Abbot, B. (1951). It has to walk alone. Infinity. New York.
Ackerman, M. (2014). BJP(May).
Adam, P. (1983). Andreas Feininger. Master photographers. P. Adam. UK, BBC.
Adams, A. (1970). Natural Light Photography, Morgan & Morgan.
Adams, S. (2007). “Introduction To Post-Phenomenology.” Thesis Eleven 90(1): 3-5.
Aelbrecht, W. (2013). “Camera constructs: Photography, architecture and the modern city.” Visual Studies 28(3): 295-296.
Agee, J. and W. Evans (1960). Let us now praise famous men : three tenant families. Boston, Houghton Mifflin.
Almond, D. and K. Nordrhein-Westfalen (2005). 50 moons at a Time. Köln, Verlag der Buchhandlung Walther Konig.
Anderson, G. (2004). Reinventing the museum: historical and contemporary perspectives on the the paradigm shift. Walnut Creek, AltaMira Press.
Archer, N. (2011). “The city presented to itself: Perspective, performance and the anxiety of authenticity in recent Parisian films.” Studies in European Cinema 8(1): 31-41.
Asimov, I. (1983). The Roving Mind, Prometheus Books
Baetens, J., et al. (2010). Time and photography. Leuven, Leuven University Press.
Bainbridge, S. (2012). The New York Times Magazine creates a visual feast for its London issue. British Journal of Photography. London, Incisive Media: 20-21.
Barker, N. I.-D., Christine (2014). Hidden Beauty: Exploring the Aesthetics of Medical Science. Atglen, USA, Schiffer books.
Barker, N. I.-D., Christine (2016). “Hidden Beauty.” RPS Journal 156(March 2016): 200.
Barrett, T. (2000). Criticizing photographs : an introduction to understanding images. Mountain View, Calif., Mayfield Pub. Co.
Barthes, R. (1993). Camera lucida. London, Vintage.
Basilico, G. and F. Maggia (1999). Gabriele Basilico: cityscapes. London, Thames & Hudson.
Batchen, G. (2003). “‘fearful ghost of former bloom’: What Photography Is.” Photography/Philosophy/Technology. Brighton: University of Brighton: 15-30.
Batchen, G. (2009). Photography degree zero: reflections on Roland Barthes’s Camera lucida. Cambridge, Mass. London, MIT Press.
Bate, D. (2009). Photography. Oxford, Berg.
Baudrillard, J. and S. r. Lotringer (1988). The ecstasy of communication. Brooklyn, N.Y., Autonomedia.
Baudrillard, J. and J. B. Trans (1996). The system of objects. London, Verso.
Baylis, G. (2008). “Remediations.” Photographies 1(1): 29-48.
Bean, R. (2006). Image and inscription: an anthology of contemporary Canadian photography. Toronto, YYZ Books.
Beckman, K. R. and J. Ma (2008). Still moving : between cinema and photography. Durham, Duke University Press.
Bell, V. (2014). From photography to supercomputers: how we see ourselves in our inventions. Observer. UK, Guardian.
Benjamin, A. (2010). “What, in truth, is photography? Notes after Kracauer.” The Truth in Photography 32(2): 189-202.
Benjamin, W. (1935 (trans. 2004)). The work of art in the age of its Technological Reproducibility [Originally published: Zeitschrift für Sozialforschung, 1935.], http://www.Jahsonic.com/WAAMR.html.
Benjamin, W. (1979). A Small History of Photography. One-way street and other writings. London, New Left Books.
Bennett, T. and C. Healy (2010). Assembling Culture, Routledge.
Berger, J. (1972). Ways of Seeing. New York, Penguin.
Bergson, H., et al. (2001). Key writings. New York, Continuum.
Bielefeld (2013). Basics architectural design, Birkhauser.
Blau, E., et al. (1989). Architecture and its image : four centuries of representation : works from the collection of the Canadian Centre for Architecture. Montreal; Cambridge, Mass., Centre Canadien d’Architecture/Canadian Centre for Architecture ; Distributed by the MIT Press.
