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This text explores the photographic documentary work on the city of Glasgow by Thomas Annan in the mid- to late nineteenth century. I focus on Annan's most well-known project— The Closes and Streets of Old Glasgow, 1868-1871, which remains the most significant urban focus in his work. I will begin by briefly outlining Annan's position in the history of photography and the relation of his photographic work to the city of Glasgow. Subsequently, I will engage directly with the volume of interest and outline the character of the photographs. Finally, I will provide an analysis of Annan's photographic work and the manner in which he contributed to a classed construction of the city of Glasgow through documentary photography. In particular, I will explore the images themselves through the lens of critical visual theory and relate them to the urban space of Glasgow itself. [ABSTRACT FROM AUTHOR]

This paper focuses on the documentary photography of Eugène Atget in late 19th and early 20th-century Paris. I will begin by exploring Atget's position as a pioneering documentary photographer in the field, followed by an engagement with the urban environment of Paris, in which Atget worked almost exclusively. Finally, I will analyse a single photograph in depth while discussing it in relation to the work of Charles Baudelaire and Jacques Rancière. This text is a contribution to a literature of critical engagement with documentary photography, urban history and the politics of class visibility. I will do so by arguing for the political significance of reading Atget's images in a critical, political manner that engages with Rancière's concept of the 'anonymous multiple'. Atget is considered a key documentary photographer, and, as such, he is exemplary of the history of documentary photography and its treatment of its subjects. [ABSTRACT FROM AUTHOR]

The concern of this text is the relationship between the city and photography. In order to examine the interrelation between the two, a significant case has been identified with Paris in mid-Haussmannisation in the period of mid to late 19th century. However, the particular focus utilised here is that of the structural logic of space and visibility in relation to photography. Photographs by the photographer commissioned to document the changes of Haussmannisation, Charles Marville, are used to illustrate the interrelations between street, façade, map and photograph. Key to this discussion is the context of modernity and its inheritance from the Enlightenment. Ultimately, this article puts forward a notion of the photographic city as the idea that modern Western cities are constructed on principles of transparency, order and legibility, which not only facilitated modern photography, but also allowed it to reproduce the city as exemplary of those same principles. [ABSTRACT FROM AUTHOR]