General History of Photography Books:
Beaumont
Newhall, The History of Photography, Secker & Warburg,
1984
Beaumont Newhall, Photography: Essay and Images, MOMA, New
York, 1980
Peter Bunell, A Photographic Vision: Pictorial Photography 1889-1923,
Peregrine Smith 1980
Helmut and Alison Gernsheim, History of Photography from the
Camera Obscura to the Beginning of the Modern Era, McGraw Hill New
York, 1969
Helmut Gernsheim, The Origins of Photography, Thames and
Hudson, New York, 1982
Peter Galassi, Before Photography: Painting and the Invention
of Photography, MOMA, New York, 1981
Peter Galassi, American Photography 1890-1965, MOMA, New
York, 1995
Mark Haworth Booth, The Golden Age of British Photography 1839-1900,
Aperture, New York, 1984
Mark Haworth Booth, Photography an Independent Art: Photography
from the V&A Museum 1839-1996, V&A Museum, 199
Naomi Rosenblum, A World History of Photography, Abbeville
Press, New York,
Aaron Scharf, Art and Photography, Harmondsworth, 1974
John Szarkowski, Looking at Photography, MOMA, New York,
1973
The Photo Book, Phaidon, 1997 (Paperback and Hardback Editions)
Graham Clarke, The Photograph, Oxford University Press,
Oxford, 1997
Ian Jeffrey, Photography: A Concise History, Thames and
Hudson,
Ian Jeffrey, The Real Thing: British Photography from Fox Talbot
to E O Hoppe, Arts Council of Great Britain
Gerry Badger & John Benton-Harris,Through the Looking Glass,
Photographic Art in Britain 1945-1989, Barbican Publications, London,
1989
Prospect: Photography in Contemporary Art, Edition Stemmle,
Willfried Baatz, Photography: A Concise History, Laurence
King, , London, 1999
Sergiusz Michalski, New Objectivitiy (Neue Sachlichkeit) Painting
in Germany in the 1920s, Taschen, 1994
Roland Barthes, Camera Lucida: Reflections on Photography,
New York, 1981
Nathan Lyons, Photographers on Photography, A Critical Anthology,
Englewood Cliffs, 1966
Susan Sontag, On Photography, New York, 1990
Dawn Ades, Photomontage, Thames and Hudson, 1976
Photofile, The Origins of British Photography, Thames and
Hudson
Peter Turner, History of Photography, Exeter Books
M Teitelbaum, Montage and Modern Life: 1919-1942, Massachusettes
Institute of Technology
Charles Hagen, American Photography of the Depression: FSA Photographs
1935-1942, Thames and Hudson
Martin Caiger-Smith, The Epic and the Everyday: Contemporary
Photographic Art, South Bank Centre
Edward Lucie-Smith, ArToday, Phaidon
Artificial:
Walker Evans, Let us Now Praise Famous Men, Boston, 1988
John Szarkowski, Walker Evans, MOMA, 1984
Sergiusz Michalski, New Objectivitiy (Neue Sachlichkeit) Painting
in Germany in the 1920s, Taschen, 1994
David Mellor, Germany, The New Photography 1927-1933, London
1978 (with ref to Patzsch, Finsler et al)
John Willetts, The New Sobriety: Art and Politics in the Weimar
Period, 1917-1933, Thames and Hudson
Robert Hughes, The Shock of the New, Thames and Hudson
The
City:
Berenice Abbott, New York in the Thirties, Dover Press
Graham Clarke, The Photograph, Oxford University Press,
Oxford, 1997 (section devoted to The City in Photography and reference
to: Stieglitz, Hine, Weegee, Thompson, Evans, Abbott, Atget, Meyerowitz,
Brassai, Kertesz, Spano, Levitt)
Brian Griffin, Power ,1981
Brian Griffin, Portraits, 1987
Brian Griffin, Work, 1987
Ian Jeffrey, Bill Brandt: Photographs 1928-1983, Thames
and Hudson
Bill Brandt, The English at Home, 1936
Bill Brandt, Camera in London, 1948
Bill Brandt, Literary Britain, 1951