Boddy, A. (2001). “Clarifying Architecture: Max Dupain, David Moore and John Gollings at Yulara.”
Bogue, R. (2003). Deleuze on cinema. New York. London, Routledge.
Bohrer, F. N. (2011). Photography and archaeology. London, Reaktion.
Bollo, A. (2006). “Analysis of Visitor Behaviour inside the Museum: An Empirical Study.”
Borden, I. (2007). “Imaging architecture: the uses of photography in the practice of architectural history.” The Journal of Architecture 12(1): 57-77.
Bordwell, D. (1993). The cinema of Eisenstein, University of Harvard Press, Cambridge & London.
Bordwell, D. (2005). The cinema of Eisenstein. New York London, Routledge.
Born, G. (1998). “Public Museums, Museum Photography, and the Limits of Reflexivity.” Journal of Material Culture 3(2): 223-254.
Bourdieu, P. (1996). Photography: a middle-brow art. Cambridge, Polity Press.
Bourne, S. (1863). “Photography in the East.” British Journal of Photography: 268.
Brassaï (Gyula Halász) (1962). Séminaire sur l’image dans la société industrielle. Paris.
Braun, M. and E.-J. Marey (1992). Picturing time : the work of Etienne-Jules Marey (1830-1904). Chicago, University of Chicago Press.
Brind, S., et al. (2007). The state of the real: aesthetics in the digital age. London, I.B. Tauris.
Brooker, G. and E. Northey (2008). “Framing space: agendas and content in the architectural photograph.” The Journal of Architecture 13(2): 117-131.
Brumfield, W. C. (2010). “(Re)presenting Russian Architecture.” Visual resources 26(3): 322-330.
Bryson, N. (1983). Vision and painting: The logic of the gaze, Yale University Press New Haven.
Buchanan, P. (2015). “Empty gestures: Starchitecture’s Swan Song.” Architectural Review 237(1417): 30-35.
Bull, S. (2009). Photography. Milton Park, Abingdon, Oxon [England]
New York, Routledge.
Burbridge, B., et al. (2015). Revelations. London, Mack Books & Media Space.
Burgin, V. (1996). Some cities. London, Reaktion.
Burtynsky, E. (2003). Manufactured Landscapes. Yale, National Gellery of Canada/Yale University Press.
Busch, A. (1987). The photography of architecture: Twelve views. New York
Wokingham, Van Nostrand Reinhold.
Caiger-Smith, M., et al. (1991). Site work: architecture in photography since early modernism. London, Photographers’ Gallery.
Campany, D. (2008). Photography and cinema. London, Reaktion.
Campbell, H. (2014). THE FAÇADE FILLS THE FRAME. Building with Light: The Legacy of Robert Elwall. V. Carullo. RIBA, London, UK, academia.edu.
Campbell, H. (2015). “Photographic Architecture in the Twentieth Century.” The Journal of Architecture 20(1): 152-159.
Caraffa, C. (2012). “British photographic history.” Retrieved 02/03/12, 2012, from http://britishphotohistory.ning.com/profiles/blogs/preservation-of-photographic-archives.
Carter, R. (2011). “Travelling Still.” from http://www.travellingstill.com.
Cartier-Bresson, H. (1968). The world of H.C.B. Paris, Delpire.
Cartier-Bresson, H. and E. Tériade (1952). The Decisive Moment, Simon and Schuster in cillaboration with Éditions Verve of Paris.
Carullo, V. (2013). “Review: Camera Constructs: Photography, Architecture and the Modern City.” The Journal of Architecture 18(3): 449-452.
Cavanagh, G. (2000). Dream Spaces: memory and the museum. London, Leicester University Press.
Chang, T. (2005, 2014). “Chang Flickr page.” Retrieved 21/01/14, 2014, from http://www.flickr.com/photos/exxonvaldez/.
Chang, T.-J. (2008). Effects of design features on visitors’ behavior in a museum setting, University of Kansas. Masters.
