Reading Photographs, 2nd edition introduces the key theories of representation and visual analysis and demonstrates how they can be applied to photography. Introducing the many different approaches to critical theory for photography, Richard Salkeld explores identity, gaze, psychoanalysis, voyeurism and aesthetics.As with all the books in the Basics Creative Photography series, Reading Photographs uses visual examples to illustrate the text and case studies to delve deeper into the theories and techniques raised within each chapter. In addition, each chapter includes box outs introducing influential photographers, theorists and critics as well as activities to help you apply relevant theories to your own practice.New to this edition: Exploration of the impact of digital and mobile photography and social media platforms on the interpretation of photographic images. Additional coverage of postmodernism and how it can inform photographic practice and the interpretation of visual imagery, as well as how feminist, post-structuralist and Marxist theories can offer alternative ways of analysing and understanding photographs.
Chapter 1: What is a photograph?Invention: the marriage of chemistry and opticsTime and lightUses and applicationsThe camera: an evolutionCase study: Chuck CloseChapter 2: Reading the signsWhere do meanings come from?Language: words, sounds and imagesSemiotics: the study of signsIdeology: ideas, practices and beliefsCase study: Anthony BarrettChapter 3: Truth and liesWhat is 'real'?Representation and realityFacts and fictionCase study: Thomas HoepkerChapter 4: IdentityPeople and portraitsSignifying identityLookingThe bodyCase study: Marc GarangerChapter 5: Big Brother is watching youThe modern worldThe bad, the mad and the 'other'Surveillance society: the PanopticonWho is looking at whom?Public spaces - private livesCase study: Shizuka YokomizoChapter 6: AestheticsBut is it art?Photography cannot be artWhat is art?Photography as art - the history of an ideaInto postmodernism Case study: Richard BillinghamConclusionBibliographyReferencesIndexPicture creditsAcknowledgements
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