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| The Origins of Photography (to 1839) | |
| Before Photography | |
| The Invention of “Photographies” | |
| Responses to the Announcement of the Daguerreotype | |
| The Politics of Invention | |
| Focus: The Stranger | |
| Philosophy and Practice: Nature's Automatic Writing | |
| The Second Invention of Photography (1839-1854) | |
| The Second Invention | ... MORE |
| Focus: Iron, Glass, and Photography | |
| Photography and the Sciences | |
| Focus: Photography, Race, and Slavery | |
| Recording Events with the Camera | |
| War and Photography | |
| Focus: The Mexican-American War | |
| Expeditionary and Travel Photography | |
| Portaiture and the Camera | |
| Focus: The First Police Pictures? | |
| Photography and Fiction | |
| Philosophy and Practice: A Threat to Art? | |
| The Expanding Domain (1855-1880) | |
| The Stereograph | |
| War and Photography | |
| Focus: The Valley of Death | |
| Portrait: Mathew Brady | |
| Portrait: Alexander Gardner | |
| Topographical Surveys and Photography | |
| Focus: The Abyssinian Campaign, or the Magdala Expedition | |
| Photography and Science | |
| Photography and the Social Sciences | |
| Popularizing Ethnic and Economic Types | |
| Art and Photography | |
| Portrait: Julia Margaret Cameron | |
| Women Behind the Camera | |
| Focus: Lewis Carroll's Photographs of Children | |
| Philosophy and Practice: “Superseded by Reality” | |
| Photography in the Modern Age (1880-1918) | |
| The Challenge for Art Photography | |
| Pictorialism | |
| Portrait: Alfred Stieglitz | |
| Portrait: Edward Steichen | |
| Portrait: Gertrude Käsebier | |
| Photography and the Modern City | |
| Portrait: Jacob Riis | |
| Science and Photography | |
| Focus: Photography and Futurism | |
| Focus: Worker Efficiency: The Gilbreth's Time and Motion Studies | |
| Photography, Social Science, and Exploration | |
| Focus: The National Geographic | |
| War and Photography | |
| Philosophy and Practice: The Real Thing | |
| A New Vision (1919-1945) | |
| Revolutionary Art: The Soviet Photograph | |
| Focus: Photomontage or Photocollage | |
| Dada and After | |
| Surrealist Photography | |
| Focus: Film and Photography | |
| Experimental Photography and Advertising | |
| California Modern | |
| Social Science, Social Change, and the Camera | |
| Portrait: Margaret Bourke-White | |
| Portrait: August Sander | |
| Popular Science | |
| World War II | |
| Philosophy and Practice: The “Common Man” and the End of Media Utopia | |
| Through the Lens of Culture (1945-75) | |
| The Family of Man | |
| Cultural Realitivism and Cultural Resistance | |
| Focus: Making an Icon of Revolution | |
| Mexico | |
| Portrait: Manuel Álvarez Bravo | |
| Africa | |
| Asia | |
| Portrait: Shomei Tomatsu | |
| Focus: Photographing the Atomic Bomb | |
| The West and the Cold War | |
| Annihilation, Alienation, Abstraction: America | |
| Technology and Media in Postwar America | |
| Photography in Art | |
| Philosophy and Practice | |
| Photography “Born Whole” | |
| Convergences (1975-2000) | |
| The Predicaments of Social Concern | |
| Portrait: Sabastãio Salgado | |
| Neutral Vision | |
| Focus: The Cambodian Genocide Photographic Database | |
| The Look of Politics | |
| The Postmodern Era | |
| Focus: Culture Wars | |
| Family Pictures | |
| Focus: Looking at Children | |
| Nature and the Body Politic | |
| Philosophy and Practice: The Passing of the Postmodern | |
| Epilogue: On Beauty, Science, and Nature | |
| Post-Photography | |
| Everything Old Is New Again | |
| Timeline | |
| Glossary | |
| Notes | |
| Bibliography | |
| Literary Credits | |
| Picture Credits | |
| Index | |
| Table of Contents provided by Publisher. All Rights Reserved. |