Reviews
'Fully and often surprisingly illustrated, carefully annotated and captioned, each combines a historical overview with a nicely opinionated individual approach.'Independent on Sunday, 'A readable text discusses the way in which we see and interpret photographs.'The Bookseller'Fully and often surprisingly illustrated, carefully annotated and captioned, each combines a historical overview with a nicely opinionated individual approach.'Independent on Sunday'Read this book and you will never look at a photograph in the same way again.'House & Garden'concise yet comprehensive, and wonderful value'The Irish Times (Dublin)'An engaging, image-studded survey... Clarke is particularly good at playing two images off against one another to emphasise the cultural assumptions underlying each... Clarke raises fascinating questions about how the portrait seeks to encode social identity. In his representation of landscape, he deftly covers both the picturesque tradition and its opposite, the scientific orientation that viewed photography as a means of mapping and administeringland.'V. Penelope Pelizzon, British Journal for the Philosophy of Science Vol.40 No.2'Clarke does an admirable job of condensing theoretical debates concerning the reading of images'Yorkshire Post (Leeds)'An important part of the Oxford History of Art series ... It's an enormous subject, but it's tackled in a tremendously accessible manner. A must for anyone interested in taking seriously good pictures.'Swansea South Wales Evening Post'a superb piece of publishing'Rupert Christiansen, Spectator, 'An engaging, image-studded survey... Clarke is particularly good at playing two images off against one another to emphasise the cultural assumptions underlying each... Clarke raises fascinating questions about how the portrait seeks to encode social identity. In his representation oflandscape, he deftly covers both the picturesque tradition and its opposite, the scientific orientation that viewed photography as a means of mapping and administering land.'V. Penelope Pelizzon, British Journal for the Philosophy of Science Vol.40 No.2, 'An important part of the Oxford History of Art series ... It's an enormous subject, but it's tackled in a tremendously accessible manner. A must for anyone interested in taking seriously good pictures.'Swansea South Wales Evening Post, 'Clarke does an admirable job of condensing theoretical debates concerning the reading of images'Yorkshire Post (Leeds), "For more than 170 years, photographs have redefined the way people see themselves and the world they inhabit. The story of how this happened is revealed in insightful words, but most of all, marvellous pictures, in The Photograph" Kitchener-Waterloo Record, 'Fully and often surprisingly illustrated, carefully annotated andcaptioned, each combines a historical overview with a nicely opinionatedindividual approach.'Independent on Sunday, 'An engaging, image-studded survey... Clarke is particularly good atplaying two images off against one another to emphasise the cultural assumptionsunderlying each... Clarke raises fascinating questions about how the portraitseeks to encode social identity. In his representation of landscape, he deftlycovers both the picturesque tradition and its opposite, the scientificorientation that viewed photography as a means of mapping and administeringland.'V. Penelope Pelizzon, British Journal for the Philosophy of Science Vol.40No.2, "For more than 170 years, photographs have redefined the way people seethemselves and the world they inhabit. The story of how this happened isrevealed in insightful words, but most of all, marvellous pictures, in ThePhotograph" Kitchener-Waterloo Record