Ching, F. and J. Eckler (2013). Introduction to architecture. Hoboken, N.J, Wiley.
Churchland, P. M. (2012). Plato’s camera: how the physical brain captures a landscape of abstract universals. Cambridge, Mass, MIT Press.
Claerbout, D., et al. (2004). Visible time: the work of David Claerbout. Brighton, Photoworks.
Coke, V. D., et al. (1964). The Painter and the Photograph, University of New Mexico Press.
Colomina, B. (1996). Privacy and Publicity: Modern Architecture as Mass Media. Cambridge, Massachusetts, MIT Press.
Conlon, V. M. (1973). Camera techniques in archaeology. London, J. Baker.
Cooke, L., et al. (2010). Mixed use, Manhattan : photography and related practices, 1970s to the present. Cambridge, Mass. ; London, MIT Press.
Crary, J. (1992). Techniques of the observer: on vision and modernity in the nineteenth century, The MIT Press.
D’Annuntiis, M. and P. Ciorra (2000). New Italian architecture: Italian landscapes between architecture and photography. Milan, Skira.
Dagognet, F. o. and DDC20. (1992). Etienne-Jules Marey: a passion for the trace. New York, Zone Books.
Dave, B. (2008). Virtual Heritage: Mediating space, time and perspectives. New Heritage: New Media and Cultural Heritage. Y. Kalay, T. Kvan and J. Affleck. London, Routledge.
Davies, J. (1987). A Green & Pleasant Land. Manchester, Cornerhouse.
De Maré, E. (1961). Photography and architecture. London, Architectural Press.
Deleuze, G. (1992). Cinema 1: the movement image. London, Athlone Press.
Deleuze, G. (2005). Cinema 2: the time-image. London, Continuum.
Deriu, D., et al. (2014). Emerging landscapes: between production and representation, Ashgate.
Duganne, E. (2015). “At the Edge of Sight: Photography and the Unseen.” History of Photography 39(1): 98-100.
Dunn, N. (2015). Modelmaking in the Digital Age. Manchester University, UK, unpublished.
Dunnico, D. (2009). Reality TV. Manchester, Dunnico, David.
Dyer, G. (2006). Between The Lines. Guardian.
Editor (1992). “Editorial: The lying camera.” Museum Management and Curatorship 11(3): 227-228.
EDUCATION, E. O. A. (2014). “Analytical Cubism (c.1909-12).” from http://www.visual-arts-cork.com/history-of-art/analytical-cubism.htm.
Edwards, E. (2001). Raw Histories: photographs, anthropology and museums. Oxford, Berg.
Edwards, E. (2013). “Photography and Archaeology.” History of Photography 37(2): 245-247.
Edwards, E. (2015). “Photography’s default history is told as art – it shouldn’t be.” Arts + culture. 2015, from https://theconversation.com/photographys-default-history-is-told-as-art-it-shouldnt-be-37734.
Edwards, E. and C. A. Morton (2015). Photographs, museums, collections: between art and information. London, Bloomsbury Academic.
Edwards, E. e. (1994). Anthropology and Photography 1860-1920. New Haven, Yale University Press.
Edwards, S. (2003). A ‘Pariah in the World of Art’: Richter in Reverse Gear. Where is the photograph? D. Green. Maidstone, UK, Photoworks.
Edwards, S. (2006). Photography: a very short introduction. Oxford, Oxford University Press.
Eggleston, W. (1989). The democratic forest, Secker & Warburg.
Eggleston, W., et al. (1976). William Eggleston’s Guide. New York, Museum of Modern Art.
Eisenstein, S. M., et al. (1989). “Montage and Architecture.” Assemblage(10): 111-131.
Elkins, J. (2011). What Photography Is, Taylor & Francis Group.
Elkins, J. E. (2009). Artists with PhDs: on the new doctoral degree in studio art. Washington, DC, New Academia Pub.
Ellenbogen, J. (2008). “Camera and Mind.” Representations 101(1): 86-115.
