History of Photography is an international quarterly devoted to the history, practice and theory of photography. It intends to address all aspects of the medium, treating the processes, circulation, functions, and reception of photography in all its aspects, including documentary, popular and polemical work as well as fine art photography. The goal of the journal is to be inclusive and interdisciplinary in nature, welcoming all scholarly approaches, whether archival, historical, art historical, anthropological, sociological or theoretical. It is intended also to embrace world photography, ranging from Europe and the Americas to the Far East. The journal aims to provide a significant resource to diverse communities, including, but not limited to, academics, curators, independent scholars, undergraduate and postgraduate students ?indeed, anyone with a serious interest in the history and practice of the medium. The journal encourages submissions from young scholars, while also seeking to publish work by established authorities in the discipline. Over the past three decades History of Photography has become an indispensable source of documentary texts, new and original scholarly articles, novel interpretations, and original thinking in this field. History of Photography is a peer reviewed journal overseen by the Editor and supported by a board of scholars of international standing.
***Note to Authors: please make sure your contact address information is clearly visible on the outside of all packages you are sending to Editors.***
HISTORY OF PHOTOGRAPHY is an international, peer-reviewed journal devoted to the history and criticism of the basic semantic unit of all modern media-the photograph. It covers the history of photography from its origins to the present day and is open to all critical approaches, whether historical, technical, art historical, sociological, cultural or anthropological. The journal is intended to address the needs of scholars, curators and critics and to support the work of postgraduate students in this field of study. It is also an indispensable repository of documentary texts, indexes, and bibliographies of all periods and geographical regions.
Contacting the Editor:
Professor Graham Smith
History of Photography
School of Art History
University of St Andrews
St Andrews
Scotland KY16 9AR
Email: gs2@st-andrews.ac.uk
Contacting the Book Review Editor:
Dr. Natalie Adamson
Book Reviews Editor - History of Photography
School of Art History
University of St. Andrews
9 The Scores
St. Andrews
KY16 9AR
Scotland
Submitting a paper:
Please read these guidelines carefully:
- History of Photography considers all manuscripts on condition that they are the property (copyright) of the submitting author(s) and that copyright will be transferred to History of Photography and Taylor & Francis, the publishers, if the paper is accepted.
- History of Photography considers all manuscripts on the strict condition that they have been submitted only to History of Photography, that they have not been published already, are not under consideration for publication elsewhere, and are not in press elsewhere.
- Authors who fail to adhere to this condition will be charged all costs that History of Photography incurs.
Format
In the first instance, please send two copies of your manuscript, with photocopies of proposed illustrations, to the Editor. Thereafter the Editor may request that the paper also be sent as an email attachment for editing. If possible, prepare the text of your article in Microsoft Word in a PC format. Prospective should consult a recent issue of History of Photography to see how articles are presented. Please ensure that any submission follows the current style and layout of the journal as precisely as possible.
Author information
Attached to the article, but on a separate page, please list name, address, fax number, if available, and email address. Append a brief note of approximately thirty words indicating your institutional position and affiliation, if applicable, your most important publications and current research interests.
Reference notes
For the submission, please employ endnotes rather than footnotes. Citations in the text should use the system of superior numerals, thus 1 2 3 . Notes should be listed separately at the end of the paper in the order in which they appear in the text using Roman numerals followed by a period, thus, 1. 2. 3. Any acknowledgements authors wish to make should preface the notes but not be numbered.
Journal Style
History of Photography uses the following conventions for notes:
Book:
Larry J. Schaaf, The Photographic Art of William Henry Fox Talbot, Princeton: Princeton University Press 2000, 28-32.
Sara Stevenson, The Personal Art of David Octavius Hill, New Haven and London: Yale University Press 2002, 18-23.
Mike Weaver, The Whisper of the Muse: The Overstone Album and Other Photographs by Julia Margaret Cameron, Malibu: The J. Paul Getty Museum 1986, 61.
Chapter in a book:
Andrew Szegedy-Maszak, 'Roman Views', in Six Exposures: Essays in Celebration of the Opening of the Harrison D. Horblit Collection of Early Photography, Cambridge, MA: The Houghton Library, Harvard University 1999, 88-106.
Article in a journal:
A. D. Morrison-Low, 'Brewster, Talbot and the Adamsons: The Arrival of Photography in St Andrews', History of Photography, 25:2 (Summer 2001), 130-141.
Catherine De Lorenzo, 'The Composite Enigma of Nadar', History of Photography, 27:3 (Autumn 2003), 169-78.
A newspaper or magazine
G. Wharton Simpson, 'Examples of Posing', The Photographic News (8 December 1871), 578.
An Internet source
Give the universal resource locator in full: <http://acsinfo.acs.org/instruct/instruct.html>
A personal communication
Roger Taylor and Mike Ware, personal communication, June 2003.
Second and subsequent references
If a second reference to a source occurs immediately after the first, use ibid. with a new page reference, if appropriate. If second and subsequent references do not immediately follow the first, use the surname of the author and short title:
Morrison-Low, 'Brewster, Talbot and the Adamsons', 135. Weaver, Whisper of the Muse, 50.
N.B. History of Photography does not use op cit.
Usage
Authors are asked to take account of the international audience of History of Photography. Avoid using terms that might be meaningful only to a local or national audience. Some specific points of style for articles and reviews follow. If in doubt, always consult a recent issue of the journal to see how the matter has been handled previously:
History of Photography uses British spelling-i.e. colour not color; behaviour not behavior; [school] programme not program; [he] practises not practices; centre not center; organisation not organization; analyse not analyze, etc. Please set your computer's language accordingly when preparing your article.
Single 'quotation marks' are used for quotations rather than double "quotation marks", unless the 'quotation is "within" another quotation'.