Bill Brandt, Perspective of Nudes, 1961
Bill Brandt, Shadow of Light, 1966
John Szarkowski, The Work of Atget (4 vols), MOMA, New York,
1981-5
Cyril Connelly, Bill Brandt, The Shadow of Light: A Collection
of Photographs from 1931 to the Present, Bodley Head, London, 1966
Brassai, Thames and Hudson
Brassai, The Secret Paris of the Thirites, London, 1976
Lawrence Durrell, Brassai, MOMA, 1968
Weegee, The Naked City, Capo Press, 1975
John Szarkowski, Winogrand: Figments from the Real World,
MOMA
Ephemera:
Merry Foresta and William Stapp, Irving Penn: Master of Images:
The Collection of the National Museum of American Art and The National
Portrait Gallery, Washington, 1990
Aaron Siskind, Pleasures and Terrors, Boston, 1982
Vicky Hayward (ed), Surface: Contemporary Photographic Practice,
Internos Books, London, 1996 (with particular reference to the work of
Hiroshi Yoda)
Gerry Badger & John Benton-Harris,Through the Looking Glass,
Photographic Art in Britain 1945-1989, Barbican Publications, London,
1989 (with particularly reference to the work of Keith Arnatt, Martin
Parr, John Blakemore, Izabela Jedrezejczyk)
Naomi Rosenblum, A World History of Photography, Abbeville
Press, New York (with reference to the work of Barbara Norfleet, William
Eggleston)
William Eggleston, William Eggleston's Guide, MOMA, New
York, 1976
Mark Haworth Booth, Photography an Independent Art: Photography
from the V&A Museum 1839-1996, V&A Museum, 199 (reference
to the work of William Eggleston)
Willfried
Baatz, Photography: A Concise History, Laurence King, , London,
1999 (with reference to the work of Eggleston, Penn, Siskind)
John Blakemore, Inscape, Zelda Cheatle Press, London, 1991
Martin Parr, Signs of the Times, A Portrait of the Nation's
Taste, Cornerhouse, Manchester
Martin Parr, The Last Resort, 1986
Martin Parr, Common Sense, Dewi Lewis Publications, Stockport,
1999
Martin Parr, Small World, Dewi Lewis Publications, Stockport,
1995,
Paul Reas, Flogging a Dead Horse, Cornerhouse
Chris Killip, In Flagrante,
Aaron Siskind, Harlem: Photographs 1932-1940, Cornerhouse
& Smithsonian Institution Washington DC.
John Szarkowski,Irving Penn, MOMA, 1984
Constructed
Imagery:
Revisions:
Contemporary Scottish Photography, Nazraeli Press
Michael Kohler (ed), Constructed Realities: The Art of Staged
Photography, Edition Stemmle
Gender
& Stereotypes:
Germano Celant,
Mapplethorpe, South Bank Centre, Hayward Gallery Catalogue
Naomi Rosenblum, A History of Women Photographers, Abbeville,
1994
Nan Goldin,
I'll Be Your Mirror, Whitney Museum of Modern Art, 1993
Richard Marshall,
Robert Mapplethorpe, Whitney Museum of Modern Art, 1988
Inge Bondi,
Chim: Photographs of David Seymour, Boston, 1996
Peter Schjeldahl, Cindy Sherman, New York, 1987
Rosalind Krauss, Cindy Sherman, Retrospective, Thames and
Hudson, 1993
Val Williams, Women Photographers: The Other Observers: 1900
to the Present, London, 1986
Peter Weiermair, The Male Nude-A Male View, Edition Stemmle
Vivienne Maricevic, Male to Female, Edition Stemmle
Jo Spence, Putting Myself in the Picture: A Political Personal
and Photographic Autobiography, Camden Press, 1986
Jo Spence, Reinventing the Family Album: Handbook of Photography
for Women, Camden Press
Graham Howe, Paul Outerbridge Jr; Photographs 1921-39, New
York, 1980
Linda Nochlin, Women, Art, and Power and other Essays, Thames
and Hudson
Whitney Chadwick, Women, Art, and Society, Thames and Hudson
Natural
Forms:
Dennis Longwill,
Steichen: the Master prints 1895-1914, MOMA, 1978
