The Photography Handbook

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Summary: Sound theoretical & critical background of photography
Review: Over the last 160 years, photography has been used to record all aspects of human life and activity. Over this period the medium has expanded its capabilities in the recording of time and space, allowing us to capture the fleeting moment and to visualize both the vast and the microscopic. It has brought us images from remote areas of the world, distant parts of the solar system, as well as the social complexities and crises of modern life. Indeed, the photographic medium has provided one of the most influential means of depicting the human predicament. In bringing about the media culture that characterizes modern life, photography has also brought the harsh realities of the world onto the coffee-table in our cozy homes.

Photography has provided a system of visual presentation that has both generated and promoted the social, political, economic, scientific and artistic developments of the past century and a half. The persuasive use of photography in advertising has evolved to perpetuate the consumer society of the post-industrial era. The true value of photography's representational powers lies as much in the image's historical and cultural contexts as in any inherent properties of the photographic medium itself. Thus, looking at a photograph and obtaining information from it is not as straightforward as we might have first thought.

This handbook is not an introductory photographic textbook and does not cover specific details of photographic techniques or technical theory such as darkroom practice and how to use a camera. Instead, it introduces the principles of photography enabling the reader not only to gain a sound theoretical background, but also to develop a critical approach to the field of photographic practice.

Chapter 1 examines the historical context and visual tradition that gave rise to the photographic phenomenon, elucidating both the historical background and the rationale for photographic representation, establishing a theoretical framework. Chapter 2 considers the pre-production factors in approaching the photographic shoot, discussing conceptual photographic skills in terms of Realist, Formalist and Expressionist Aesthetics. Chapter 3 examines the character and nature of the photographic image, while Chapter 4 explores the scope and limitations of the post-production process. Chapter 5 looks at the use of the camera as a documentary tool while Chapter 6 views photography as a medium of expression. Chapter 7 describes the current impact of new technologies on photographic practice whilst the final chapter is devoted to the digitalization of the photographic image and its future significance for photography.

In providing guidelines for the systematic study of photographic media, this handbook would be of interest to practitioners, theorists, students and scholars of photography, media studies, communications and the visual arts.

A former professional photographer, Terence Wright is currently Associate Fellow of the Reuter Programme at Oxford University. He has previously taught at the National Film and Television School and the School of Media Arts, University of Luton.

Reviewed by Azlan Adnan. Formerly Business Development Manager with KPMG, Azlan is currently Managing Partner of Azlan & Koh Knowledge and Professional Management Group, an education and management consulting practice based in Kota Kinabalu, Sabah, Malaysian Borneo. He holds a Master's degree in International Business and Management from the University of Westminster in London.