Notes on Contributors

Malcolm Barnard is a Senior Lecturer in visual culture at Loughborough University (UK) where he teaches the history and theory of art and design. His interests lie in the theories and philosophies of fashion and graphic design and they are turning increasingly to photographic theory. His background is in recent French philosophy and he is the author of Graphic Design as Communication (Routledge, 2005), Fashion as Communication (Routledge, 2002), Approaches to Understanding Visual Culture (Palgrave, 2001) and Art, Design and Visual Culture (Macmillan, 1998). He is also the editor of Fashion (Routledge, 2011) and Fashion Theory (Routledge, 2007).

David Bate is an artist and writer based in London. He is Professor of Photography at the University of Westminster, London, UK. Recent publications include the books Photography: Key Concepts, second edition (Bloomsbury, 2016), Art Photography (Tate Publications, 2015), Zone (Artwords, 2012), Photography: Key Concepts (Berg, 2009), and Photography and Surrealism (I.B Tauris, 2004). Forthcoming works include a monograph of visual work called Notes on Otherness.

David Brittain is a writer, curator and former editor of Creative Camera magazine (1991-2001). He is MIRIAD Research Associate and Senior Lecturer in Photography at Manchester Metropolitan University. David edited Creative Camera: 30 Years of Writing (2000) and conceived and was essayist for The Jet Age Compendium: Paolozzi at Ambit (2009).

Stephen Bull is a writer, artist and lecturer. He is a Senior Lecturer in Photography at the University of Brighton, UK. As well as editing this Companion to Photography, he is the author of Photography (Routledge, 2010) and Photography and Celebrity (forthcoming, Bloomsbury). He has contributed to books including Mark Durden (ed.) Fifty Key Writers on Photography (Routledge, 2013) and magazines and journals such as Source: The Photographic Review, Photoworks and Photography and Culture. His books of photographs include Meeting Hazel Stokes (Neroc'VGM, 2006), a series of found snapshots of celebrities with a theater usherette, which was also exhibited at Tate Britain as part of How We Are: Photographing Britain in 2007. He originated and hosts Desert Island Pics, an ongoing series of live events with Photoworks.

David Campbell is Professor of Fine Art at Northumbria University. He is a founding member of the artists' group Common Culture and exhibits internationally. He has published on Sigmar Polke and art and commodity culture. With Mark Durden, Campbell co-wrote Variable Capital (Liverpool University Press, 2007) and Double Act: Art and Comedy (Bluecoat, 2016).

Paul Cobley is Professor in Language and Media at Middlesex University. His books, include Cultural Implications of Biosemiotics (2016), Narrative, second edition (2014), and the edited collections The Communication Theory Reader (1996), Communication Theories, 4 vols. (2006), The Routledge Companion to Semiotics (2010), and "Semiotics Continues to Astonish": Thomas A. Sebeok and the Doctrine of Signs (2011).

Karen de Perthuis is a Lecturer in the School of Humanities and Communication Arts at Western Sydney University. Her work exploring the intersection of fashion, media and the body has been published in a range of journals, including Fashion Theory, Cultural Studies Review, About Performance and Film, Fashion & Consumption, as well as in several edited volumes. She is currently working on a monograph, The Fashionable Ideal: Bodies and images in Fashion.

Edward Dowsett is a practicing artist and writer. He holds a BA in Photography from the London College of Communication. His research interests include photography's uses in the contemporary technological/media landscape, cultural theory, and semiotics.

Mark Durden is currently Professor of Photography at the University of South Wales. He has written extensively on contemporary art and photography. His Photography Today (2014) has now been translated into Chinese, Turkish, French, and Spanish. With David Campbell, Durden has co-curated major exhibitions on consumer culture and art and comedy as well as co-writing two related books, Variable Capital (2008) and Double Act: Art and Comedy (2016). They have also co-authored an essay on Andy Warhol's film The Chelsea Girls for the BFI publication Warhol in Ten Takes. Durden works as an artist with Campbell and Ian Brown, exhibiting regularly as the collective Common Culture.