Ellenbogen, J. (2010). “The Eye of the Sun and the Eye of God.” Visual resources 26(2): 113-130.
Elwall, R. (1991). The Specialist Eye. Site work: architecture in photography since early modernism. M. Caiger-Smith and D. Chandler. London, Photographers’ Gallery.
Elwall, R. (1994). Photography takes command: the camera and British architecture 1890-1939. London, RIBA.
Elwall, R. (2004a). Building with Light: The International History of Architectural Photography London, Merrell.
Elwall, R. (2004b). “Building an architectural orthodoxy.” British Journal of Photography 151: 22-26.
Elwall, R. (2007). Image and Experience; the Photography of John Donat London, RIBA.
Elwall, R. and V. Carullo (2009). Framing Modernism: Architecture and Photography in Italy 1926 – 1965 London, Estorick Foundation.
Eshelman, R. (2009). Performatism, or, the end of postmodernism, Davies Group.
Everett, L. (2015). “The Daily Telegraph.” from http://www.telegraph.co.uk/culture/photography/10711593/The-best-photography-books-out-now.html.
Ferreira, P., et al. (2016). “Trial and Error.” BJP(7846): 54-66.
Foucault, M. (1976). The Birth of the Clinic. London, Tavistock.
Foucault, M. and P. Rabinow (1984). The Foucault reader. New York, Pantheon Books.
Foucault, M. and A. Sheridan (1972). The archaeology of knowledge. London, Tavistock Publications.
Frantz, A. (1950). “Truth before Beauty or the Incompleat Photographer.” Archaeology (USA) 3(4/ Winter 1950): 202-214.
Friel, B. (1980). Translations. Derry, Northern Ireland.
Gallery., D. O. C. (1969). Abstract art in England 1913-1915: catalogue of an exhibition held at the d’Offay Couper Gallery, 11 November – 5 December 1969. London, d’Offay Couper Gallery.
Garner, L. (2003). Photographs that led to Hollywood ; MOTION STUDIES: Time, Space and Eadweard Muybridge by Rebecca Solnit (Bloomsbury, pounds 16.99). Evening Standard. London (UK): 45.
Gemunden, G., et al. (2012). Culture in the anteroom: The legacies of Siegfried Kracauer, University of Michigan Press.
Gibbons, F. (2011). Jean-Luc Godard: ‘Film is over. What to do?’. The Guardian. London, UK.
Gill, C. B. (2000). Time and the image. Manchester, Manchester University Press.
Glover, M. (2012). “Timescapes.” 2012, from http://www.malcolmglover.co.uk/.
Gómez Cruz, E. and E. T. Meyer (2012). “Creation and Control in the Photographic Process: iPhones and the emerging fifth moment of photography.” Photographies 5(2): 203-221.
Gontarski, S., et al. (2013). Understanding Bergson, Understanding Modernism, A&C Black.
Graaf, d. (2015). “Architecture is now a tool of capital, complicit in a purpose antithetical to its social mission.” Architectural Review(1419).
Graham, P. (2010) The Unreasonable Apple.
Graham, P. (2012). The Present, MACK.
Green (ed.), D. (2003). Where is the photograph? Maidstone, Photoworks.
Green, D. and J. Lowry (2003). From presence to the performative: rethinking photographic indexicality. Where is the Photograph? D. Green. Maidstone, UK, Photoworks: 47-62.
Green, D. and J. Lowry (2006). Stillness and time: photography and the moving image. Brighton, Photoworks.
Green, P. (2011). “Invisible Cities.” 2012, from http://www.thresholdsphotography.com/photo_10867213.html.
Gregory, D. and J. Urry (1985). Social relations and spatial structures, Macmillan.
Groth, H. (2003). Victorian photography and literary nostalgia: arresting time. Oxford, Oxford University Press.
Gunning, T. (2004). “What’s the Point of an Index? Or, Faking Photographs.” NORDICOM Review 5(1-2): 39-49.
Hacking, J. and D. Campany (2012). Photography: The Whole Story, Thames & Hudson.