Gail Buckland, William Henry Fox Talbot, Boston 1980
Ben Maddow, Edward Weston: fifty years, New York, 1973
Theodore E Stebbins, Weston's Portraits and Nudes, Boston,
1989
Nancy Newhall, Edward Weston: The Flame of Recognition. His
Photographs Accompanied by Excerpts from His Daybooks and the Letters,
Aperture, 1993
Graham Clarke, The Photograph, Oxford University Press,
Oxford, 1997 (section devoted to The Body in Photography and reference
to:Clarence White, Alfred Stieglitz, Barbara Kruger, Edward Muybridge,
Cindy Sherman, David Seymour, Minor White, Jo Spence)
P Clina Lunsford, Imogen Cunningham, The Poetry of Form,
Edition Stemmle
Michael Kohler, The Body Exposed: Views of the Body, 150 Years
of the Nude in Photography, Edition Stemmle
Hans-Michael Herzog (ed), The Body, Edition Stemmle
H J P Arnold, William Henry Fox Talbot, London, 1977
Ian Jeffrey, The Real Thing: British Photography from Fox Talbot
to E O Hoppe, Arts Council of Great Britain
Myths
and Legends:
Margaret
Harker, H P Robinson: Master of Photographic Art, 1830-1901,
Oxford, 1988
Edgar Yoxall Jones, Father of Art Photography: O G Rejlander
1813-1875, Newton Abbot
Michael Bartram, The Pre Raphaelite Camera; Aspects of Victorian
Photography, Boston
Reflections
and Refractions:
Lee
Friedlander, Letters from the people: MOMA, 1993
Ernst Haas, A Colour Retrospective, Thames and Hudson, 1989
Ernst Haas, In Black and White, Boston, 1992
Naomi Rosenblum, A World History of Photography, Abbeville
Press, New York, (reference to Laughlin, Kertesz, Groover)
William A Ewing, The Body, Thames and Hudson, 1998 (with
particular reference to the work of Andre Kertesz)
Sandra Phillips, Andre Kertesz of Paris and New York, Thames
and Hudson, 1985
Pierre Borham, Andre Kertesz: His life and work, Boston,
1994
David
Elliott, Alexander Rodchenko, 1891-1956, Oxford MOMA, 1979
John
Szarkowski, Jan Groover, Bullfinch Press,
Self
Portraiture:
Harold
Rosenberg, Richard Avedon: Portraits, New York, 1976
Graham Clarke, The Photograph, Oxford University Press,
Oxford, 1997 (section devoted to The Portrait in Photography and reference
to:Mapplethorpe, Julia Margaret Cameron, Hill & Adamson, Bill Brandt,
Cindy Sherman, Richard Avedon)
Jo Spence, Putting Myself in the Picture
Eve
Arnold, In Retrospect, Sinclair Stevenson
Rosalind Krauss, Cindy Sherman 1975-1993, Rizzoli
Landscape
Strategies:
Estelle Jussim and Elizabeth Linguist Cook, Landscape as Photography
, New Haven, 1985
Paul Hill & Thomas Cooper, Dialogue with Photography,
Cornerhouse, Manchester
John Davies, A Green and Pleasant Land, Cornerhouse, Manchester,
1987
John Davies, Mist Mountain Water Wind, 1986
John Davies, Phase II
John Davies Through Fire & Water
Fay Godwin, Land, Heinemann
Fay Godwin, A Perfect Republic of Shepherds, The Wordsworth
Trust
Peter Kennard, No Nuclear Weapons, 1981
Peter Kennard, Doomsday, 1999
Andy Goldsworthy, Wood,
Andy Goldsworthy, Hand to Earth, Maney
Andy Goldsworthy, Time
Ansel Adams, The Camera, Boston, 1980
Ansel Adams, The Negative, Boston, 1981
Ansel Adams, The Print, Boston, 1983
Peter Bunnell, Minor White: The Eye That Shapes, Boston,
1989
Peter Wiermair (ed), Lynn Davis, Bodywork 1978-1985, Edition
Stemmle
Francoise Heilbrun, Camera Work: Stieglitz, Steichen and their
contemporaries, Thames and Hudson, 1991
Paul Hill, White Peak Dark Peak, Cornerhouse
Nikos Stangos (ed), David Hockney by David Hockney, Guild
Nikos Stangos (ed), David Hockney That's the way I see it
