Browsing - many students browse the shelves for print books when first looking for information on a topic. Textbooks are arranged in order of 'call number' which is found on the spine of the book (e.g. 770.92 - Photographers or 778.5 - Cinematography). These numbers have been allocated according to the subject matter of the book. This means that books on a similar topic will usually be found together on the shelves. But you won't find everything you want this way. Searching the catalogue will find the rest.
Searching - the quickest way to find out if the library holds the book you need is to search the TU Dublin Library Catalogue. This will tell you where the textbook is located, the shelf number (call number) and if it's available to borrow or when it is due to be returned. The catalogue will also show if a book is available in Print or eBook format.
The Catalogue lists all of the print books (and other material) that the library holds. It will give location details and list how many copies of books etc. are available.
To find a specific book, search for the Title or Author to find a list. Use the drop-down arrows in the catalogue as shown here.
To browse the catalogue, try a Keyword or Subject Search around your topic. Books containing information on a subject will be listed with other books containing similar information. But they may not be at the exact same call number. So be sure to note the entire number where you can find the material on the shelves. If you need any help using the catalogue or finding a particular book please ask a member of staff.
Below are instructions on how to search for books on the catalogue using keyword searches:
When you do a general search on the catalogue your results will include ebooks as well as print. Here is an example of a design book that is in both formats:
The top item shows a print book available at call # 779.93069 LIN. The 2nd item shows a little green globe instead. Clicking on the green globe opens the Ebook. Note also the icons on the far left. They represent books and e-books, hence the little red "e".
When you click on the titles in the list, you will be brought to the catalogue record for each book. If it is an e-book, you will find a link to the full-text of the book. If you click that link, you will "open" the e-book. If you are on campus computer, you will be brought directly to the fulltext e-book. See this Guide to Off-Campus Access for viewing e-books when not on a TU Dublin computer. Once you have accessed the ebook you can simply read directly from the screen, save pages or print some off.
Please be aware of Copyright Law - you are only allowed to download/print a certain percentage of any book.
All of our ebooks have multi-user licenses which means that they can be accessed by up to 3 users simultaneously. Don't forget to logout when you are finished looking at an ebook as this will free it up for the next person.
To browse the e-books available, you can search the subject "E-book collection" to get a list.
You can also browse by going to the "E-Books" page on the Library website and clicking one of our supplier links. Most useful are the Proquest and EBSCO lists: 
To search for e-books related to photography use the advanced search (https://library.tudublin.ie/search/X) in the library catalogue. Enter the terms e book collection in one block as a subject field search. In the other fields add relevant search terms such as Portrait, Photo*, Art* and so on. The resulting list of books should be electronic books related to the keyword(s) used to search.
See the following section for a sample of just some of the e-books that may be useful for photography research.
The Colors of Photography' aims to provide a deeper understanding of what color is in the field of photography. Until today, color photography has marked the "here and now," while black and white photographs have been linked to our image of history and have formed our collective memory. However, such general dichotomies start to crumble when considering the aesthetic, cultural, and political complexity of color in photography. With essays by Charlotte Cotton, Bettina Gockel, Tanya Sheehan, Blake Stimson, Kim Timby, Kelley Wilder, Deborah Willis. Photographic contributions by Hans Danuser and Raymond Meier.
Examining imagery of urban space in Britain, France and West Germany up to the early 1960s, this book reveals how photography shaped individual architectural projects and national rebuilding efforts alike. Exploring the impact of urban photography at a pivotal moment in contemporary European architecture and culture, this book addresses case studies spanning the destruction of the war to the modernizing reconfiguration of city spaces, including ruin photobooks about bombed cities, architectural photography of housing projects and imagery of urban life from popular photomagazines, as well as internationally renowned projects like UNESCO's Paris Headquarters, Coventry Cathedral and Berlin's Gedächtniskirche. This book reveals that the ways of seeing shaped in the postwar years by urban photography were a vital aspect of not only discourses on the postwar city but also debates central to popular culture, from commemoration and modernization to democratization and Europeanization. This book will be a fascinating read for researchers in the fields of photography and visual studies, architectural and urban history, and cultural memory and contemporary European history.
As anyone who has wielded a camera knows, photography has a unique relationship to chance. It also represents a struggle to reconcile aesthetic aspiration with a mechanical process. Robin Kelsey reveals how daring innovators expanded the aesthetic limits of photography in order to create art for a modern world.
