Browsing by Author "Wilder, Kelley"
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Item Metadata only By the Light of the Moon(HarperCollins Publisher, 2019) Wilder, KelleyItem Metadata only Curious about Color(Aperture, 2013) Wilder, KelleyItem Metadata only Die fotografische Methode: Beobachtung, Experiment und Visualisierung(2011) Wilder, KelleyItem Metadata only Documenting the World: Film, Photography and the Scientific Record(The University of Chicago Press, 2016) Wilder, Kelley; Mitman, GreggImagine the twentieth century without photography and film. Its history would be absent of images that defined historical moments and generations: the Battle of the Somme, the death camps of Auschwitz, the assassination of John F. Kennedy, the Apollo lunar landing. The introduction of photography, and subsequently, film in documenting the present created new types of records that altered notions of historical, legal, and scientific evidence, changed interactions among scientists and their subjects, and challenged the very construction and meaning of the archive. Together, the still and moving image helped to instill a documentary impulse that combined the power of science and industry with a particularly utopian (and often imperialistic) belief in the capacity of photography and film to visually capture the world, order it and render it useful for future generations. In the virtual world of images, it is easy to lose sight of the material dimensions of the film and photographic record left behind in this quixotic quest. But the sheer mass of photograph and film documents that take up space in archives and consume vast resources in their virtual state on the web is a reminder of their material impact. At 100 million images and counting, Corbis, for example, one of the largest sites for one-stop shopping for digital still and moving images, is dependent upon a gigantic physical infrastructure of fiber optic cables, routers, hubs, and servers that greatly expand the material footprint of the archival image. This book is about the material and social life of photographs and films made in the scientific quest to document the world. Each step of documentation—from the initial recording of images, to their acquisition and storage, to their circulation—has physically transformed natural and built environments, altered the lives of human subjects, reconstituted disciplines of knowledge, and changed economic and social relationships. Drawing upon scholars from across the fields of art history, visual anthropology, and science and technology studies, the essays in this volume explore the work that photographs and films do as evidentiary documents, narrative objects, and the stuff of archives spanning more than a century of photographic and film history.Item Metadata only Fields of Vision: Photographing the Glass Record(Massey University, NZ, 2016) Wilder, KelleyItem Open Access Flash! A Literary and Visual Culture of Performative Technology(Oxford University Press, 2018-09-28) Wilder, KelleyIn Flash! Photography, Writing, & Surprising Illumination Kate Flint presents a technology history in the fullness of its literary and visual culture as it plays out over more than a century. Her narrative is not about inventions, firsts or the sort of exceptionalism of individual geniuses that often populate the stories of photography or photographically related technology. It is instead about presenting the technological, literary and visual cultures of the flash as mutually productive, inseparable entities.Item Metadata only Josh Ellenbogen, Reasoned and Unreasoned Images: The Photography of Bertillon, Galton, and Marey(Univeristy of Chicago Press, 2015) Wilder, KelleyItem Metadata only Kodak and Photographic Research(Akademie Verlag, 2012) Wilder, KelleyItem Metadata only Locating the photographic archive of science(Deutscher Kunstverlag, 2011) Wilder, KelleyItem Metadata only Looking through photographs: Art archiving and photography in the Photothek(Deutscher Kunstverlag, 2009) Wilder, KelleyItem Metadata only Not one but Many: Photographic Trajectories and the Making of History(Taylor and Francis, 2017) Wilder, KelleyThis essay examines the networks that form an archive using variations on a single photograph from the Thomas Rodger studio of St Andrews. Using the concept of a ‘thick thing’, the essay charts the trajectories of photographs of bronze age funerary urns as they left Rodger’s studio, were collected in albums and used in lectures, and returned to the University of St Andrews Special Collections. Taking just one of Rodger’s photographic assignments as a prism allows us to think about the circulation of many of his photographs both during his lifetime and after, as both the creation of ‘thick things’ and as ‘material performances’ that have since gained the title ‘Early Scottish Photography’ in the St Andrews Special Collections. From a humble object photograph and its variations, the essay argues for the agency of the photographs and their studio origins in forming the special collections photographic collection, and making, in a very literal sense, the stuff from which we write historyItem Metadata only A Note on the Science of Photography: Reconsidering the Invention Story(Routledge, 2015) Wilder, KelleyItem Metadata only Photographic Networks in the Venus Transit(Science Museum Group, 2023) Wilder, KelleyItem Metadata only Photographs as Bureaucracy in the Business of Photography(Kunsthistorisches Institute/ Max Planck, 2021) Wilder, KelleyItem Open Access Photographs, Science, and the Expanded Notebook(Institute of Art History, Academy of Sciences of the Czech Republic, 2022-12) Wilder, KelleyNotebooks are a critical part of observational and experimental practices in the lab and the field, and they appear in all disciplines of science, humanities, and the arts. In photographic history, notebooks by wellknown experimenters like William Henry Fox Talbot and John Frederick William Herschel have been critical to understanding how photography was developed. But in spite of their ubiquitous presence and critical place in photographic history, very little attention has been given to understanding the effects of photography on the notebooks, or to the photographic patterning of scientific notetaking. This article is about photographic notebooks and the way in which photography insinuated itself into the working practice of a few scientists, creating a new and hybrid ‘expanded notebook’.Item Metadata only Photography Absorbed(2006) Wilder, KelleyItem Metadata only Photography and Science(Reaktion Books, 2009) Wilder, KelleyItem Metadata only Photography and the Art of Science(2009-09) Wilder, KelleyItem Open Access Photography in the Marketplace(PhotoResearcher, 2016-03) Wilder, KelleyPhotography in the Marketplace is not only a matter of industrial advertising photography, or corporate branding, but is a political, material and above all, commercial enterprise that inflects the taking, circulating, collection and recirculation of photographs. The materiality of the markets in which photography takes part, the communications networks in which they circulate, and the circumstances in which they are preserved as history enrich the narratives of ‘industry’ beyond its current confines.Item Embargo Photology, Photography, and Actinochemistry: The Photographic Work of John Herschel(Cambridge University Press, 2024) Wilder, KelleyJohn Herschel published at least nine important articles on photographic chemistry between 1819 and 1858. He introduced hyposulphite as a fixer and seven new imaging processes, among them the Cyanotype or, as it became commonly known, the blueprint. He produced negatives on glass, anticipating the breakout innovation of the 1850s by a decade. He is well known for popularizing important vocabulary like “photography,” “snapshot,” “negative,” and “positive,” and he was instrumental in supporting a thriving network of individuals now considered photographic pioneers. This chapter demonstrates how Herschel's contribution to photochemistry should be evaluated outside of photographic history, and how it relates to the growing field of industrial chemistry in the nineteenth century.