AffiliationUniversity of Chester
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AbstractCollections of photographs by photographers are rarely envisioned in the book form, but instead use the medium solely as an alternative distribution channel. In addition, most critically respected photographic publications are rightly perceived as surrogates for the gallery print; for the history of photography has fetishised the experience of viewing an original above all else. I propose that authored documentary photography books can become super-sensory works, documents of participation, intervention and touch.
CitationDaly, T. (2012). Reinstating touch in the documentary photobook. In T. Wilkie, J. Carson, & R. Miller (Eds.), Photography and the Artist's Book (pp 272-295). Boston: Museums Etc.
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