How do we know what an amoeba looks like? How can doctors see the details of our skeletons and internal organs? What enables us to see an exploding star in another galaxy? All of these things are made possible through the innovations of photography. Kelley Wilder now provides a primer on the remarkably fruitful applications of photography to science, as she explores the multiple facets of this complex relationship. Kelley Wilder draws upon her extensive background in alternative process photography, museum practice, art history, and history of science to produce a wide-ranging and illuminating investigation into the intersection of photography and science. Photography and Science describes how photography first established its legitimacy through its close association with key scientific ideas and practices, such as objectivity, observation, archiving, and experimentation. Wilder then charts how photography returned the favor by serving as a powerful influence in various scientific disciplines, such as biology and astronomy. The book digs into the controversial debates over photography's "success" in the sciences, its use in practical fields such as medical imaging and x-raying, and the complicated relationship between scientific theory and art practice. Augmenting this fascinating study are eighty photographs of scientific subjects and experiments, many of which are published here for the first time. A thought-provoking, broad-based examination, Photography and Science will be an essential addition to the bookshelves of scientists, photographers, and art historians alike.
In the late nineteenth century and early twentieth, hundreds of amateur photographers took part in the photographic survey movement in England. They sought to record the material remains of the English past so that it might be preserved for future generations. In The Camera as Historian, the groundbreaking historical and visual anthropologist Elizabeth Edwards works with an archive of nearly 55,000 photographs taken by 1,000 photographers, mostly unknown until now. She approaches the survey movement and its social and material practices ethnographically. Considering how the amateur photographers understood the value of their project, Edwards links the surveys to concepts of leisure, understandings of the local and the national, and the rise of popular photography. Her examination of how the photographers negotiated between scientific objectivity and aesthetic responses to the past leads her to argue that the survey movement was as concerned with the conditions of its own modernity and the creation of an archive for an anticipated future as it was nostalgic about the imagined past. Including more than 120 vibrant images, The Camera as Historian offers new perspectives on the forces that shaped Victorian and Edwardian Britain, as well as on contemporary debates about cultural identity, nationality, empire, material practices, and art.
Within the larger context of cultural memory, family pictures have become one of the most intriguing multi- and interdisciplinary fields of investigation in the past decade. This field brings together artists working in different media (e.g. documentary photography and film, photo-based painting and installations, digital art, collage, montage, comics, etc.) as well as academics, critics, theorists and writers working in a wide range of disciplines including literature, history, art history, sociology, anthropology, psychoanalysis, film and media studies, visual culture studies, gender studies, postcolonial studies, and word and image studies. This volume intends to offer a broad, panoramic view of the topic combining West and East European as well as American perspectives.
Photographs display attitudes, agency and vision in the way cities are documented and imagined. Cities and Photography explores the relationship between people and the city, visualized in photographs. It provides a visually focused examination of the city and urbanism for a range of different disciplines: across the social sciences and humanities, photography and fine art. This text offers different perspectives from which to view social, political and cultural ideas about the city and urbanism, through both verbal discussion and photographic representation. It provides introductions to theoretical conceptions of the city that are useful to photographers addressing urban issues, as well as discussing themes that have preoccupied photographers and informed cultural issues central to a discussion of city. This text interprets the city as a spatial network that we inhabit on different conceptual, psychological and physical levels, and gives emphasis to how people operate within, relate to, and activate the city via construction, habitation and disruption. Cities and Photography aims to demonstrate the potential of photography as a contributor to commentary and analytical frameworks: what does photography as a medium provide for a vision of 'city' and what can photographs tell us about cities, histories, attitudes and ideas? This introductory text is richly illustrated with case studies and over 50 photographs, summarizing complex theory and analysis with application to specific examples. Emphasis is given to international, contemporary photographic projects to provide provide focus for the discussion of theoretical conceptions of the city through the analysis of photographic interpretation and commentary. This text will be of great appeal to those interested in Photography, Urban Studies and Human Geography.