Elizabeth Edwards is Professor and Director of the Photographic History Research Centre. A visual and historical anthropologist, she has held academic and curatorial posts at Oxford and London works on the complex relationships between photographs, anthropology, and history, in many different contexts from field to museum exhibitions. In particular, she has developed anthropological methods for the analysis of a wide range of photographs and their archives, drawing on phenomenological anthropology and material culture studies. She is especially interested in the social and material practices of photography's historical and contemporary contexts, and has published extensively in the field. Her most recent book is The Camera as Historian: Amateur Photographers and Historical Imagination 1885-1918, on the photographic survey movement England (Duke University Press, 2012).

Clare Gallagher is Lecturer and Course Director for the BA (Hons) Photography at the Belfast School of Art, Ulster University. Her photographic practice and research examine everyday domestic activities and experiences. Her current focus is "women's work" and finding room for ingenuity and resistance to expectations about home.

Rachel K. Gillies is an artist, educator and writer. She is currently Senior Lecturer in Photography at the University of Brighton, UK, with Course Leadership of BA (Hons) Photography, and previously was Senior Lecturer and Course Co-ordinator of Photography at Dunedin School of Art, NZ. Her practice engages with contemporary photography as it responds to digital process and visual communication.

Fergus Heron is an artist, photographer and Senior Lecturer in photography at the University of Brighton, with Course Leadership of MA Photography. His writing is included in Emerging Landscapes: Between Production and Representation (London, 2014), Visible Economies: Photography, Economic Conditions and Urban Experiences (Brighton, 2012), and Eventful: Photographic Time (London, 2000).

Francis Hodgson is Professor in the Culture of Photography at the University of Brighton. He is the longstanding photography critic of the Financial Times and a former head of the photographs department at Sotheby's. He is one of the founders of the Prix Pictet, the richest prize in photography, given for pictures on the theme of the environment and sustainable development. He has been a gallerist, a creative director in industries centred upon the photograph, and a curator. Hodgson is also an art adviser specializing in fine photographs who advises on many aspects of collections (public and private). Hodgson has served upon many prize juries and awards.

Sarah E. James is an art historian, writer and lecturer based in Frankfurt. From 2010-2017 she was a Lecturer at University College London, where she taught on photography and art in the twentieth century, photographic modernity, and art and culture during the Cold War. Her first book, Common Ground: German Photographic Cultures Across the Iron Curtain, was published by Yale University Press in 2013. Her second, Paper Revolutions: An Invisible Avant-Garde, is forthcoming with MIT Press. She is currently a Paul Mellon Fellow completing her third book project, The Militant & the Mainstream: The Remaking of British Photographic Culture. She has published numerous chapters, articles and essays on photography and contemporary art.

Sabine T. Kriebel has taught photography and photography theory at the University College Cork, Ireland, since 2004. Her recent books include Revolutionary Beauty: John Heartfield's Radical Photomontages (University of California Press, 2014) and Photography and Doubt (Routledge, 2016), co-edited with Andrés M. Zervigón.

Kathy Kubicki is Senior Lecturer in Critical and Historical Studies at Kingston University, UK, editor of peer-reviewed journal Photography & Culture (Routledge). Her research includes poststructural philosophies, women artists, and psychoanalytic theory. Recently she contributed to Twenty Years of Make Magazine: Back to the Future of Women's Art (I.B. Tauris: 2015).

Martha Langford is Research Chair and Director of the Gail and Stephen A. Jarislowsky Institute for Studies in Canadian Art and a Professor of Art History at Concordia University in Montreal, Canada. Her publications include Suspended Conversations: The Afterlife of Memory in Photographic Albums (2001); Scissors, Paper, Stone: Expressions of Memory in Contemporary Photographic Art (2007); and A Cold War Tourist and His Camera, co-written with John Langford (2011).

Matthew Lindsey is a Senior Lecturer in Photography at UCA, Farnham. He has exhibited works in a number...