Karanlık Odanın Sırları: Fotoğrafın İcadı

by Quentin Bajac, Ali Berktay (Translator)

1839 yılında Paris'te görüntüleri sabitleyen kimyasal bir yöntemin bulunduğu haberi yankılanır. Gerçek bir mucize olarak karşılanan dagerotipi, otuz yıl içerisinde giderek gelişen başka teknikler izler ve fotoğrafın yaygınlaşmasıyla ilk atölyeler ve portre stüdyoları toplumsal yaşamın merkezi noktalarından birine dönüşür. Fotoğraf bir yandan da adli, belgesel, bilimsel ya da topografik amaçlarla kullanılmaya başlar. Kitaplar ve dergileri kuşatır.

Quentin Bajac, fotoğrafçılığın ilk elli yılındaki sınırlı teknikleri ve ilerlemeleri aydınlattığı bu araştırmasında, dönemin en büyük fotoğrafçılarının bu teknikten nasıl bir sanat dalı yarattıklarını da gözler önüne seriyor.

Genres: Photography, Nonfiction, History

160 pages, Paperback

First published November 1, 2002

About the author

Quentin Bajac is a French museum curator and art historian specialising in the history of photography. He is the director of the Galerie nationale du Jeu de Paume in Paris.
Bajac has held positions at the Musée d'Orsay (1995–2003), Centre Georges Pompidou (2003–2010), Musée National d'Art Moderne and École du Louvre (2010–2013) and Museum of Modern Art (MoMA) (2013–2018).
He has published a number of works on photography, most notably the three-volume series—La photographie—on the history of photography (2000–2010), which belongs to the collection Découvertes Gallimard, as well as Parr by Parr: Discussions with a Promiscuous Photographer (2011), Stephen Shore: Solving Pictures (2017), Being Modern: MoMA in Paris (co-author with Olivier Michelon, 2017).
In 2013 Bajac was made a Chevalier (knight) of the Ordre des Arts et des Lettres.

Reviews

[Fulden · Rating 2 out of 5]

Muazzam bayinc oldugundan aylarca okunan bir kitap daha. Olmeden bitirdigimize sevindik. Artik fotografin tarihinin insanliktan bile eski olduguna inandirildik.

[Veronica Noechel · Rating 5 out of 5]

Excellent overview of photography prior to 1900. It's a short book, but no space is wasted. Some of the most interesting information is crammed into the descriptive notes by the photographs (which I'll admit I read first, unable to resist a rapid run-though the day the book arrived in the mail.) Of course, the book being about photography, I suppose that only makes sense.

If you've ever wondered why you've heard of Daggereotypes and not Bayard Direct Postive Prints? Been curious to bear witness to the latter's historical temper tantrum that must have earned Hippolyte umpteen hundred goth points? If so you should absolutely read this book. It's not a comprehensive study, but one of those books that leaves you wanting to read more books. After reading this you'll have gathered enough knowledge to know what it is, specifically, you'd like to read more about. I love books like that.