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hillnhuetter s hybrid photography intermedial practices 2021

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Textbook in PDF format This book explores the territories where manual, graphic, photographic, and digital techniques interfere and interlace in sciences and humanities. It operates on the assumption that when photography was introduced, it did not oust other methods of image production but rather became part of ever more specialized and sophisticated technologies of representation. The epistemological break commonly set with the advent of photography since the nineteenth century has probably been triggered by photographic techniques but certainly owes much to the availability of a plethora of hybrid media―media that influence the relation of sciences, humanities, and their methods and subjects. This book will be of interest to scholars in art and visual culture, photography, and history of photography. List of Illustrations List of Contributors Acknowledgments Foreword Introduction: where does photography start? And where does it end? A hybrid introduction Hybrid measurement Hybrid photography in the history of science: the case of astronomical practice The map as a photograph: Theodor Scheimpflug’s balloon aerial photogrammetry Seen from above: Wilhelm Halffter’s photographs of 1854, depicting the terrain models of Hermann and Adolph Schlagintweit In order of disappearance: photography, measurement, and art historical practice in nineteenth-century Germany Hybrid materiality “Imageability”: aligning bodies and imaging technologies Beyond retouching: Hans Virchow’s mixed media and his X-ray drawings of the lotus foot From photography to printing: the chronophotography of Etienne-Jules Marey Entangled environments: diorama, photography, and the staging of natural surroundings Reconfiguring the use of photography in archaeology Hybrid reproduction “The camera that takes a face can take a page”: microfilm as a scientific aid Stereo atlases as hybrid knowledge Retouching, staging, and authenticity: early animal photography and the tradition of popular zoological illustration around 1900 “Offering pleasures to the eye”: Max Semrau’s Kunst des Altertums (1899), its illustrations, and art history’s ignorance toward reproduction Fantasy of a world without humans Index

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hillnhuetter s hybrid photography intermedial practices 2021