Hake, S. (2006). “Visualising the urban masses: modern architecture and architectural photography in Weimar Berlin.” The Journal of Architecture 11(5): 523-530.
Hall, S. (1997). Representation : cultural representations and signifying practices. London, Sage/Open University.
Handwerker, M. (2014). “Las Vegas in the Rearview Mirror: The City in Theory, Photography, and Film.” The Journal of Architecture 19(4): 620-622.
Hans, M.-F. and G. Lapouge (1978). Les femmes, la pornographie, l’erotisme / Marie-Francoise Hans, Gilles Lapouge. Paris :, Seuil.
Harris, M. G. (2001). Professional architectural photography. Oxford, Focal Press.
Hayward, S. (2000). “The City as Narrative: Corporeal Paris in Contemporary French Cinema.” Spaces in European Cinema: 23-31.
Healy, C. (2003). Dead Man: Film, Colonialism and Memory. Contested pasts: the politics of memory. K. Hodgkin and S. Radstone. London, Routledge.
Heiferman, M. (2012). Photography changes everything. New York
Thames & Hudson [distributor].
Heinrich, M. and B. Bielefeld (2009). Architectural photography. London, Birkhäuser.
Higgott, A. (2006). All the media’s making: 98-98.
Higgott, A. (2007). Mediating modernism: architectural cultures in Britain. London, Routledge.
Higgott, A. and T. Wray (2012). Camera Constructs: Photography, Architecture and the Modern City. London, Ashgate Publishing.
Hill, J. (2011). “Book Review: Three Books on Models.” from http://archidose.blogspot.co.uk/2011/08/book-review-three-books-on-models.html.
Hollander, P. d. and L. Merlo (1982). Moments in time: (photographs). Amsterdam, B. Bakker.
Holmes, O. W. (1859). “The stereoscope and the stereograph.” The Atlantic Monthly(June).
Hölzl, I. (2010). “Moving Stills: Images That are no Longer Immobile.” Photographies 3(1): 99-108.
Houlder, E. (2009). Origins and Philosophy of Site Photography.
Hovers, E. (2016). “Projects.” BJP(7846): 26-29.
Hubert, C. (1981). “The Ruins of Representation.” Retrieved 02/04/2015, 2015, from http://www.christianhubert.com/writings/ruins_of_representation.html.
Hultzsch, A. (2014). “Architectural History from Eye-level: Nikolaus Pevsner’s “Treasure Hunts” in the Architectural Review, 1942.” The Journal of Architecture: 382-401.
Humbert, B. (2012). “Nostalgia and Modernity in Two Recent “Paris” Films.” Quarterly Review of Film and Video 30(1): 16-24.
Main protaganist’s view is from above (confined to apartment by heart condition
Humphreys, R. (1999). Futurism. London, Tate Gallery.
Ingelevics, V. (2006). The Metropolitan Museum of Edward Milla. Image and inscription: an anthology of contemporary Canadian photography. R. Bean. Toronto, YYZ Books.
Iuliano, M. and F. Penz (2012). Still Architecture: Photography, Vision and Cultural Transmission. Still Architecture: Photography, Vision and Cultural Transmission, Cambridge.
Jackson, A. and J. Kidd (2011). “Performing Heritage: Research, Practice And Innovation In Museum Theatre And Live Interpretation Author: Anthony Jackson.”
Janser, A. and A. Rüegg (2001). Hans Richter: new living: architecture, film, space, Springer Science & Business Media.
Jay, M. (1994). Downcast eyes: The denigration of vision in twentieth-century French thought, Univ of California Pr.
a history of visuality
Jeffrey, I. (2003). Photography: a concise history. London, Thames & Hudson.
Jodice, M. (2006). Città visibli. Milano, Maidstone, Charta
Amalgamated Book Services [distributor].
Judson, D. R. (2011). Beyond Space? Exploring the Temporality of Architecture. Ann Arbor, Carleton University (Canada). MR79639: 169.