In Still Moving noted artists, filmmakers, art historians, and film scholars explore the boundary between cinema and photography. The interconnectedness of the two media has emerged as a critical concern for scholars in the field of cinema studies responding to new media technologies, and for those in the field of art history confronting the ubiquity of film, video, and the projected image in contemporary art practice. Engaging still, moving, and ambiguous images from a wide range of geographical spaces and historical moments, the contributors to this volume address issues of indexicality, medium specificity, and hybridity as they examine how cinema and photography have developed and defined themselves through and against one another. Foregrounding the productive tension between stasis and motion, two terms inherent to cinema and to photography, the contributors trace the shifting contours of the encounter between still and moving images across the realms of narrative and avant-garde film, photography, and installation art. Still Moving suggests that art historians and film scholars must rethink their disciplinary objects and boundaries, and that the question of medium specificity is a necessarily interdisciplinary question. From a variety of perspectives, the contributors take up that challenge, offering new ways to think about what contemporary visual practice is and what it will become. Contributors: George Baker, Rebecca Baron, Karen Beckman, Raymond Bellour, Zoe Beloff,Timothy Corrigan, Nancy Davenport, Atom Egoyan, Rita Gonzalez, Tom Gunning, Louis Kaplan, Jean Ma, Janet Sarbanes, Juan A. Suárez
This edited volume considers the many ways in which landscape (seen and unseen) is fundamental to place-making, colonial settlement, and identity formation. Collectively, the authors map a constellation of interlocking photographic histories and survey practices, decentering Europe as the origin of camera-based surveillance. The volume charts a conversation across continents -- connecting Europe, Africa, the Arab World, Asia, and the Americas. It does not segregate places, histories, and traditions, but rather puts them in dialogue with one another, establishing solidarity across national, linguistic, racial, religious, and ethnic borders, which are not fixed but always shifting within current geo-political contexts. Refusing the neat organization of survey photographs into national or imperial narratives, these essays celebrate the messy, cross-cultural reverberations of landscape over the past 170 years. Considering the visual, social, and historical networks in which these images circulate, this anthology connects the many entangled and political histories of photography in order to reframe survey practices and the multidimensionality of landscape as an international phenomenon. This book will be of interest to scholars in art history, history of photography, and landscape history.
Photographers and publishers of photographs enjoy a wide range of legal rights including freedom of expression and of publication. They have a right to create and publish photographs. They may invoke their intellectual, moral and property rights to protect and enforce their rights in their created and/or published works. These rights are not absolute. This book analyses the various legal restrictions and prohibitions, which may affect these rights. Photography and the Law investigates the legal limitations faced by professional and amateur photographers and photograph publishers under Irish, UK and EU Law. Through an in-depth discussion of the personal rights of the public, including the right not to be harassed, the book gives a clear analysis of the current legal standpoint on the relationship between privacy and freedom of expression. Additionally, the book looks at the reconciliation of photographers' rights with the state's interest in public security and defence, alongside the enforcement of ethical and moral codes. Comparative legal standing in the European Union is used as a springboard to further analyse Irish and UK statutes and case law, including recent reforms and current proposals for future change. The book ends with pertinent suggestions of the necessary reforms and enactments required to rebalance the relationship between the personal rights of individuals, the state's duties and the protection of photographers' and photograph publishers' rights. By clearly explaining the theoretical and conceptual reasoning behind the current law, alongside proposed reforms, the book will be a useful tool for any student or academic interested in photography law, privacy and media law, alongside professional and amateur photographers and photograph publishers.
"This richly illustrated and highly readable book offers a history of changing trends in amateur and commercial photography from the medium's invention until the present day"-- Provided by publisher. Contents: How to: an introduction to good photography -- 1839-1860 -- 1861-1900 -- 1901-1929 -- 1930-1965 -- 1966-1995 -- 1996-2019.
This publication maps out key moments in the history of environmentalist photography, while also examining contemporary examples of artistic practice. Historically, photography has acted as a technology for documenting the industrial transformation of the world around us; usually to benefit the interests of capitalist markets. An alternative photographic tradition exists, however, in which the indexical image is used 'evidentially' to protest against incidents of industrial pollution. By providing a definition of environmental activism in photographic praxis, and identifying influential practitioners, this publication demonstrates that photography plays a vital role in the struggle against environmental despoliation. This book will be of interest to scholars in photography, art and visual culture, environmental humanities, and the history of photography.
