’s goldseekers, pictured native peoples, and documented the spectacular topography of the American West. The new medium of photography made vivid a landscape few Americans had seen for themselves. Resurrecting scores of little-known images of the nineteenth-century American West, "Print the legend" offers engaging tales of ambitious photographic adventurers, missing photographs, and misinterpreted images. Chronicling both the history of a place and the history of a medium, this book portrays how Americans first came to understand western photographs and, consequently, to envision their nation.
Print the legend : photography and the American West
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This book tells the intertwined stories of photography and the American West--a new medium and a new place that came of age together in the nineteenth century. The story begins just a few years after the invention of the daguerreotype in 1839, as pioneering photographers followed American troops into the Mexican-American War. Taking advantage of rapidly developing technology, photographers soon set out across the overland trails, recorded the shifting fortunes of California’s goldseekers, pictured native peoples, and documented the spectacular topography of the American West. The new medium of photography made vivid a landscape few Americans had seen for themselves. Resurrecting scores of little-known images of the nineteenth-century American West, "Print the legend" offers engaging tales of ambitious photographic adventurers, missing photographs, and misinterpreted images. Chronicling both the history of a place and the history of a medium, this book portrays how Americans first came to understand western photographs and, consequently, to envision their nation.
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livres
livres
Publication:
octobre 2002, New Haven / London
octobre 2002, New Haven / London
Sujet:
Théorie de la photographie
Théorie de la photographie
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livres
livres
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$59.95
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Le Musée de Grenoble propose l'évolution de la photographie de ses débuts à nos jours en montrant plus de cent conquante vues d'édifices prises par les photographes : Bérénice Abbott, Eugène Atget, Édouard Baldus, Lewis Baltz, Max Baur, Hippolyte Bayard, Bernd & Hilla Becher, Wermer Bischof, Jacques-André Boiffard, Pierre Boucher, Margaret Bourke-White, Marcel Bovis,(...)
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Le Musée de Grenoble propose l'évolution de la photographie de ses débuts à nos jours en montrant plus de cent conquante vues d'édifices prises par les photographes : Bérénice Abbott, Eugène Atget, Édouard Baldus, Lewis Baltz, Max Baur, Hippolyte Bayard, Bernd & Hilla Becher, Wermer Bischof, Jacques-André Boiffard, Pierre Boucher, Margaret Bourke-White, Marcel Bovis,(...)
Titre:
Vues d'architectures : photographies des XIXè et XXè siècles
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Le Musée de Grenoble propose l'évolution de la photographie de ses débuts à nos jours en montrant plus de cent conquante vues d'édifices prises par les photographes : Bérénice Abbott, Eugène Atget, Édouard Baldus, Lewis Baltz, Max Baur, Hippolyte Bayard, Bernd & Hilla Becher, Wermer Bischof, Jacques-André Boiffard, Pierre Boucher, Margaret Bourke-White, Marcel Bovis, Brassaï, Balthasar Burkhard, René Burri, Jean-Marc Bustamante, Harry Callahan, Robert Capa, Hermann Claasen, Alvin Langdon Coburn, Auguste Collard, Marjorie Content, Stéphane Couturier, Louis-Jacques Daguerre, Guy Dépollier, Walker Evans, Jaromir Funke, Marc-Antoine Gaudin, Andreas Gursky, Hugo-Paul Herdeg, Lucien Hervé, Paul Hossard, Boris Ignatovitch, Pierre Jahan, Thomas Kellner, André Kertész, François Kollar, Kurt Kranz, Germaine Krull, Juan Laurent, Gustave Le Gray, Henri Le Secq, Herbert List, Werner Mantz, Charles Marville, Erich Mendelsohn, Mestral, Lee Miller, Guido Mocafico, Laszlo Moholy-Nagy, Lucia Moholy, Jean Moral, André Morin, Carlo Naya, Georgij Petrussov, Man Ray, Albert Renger-Patzsch, Alexandre Rodtchenko, Jaroslav Rössler, Thomas Ruff, Edward Ruscha, August Sander, Arthur Schlegel, Charles Sheeler, Julius Shulman, Emmanuel Sougez, Edward Steichen, André Steiner, Alfred Stieglitz, Paul Strand, Thomas Struth, Josef Sudek, Hiroshi Sugimoto, William Henry Fox Talbot, Félix Teynard, Tokayer, Hanni Werner, Eugen Wiscovski, René Zuber.
Vues d'architectures : photographies des XIXè et XXè siècles
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Résumé:
Le Musée de Grenoble propose l'évolution de la photographie de ses débuts à nos jours en montrant plus de cent conquante vues d'édifices prises par les photographes : Bérénice Abbott, Eugène Atget, Édouard Baldus, Lewis Baltz, Max Baur, Hippolyte Bayard, Bernd & Hilla Becher, Wermer Bischof, Jacques-André Boiffard, Pierre Boucher, Margaret Bourke-White, Marcel Bovis, Brassaï, Balthasar Burkhard, René Burri, Jean-Marc Bustamante, Harry Callahan, Robert Capa, Hermann Claasen, Alvin Langdon Coburn, Auguste Collard, Marjorie Content, Stéphane Couturier, Louis-Jacques Daguerre, Guy Dépollier, Walker Evans, Jaromir Funke, Marc-Antoine Gaudin, Andreas Gursky, Hugo-Paul Herdeg, Lucien Hervé, Paul Hossard, Boris Ignatovitch, Pierre Jahan, Thomas Kellner, André Kertész, François Kollar, Kurt Kranz, Germaine Krull, Juan Laurent, Gustave Le Gray, Henri Le Secq, Herbert List, Werner Mantz, Charles Marville, Erich Mendelsohn, Mestral, Lee Miller, Guido Mocafico, Laszlo Moholy-Nagy, Lucia Moholy, Jean Moral, André Morin, Carlo Naya, Georgij Petrussov, Man Ray, Albert Renger-Patzsch, Alexandre Rodtchenko, Jaroslav Rössler, Thomas Ruff, Edward Ruscha, August Sander, Arthur Schlegel, Charles Sheeler, Julius Shulman, Emmanuel Sougez, Edward Steichen, André Steiner, Alfred Stieglitz, Paul Strand, Thomas Struth, Josef Sudek, Hiroshi Sugimoto, William Henry Fox Talbot, Félix Teynard, Tokayer, Hanni Werner, Eugen Wiscovski, René Zuber.
Classification:
livres
livres
Publication:
juin 2002, Grenoble
juin 2002, Grenoble
Sujet:
Théorie de la photographie
Théorie de la photographie
