Salon Pictures, Museum Records, and Album Snapshots: Australian Photography in the Context of the First World War
来源期刊:History of PhotographyDOI:10.1080/03087298.2019.1607417
A Strategy of Truth: Andreas Feininger and the Creation of Propaganda for the Office of War Information, 1942
来源期刊:History of PhotographyDOI:10.1080/03087298.2019.1575050
Is Photomontage Over? A Special Issue of History of Photography
来源期刊:History of PhotographyDOI:10.1080/03087298.2019.1696043
Charles Marville and the Landscapes of the Carrières d’Amérique
来源期刊:History of PhotographyDOI:10.1080/03087298.2019.1726100
Photography in 1848: Five Case Studies from Central Europe
来源期刊:History of PhotographyDOI:10.1080/03087298.2019.1643546
Sheida Soleimani, Cyborg: Photomontage in an Expanding Network
来源期刊:History of PhotographyDOI:10.1080/03087298.2019.1668613
The ‘Public’ Life of Photographs
来源期刊:History of PhotographyDOI:10.1080/03087298.2019.1610246
Photography and Other Media in the Nineteenth Century
来源期刊:History of PhotographyDOI:10.1080/03087298.2019.1610247
Guilt in the Archive: Photography and the Amritsar Massacre of 1919
来源期刊:History of PhotographyDOI:10.1080/03087298.2019.1613791
Sparks of Discomfiture: On the Promise of Photomontage (or Back to Suture)
来源期刊:History of PhotographyDOI:10.1080/03087298.2019.1691863
The ‘Occupied Lens’ in Wartime China: Portrait Photography in the Service of Chinese ‘Collaboration’, 1939–1945
来源期刊:History of PhotographyDOI:10.1080/03087298.2019.1662604
At Home in the Victorian City? Revisiting Thomas Annan and the Social Contexts of Early Urban Photography
来源期刊:History of PhotographyDOI:10.1080/03087298.2019.1600860
From Carnival to Satire: Photomontage as a Commentary on Photography
来源期刊:History of PhotographyDOI:10.1080/03087298.2019.1688993
Cut and Paste
来源期刊:History of PhotographyDOI:10.1080/03087298.2019.1695408
Just Gold: The Mavis Walley Collection
来源期刊:History of PhotographyDOI:10.1080/03087298.2019.1580863
The Snapchat Monteur? New Platforms for Photomontage
来源期刊:History of PhotographyDOI:10.1080/03087298.2019.1682834
Photomontage in the Present Perfect Continuous
来源期刊:History of PhotographyDOI:10.1080/03087298.2019.1678292
Large Direct Heads: Robert Crawshay’s Dream of Life-Size Photography
来源期刊:History of PhotographyDOI:10.1080/03087298.2020.1779481
The Big Picture: The Materiality of Size in Ansel Adams’s Large-Scale Works
来源期刊:History of PhotographyDOI:10.1080/03087298.2019.1798646
Frontier and Metropole, Science and Colonisation: The Systematic Exhibitions of Richard Daintree
来源期刊:History of PhotographyDOI:10.1080/03087298.2020.1788233
The Photobook as Variant: Exhibiting, Projecting, and Publishing John Max’s Open Passport
来源期刊:History of PhotographyDOI:10.1080/03087298.2020.1771052
Cut and Paste: Charlie White on the Collage Impulse Today
来源期刊:History of PhotographyDOI:10.1080/03087298.2019.1697084
The Photomontage Activity of Postmodernism
来源期刊:History of PhotographyDOI:10.1080/03087298.2019.1676982