See the gallery below to see the latest Photography book acquisitions:
Contemporary Photography and Theory offers an essential overview of some of the key critical debates in fine art photography today. Building on a foundational understanding of photography, it offers an in-depth discussion of five topic areas- identity, landscape and place, the politics of representation, psychoanalysis and the event. Written in an accessible style, it introduces the critical literature relevant to photography that has emerged over recent decades. Moving beyond seminal works by writers such as Walter Benjamin, Roland Barthes, and Susan Sontag, it enables readers to explore an extended canon of theorists including Jacques Lacan, Judith Butler and Giorgio Agamben. The book is illustrated throughout and analyses a range of works by established and emergent artists in order to show how these theoretical concepts are central to understanding contemporary photography. These 15 short essays encourage readers to apply critical thinking to both their own work and that of others. They are the perfect starting point for essays as well being of suitable length for assigned readings, making this the ideal resource for learning about contemporary photography and theory.
Fragmentation of the Photographic Image in the Digital Age challenges orthodoxies of photographic theory and practice. Beyond understanding the image as a static representation of reality, it shows photography as a linchpin of dynamic developments in augmented intelligence, neuroscience, critical theory, and cybernetic cultures. Through essays by leading philosophers, political theorists, software artists, media researchers, curators, and experimental programmers, photography emerges not as a mimetic or a recording device but simultaneously as a new type of critical discipline and a new art form that stands at the crossroads of visual art, contemporary philosophy, and digital technologies.
Magnum Streetwise is the definitive collection of street photography from Magnum Photos, and an unparalleled opportunity to follow in the footsteps of the true greats of the genre. An essential addition to the street photography canon, this volume showcases hidden gems alongside many of street photography's most famous images.Magnum photographers such as Henri Cartier-Bresson pioneered modern concepts of street photography before the term was even coined. A rich seam of street photography runs through the heart of Magnum to this day, both in the work of recognized masters of the genre--including Elliott Erwitt, Martin Parr, Bruce Gilden, and Richard Kalvar--and in the work of those who may not think of themselves as street photographers, despite their powerful influence on the current generation of budding artists. Magnum Streetwise is a true visual feast, interleaving insightful text and anecdotes within an intuitive blend of photographer- and theme-focused sections. Ambitious in scope and democratic in nature, Magnum Streetwise is an unmissable tour through the photographs and practices that have helped define what street photography is--and what it can be.
As the prototypical exemplar of modern visual technology, photography was once viewed as a way to enable vision to bypass imagination, producing more reliable representations of reality. But as an achievement of technological modernity, photography can also be seen as a way to realize a creation of the imagination more vividly than can painting or drawing. Photography and Imagination investigates, from diverse points of view focusing on both theory and practice, the relation between these two terms. The book explores their effect on photography's capacity, through various forms and modalities of imaginative investments and displacements, to affect even reality itself.
Dublin has captured countless imaginations and inspired some of the greatest artists and writers throughout history. Focused on D1, Dublin's city center, photographer Eamonn Doyle's three major bodies of work, "i," "On," and "End" brought together here, tell the tale of today's Dublin and, in doing so, tell a broader story of today's Ireland. Doyle's street photography is a thrill to the system, revealing the extraordinary within the ordinary to paint a striking portrait of a modern and multicultural capital city. Reproduced in vivid color, the commonplace is seen anew and made epic as the city's inhabitants appear in stark, black and white going about their daily business. Doyle's work features everyday life through the lens and voice of the street. Punctuating Doyle's photography are specially commissioned narratives by celebrated writer Kevin Barry, evoking the sights, smells, sounds, and sensations of a Dubliner's daily life.
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 analyses 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.
This book examines the photography's unique capacity to represent time with a degree of elasticity and abstraction. Part object-study, part cultural/philosophical history, it examines the medium's ability to capture and sometimes "defy" time, while also traveling as objects across time-and-space nexuses. The book features studies of understudied, widespread, practices: studio portraiture, motion studies, panoramas, racing photo finishes, composite college class pictures, planetary photography, digital montages, and extended-exposure images. A closer look at these images and their unique cultural/historical contexts reveals photography to be a unique medium for expressing changing perceptions of time, and the anxiety its passage provokes.
"Published to accompany a worldwide touring exhibition, The Stutter of History brings together a wide-ranging survey of works spanning the arc of Thomas Demand's career and offers insight into how we might approach the onslaught of historical events that we consume in the form of images. This extensive book displays the breadth and depth of Demands artistic accomplishment, demonstrating in one volume why he is considered one of the worlds foremost contemporary artists. Includes a new short story by award-winning author Ali Smith written in response to a work by Demand, as well as an illuminating essay by Douglas Fogle, curator of the exhibition, and an essay by Margaret Iversen."
