• Photography Reborn
    Published by Harry N. Abrams
    2005
  • Révolution numérique
    Published by Editions de la Martinière
    translated by Pierre-Richard Rouillon
    2006

Photography Reborn

  • Series: Abrams Studio
  • Paperback: 128 pages
  • Publisher: Harry N. Abrams; 58365th edition (November 1, 2005)
  • Language: English
  • ISBN-10: 0810992442
  • Dimensions: 7.9 x 0.6 x 10 inches

In this important companion to a new art form, author Jonathan Lipkin chronicles the rise of digital technology and explores its impact as well as the limits of its possibilities. Every kind of digital image from MRI scans to fine art is highlighted here, from an obscure scientific application, through its adaptation by pioneer computer artists, to its acceptance by the mainstream of the art world. This seminal text—coupled with fascinating images and examples by contemporary artists Andreas Gursky, Thomas Ruff, Pedro Meyer, Nancy Burson, and Loretta Lux—is uniquely appropriate for anyone interested in visual communications, photography, and culture.

"[A] thorough introduction to the medium.... In accessible prose, Lipkin illustrates how digital photography has expanded the medium's expressive potential, ultimately bringing it closer to painting. This new definition of photography is supported by illustrations that range from abstract to realist to fantastical.... Lipkin takes some provocative and challenging stances, such as arguing that we have reverted to a 19th-century way of seeing with this new technology, making for an intriguing read."
-Publisher's Weekly

Photography Reborn is out of print, but used copies are available through Amazon and Abe.com. The french translation, Revolution numerique, published by Editions de la Martiniere, is available through amazon.fr and abe.com.

[Digital photography is] the process of creating, storing, manipulating and displaying photographic images through electronic devices such as digital cameras, computers, and printers. By the late 20th century, digital technology had largely replaced traditional chemical photographic processes. That digital photographs are easier to produce, manipulate, and distribute than their analog predecessors has led to significant changes to vernacular, artistic, and commercial photographic practices. The boundaries of what constitutes photography—once defined quite clearly through its optical and chemical nature—have also expanded, to the point where many question whether digital photography is an incremental step in the evolution of the medium, or a radical leap into an entirely new form of image production.

from the entry on digital photography in Oxford Art Online, by Jonathan Lipkin