Punctuation should follow the British style-e.g. 'quotation marks precede punctuation'.
Spell out numbers up to one hundred: e.g., sixty, sixty-five, ninety-one and all numbers that can be expressed in two words e.g., three hundred or five thousand. Otherwise numbers over one hundred are expressed in figures-e.g., 'The collection comprises 314 glass negatives and 215 albumen prints'. Numbers used with a unit of measure should always be expressed in figures-e.g., 'nine pupils but 9 mm' (do not introduce periods with measure). For decimals, use the form 0.05 (not .05).
History of Photography prefers UK to 'United Kingdom', US to 'American', and USA to 'United States'.
Punctuation of common abbreviations should follow the following conventions-e.g., i.e., cf.
Dashes (M-dash) should be clearly indicated in manuscripts by way of either a clear dash (-) or a triple hyphen (---), (N-dash) should be indicated by a clear dash (-) or a double hyphen (--).
Apostrophes should be used sparingly. Decades should be referred to as 'The 1980s [not the 1980's] saw ...'. Possessives associated with acronyms (e.g., RAE), should be written as follows: 'The RAE's findings that ...'.
All acronyms for national agencies, museums, examinations, etc., should be spelled out the first time they are introduced in text or references. Thereafter the acronym can be used if appropriate-e.g., 'The Research Assessment Exercise (RAE) in 2000 ...'.
The preferred local (national) usage for ethnic and other minorities should be used. For the USA, African-American, Hispanic, and Native American are used, e.g. 'The African-American presidential candidate, Jesse Jackson...' For the UK, African-Caribbean (not 'West Indian'), etc.
Words in the text to be emphasized (italicized in the printed version) should be underlined in the typescript rather than italicized. Please use such emphasis sparingly. In contrast, references in the text to publications should be set in italics in the typescript. For example, 'The author of Chinese Art Photography is not a native of China'.
Illustrations
When submitting an article for consideration, please do not embed illustrations in the text and do not attach illustrations to any email to the Editor. Once the article has been accepted, illustrations may be sent to the Editor as paper prints, slides, transparencies or CDs. All illustrations must be clearly labelled (see below).
In the text of the essay, illustrations, figures and tables should be referred as follows: figure 1, table 1, i.e. lower case. 'As seen in figure 1...' (not fig. or Fig).
A separate numbered 'List of Illustrations' including the caption for each illustration must be included with the article upon submission. Captions should contain the name of photographer, the title of photograph (italicized), the print process, date and credit line as follows:
Figure 1. Samuel Bourne, Valley and Snowy Peaks Seen from the Hamta Pass, Spiti Side, albumen print from wet collodion negative, 1863-66. Victoria & Albert Museum, London.
Figure 2. Yasumasa Morimura, Self-Portrait (Actress) Red Marilyn, Ektachrome print, 1996. Courtesy of the artist.
Figure 3. David Octavius Hill and Robert Adamson, Hugh Miller, salt print from a calotype negative, before 12 July 1843, Scottish National Portrait Gallery, Edinburgh.
It is the responsibility of the author to obtain illustrations, secure copyright permissions and pay any use or reproduction fees. This can be a lengthy process. Authors should have illustrations in hand when they submit an article for consideration.
Illustrations on CD
We welcome illustrations on CD. Illustrations must be saved on a separate disk from the text. Illustrations should be produced as near to the finished size as possible. Files should be saved as TIFF (tagged image file format) or JPEG [?] formats. Disks should be clearly labelled with the following information:
- History of Photography
- Name of author
- Title of article
- Figures contained on disk
- Hardware used (PC or Mac)
Copyright
Contributors are required to secure permission for the reproduction of any illustration, figure, table, or extensive (more than fifty word) extract of a text, from a source which is copyrighted-or owned-by a party other than Taylor & Francis or the contributor.
The following form of words may be used when seeking permission:
Dear [COPYRIGHT HOLDER]
I/we are preparing for publication an article entitled [STATE TITLE] to be published by Taylor & Francis in the international scholarly quarterly History of Photography. The journal has a print run of 900.
I/we should be grateful if you would grant us permission to include the following materials: [STATE FIGURE NUMBER AND ORIGINAL SOURCE]
We are requesting non-exclusive rights in this edition and in all forms. It is understood, of course, that full acknowledgement will be given to the source.
Please note that Taylor & Francis are signatories of and respect the spirit of the STM Agreement regarding the free sharing and dissemination of scholarly information.
Your prompt consideration of this request will be greatly appreciated.
Yours faithfully,
[AUTHOR]
It is a condition of publication that authors assign copyright or license the publication rights in their articles, including abstracts, to Taylor & Francis. This enables us to ensure full copyright protection and to disseminate the article, and of course the Journal, to the widest possible readership in print and electronic formats as appropriate. Authors retain many rights under the Taylor & Francis rights policies, which can be found at
www.informaworld.com/authors_journals_copyright_position. Authors are themselves responsible for obtaining permission to reproduce copyright material from other sources.
Submitting a Book review:
The following header material should appear in all reviews in the following order. Please note also the punctuation:
Ansel Adams: Divine Performance
Anne Hammond
Yale University Press, New Haven and London 2002. 198 pages with 80 duotones.
Hardcover US $45.00. ISBN 0-300-09241-5.
Please do not include page references or endnotes in reviews.
Free article access: Corresponding authors will receive free online access to their article through our website (www.informaworld.com) and a complimentary copy of the issue containing their article. Reprints of articles published in this journal can be purchased through Rightslink?when proofs are received. If you have any queries, please contact our reprints department at reprints@tandf.co.uk
字顺( Alphabetical List of Journals):