"The development and growth of photography on the African continent with imagery from the 19th and 20th century." Contents: Approaches -- Beginnings -- Portrait photographers -- The awakening of a vision -- The official agencies -- Images of reality -- In search of an aesthetic -- Indian Ocean -- Diaspora -- Photographers' biographies.
Now in its sixth edition, this seminal textbook examines key debates in photographic theory and places them in their social and political contexts. Written especially for students in further and higher education and for introductory college courses, it provides a coherent introduction to the nature of photographic seeing. Individual chapters cover: * Key debates in photographic theory and history * Documentary photography and photojournalism * Personal and popular photography * Photography and the human body * Photography and commodity culture * Photography as art. This revised and updated edition includes new case studies on topics such as: Black Lives Matter and the racialised body; the #MeToo movement; materialism and embodiment; nation branding; and an extended critical discussion of landscape as genre. Illustrated with over 100 colour and black and white photographs, it features work from Bill Brandt, Susan Derges, Rineke Dijkstra, Fran Herbello, Hannah Höch, Mari Katayama, Sant Khalsa, Karen Knorr, Dorothea Lange, Susan Meiselas, Lee Miller, Ingrid Pollard, Jacob Riis, Alexander Rodchenko, Andres Serrano, Cindy Sherman and Jeff Wall. A fully updated resource information, including guides to public archives and useful websites, full glossary of terms and a comprehensive bibliography, plus additional resources at routledgetextbooks.com/textbooks/9780367222758/ make this an ideal introduction to the field.
A provocative investigation of the future of photography and human perception in the age of AI. We are constantly photographing and being photographed while feeding machine learning databases with our data, which in turn is used to generate new images. Analyzing the transformation of photography by computation-and the transformation of human perception by algorithmically driven images, from CGI to AI-The Perception Machine investigates what it means for us to live surrounded by image flows and machine eyes. In an astute and engaging argument, Joanna Zylinska brings together media theory and neuroscience in a Vilem Flusser-Paul Virilio remix. Her "perception machine" names a technical universe of images and their infrastructures. But it also refers to a sociopolitical condition resulting from today's automation of vision, imaging-and imagination. Written by a theorist-practitioner, the book incorporates Zylinska's own art projects, some of which have been co-created with AI. The photographs, collages, films, and installations available as part of the book (and its companion website) provide a different mode of thinking about our technological futures, at a local as well as a planetary level. Offering provocative concepts such as eco-eco-punk, AUTO-FOTO-KINO, planetary micro-vision, loser images, and sensography, the book outlines an existential philosophy of messy media for a time when our practices of imaging and self-imaging are being radically redesigned. Importantly, it also offers a new vision of our future.
As inclusive, dynamic and exciting as the medium itself, this utterly original look at the history of photography integrates the landmark discoveries of recent decades to chart new pathways that encompass overlooked artists, traditions, and techniques. The real history of photography is a vast collection of inter-connected stories stretching from East Asia to West Africa, from New Zealand to Uzbekistan. It parallels acknowledged greats with forgotten masters, and lesser-known works with regional champions. It is a complex interplay of fine art, scientific, anthropological, documentary, and amateur traditions forged by women and men alike. Drawn from the extraordinary Solander Collection, this pioneering, alternative history of photography is based on principles of diversity and democracy, allowing famous works to be seen with fresh eyes, and giving more obscure works the platform they deserve. Images by Robert Frank, Diane Arbus, Man Ray, Ansel Adams, and Edward Weston are seen alongside those of Helen Stuart and John Lindt, early, self- trained practitioners Lady Augusta Mostyn and Major Francis Greeley, and African studio photographers Sanlé Sory, Michel Kameni, and Malick Sidibé. It contains many rarities and "firsts" and spans photography's early decades with linchpin works by Sir John Herschel, William Henry Fox Talbot, Hippolyte Bayard, and Julia Margaret Cameron. Contemporary in outlook, visually captivating, and with contributions from leading curators and photo historians, this book will prove essential reading for those looking for an introduction to the field, as well as informed readers looking for more complete knowledge.
These essays address the epistemological, aesthetic and political implications of various forms of scaling in both scholarly and artistic work. From the mass image in vernacular culture to transformations of photography in contexts of big data and artificial intelligence, they explore the massification of photography. They propose a shift into a fundamental re-evaluation of our theoretical coordinates so as to understand the underpinning media and culture of this change. Taken together, Photography Off the Scale calls for a reconsideration of both scholarly and artistic approaches and concepts in the face of our contemporary image excess.