Keats, P. L. (1993). “Visual Resources Bibliography for 1990.” Visual resources 9(2): 169-170.
Kemp, M. (1990). “Taking it on trust: form and meaning in naturalistic representation.” Archives of natural history 17(2): 127-188.
Kemp, M. (1997). Behind the picture : art and evidence in the Italian Renaissance. New Haven, Conn. ; London, Yale University Press.
Kemp, M. (2000). Visualizations : the Nature Book of Art and Science. Oxford, Oxford University Press.
Kemp, M. (2006). Seen/unseen : art, science, and intuition from Leonardo to the Hubble telescope. Oxford, Oxford University Press.
Kent, J. C. (2013). “Walker Evans’s Psychogeographic Mapping of Havana, 1933.” History of Photography 37(3): 326-340.
Kessels, E. (2016). “Any Answers.” BJP(7846): 12-13.
Klapisch, C. (2008). Paris. France.
Kopelow, G. (2002). How to photograph buildings and interiors. Abingdon, Princeton Architectural Marston.
Koppelkamm, S. and L. Derenthal (2006). Ortszeit. Stuttgart
London, Edition Axel Menges.
Kotsioris, E. (2015). “History: The introduction of computing to architecture.” Architectural Review 1416: 104-105.
Kourtzi, Z. (2004). “‘But still, it moves’.” Trends in Cognitive Sciences 8(2): 47-49.
Kourtzi, Z. and N. Kanwisher (2000). “Implied motion activates extrastriate motion-processing areas: Response to David and Senior (2000).” Trends in Cognitive Sciences 4(8): 295-296.
Kourtzi, Z., et al. (2008). “Linking form and motion in the primate brain.” Trends in Cognitive Sciences 12(6): 230-236.
Kracauer, S. (1965). Theory of film: The redemption of physical reality. New York, Oxford University Press.
Kracauer, S. (1993). “Photography.” Critical Inquiry 19(3): 421.
Kracauer, S. (1994). “La photographie [Photography].” Revue d’Esthétique U6 – ctx_ver=Z39.88-2004&ctx_enc=info%3Aofi%2Fenc%3AUTF-8&rfr_id=info:sid/summon.serialssolutions.com&rft_val_fmt=info:ofi/fmt:kev:mtx:journal&rft.genre=article&rft.atitle=La+photographie+%5BPhotography%5D&rft.jtitle=Revue+d%27Esth%C3%A9tique&rft.au=Kracauer%2C+Siegfried&rft.date=1994-01-01&rft.issue=25&rft.spage=189&rft.epage=199¶mdict=en-US U7 – Journal Article U8 – FETCH-proquest_abstracts_13205208962(25): 189-199.
Kracauer, S. and T. Y. Levin (1995). The mass ornament : Weimar essays. Cambridge, Mass., Harvard University Press.
Kusukawa, S. (2011). “Patron’s review. The role of images in the development of Renaissance natural history.” Archives of natural history 38(2): 189-213.
Lager Vestberg, N. (2008). “Archival Value.” Photographies 1(1): 49-65.
Lahiji, N. (2011). The political unconscious of architecture: re-opening Jameson’s Narrative. Burlington, VT, Ashgate.
Lane, G. (2011). ““The Photographer as Recorder”: Daniel Meadows, Records, Discourse and Tradition in 1970s England.” Photographies 4(2): 157-173.
Lasansky, D. M. and B. McLaren (2004). Architecture and tourism : perception, performance, and place. Oxford, Berg.
Lee, C. and S. Jacoby (2011). Typological urbanism: projective cities. Chichester, Wiley.
Leeuwen, T. A. P. v. (1999). “Architectural photogenicity and the aesthetics of time.” Architecture and ideas 1(3): 22-45.
Time and photography.
Lefebvre, H., et al. (2014). Toward an architecture of enjoyment. Minneapolis, University of Minnesota Press.
Lieberman, J. C. (2008). “TRAUMATIC IMAGES.” Photographies 1(1): 87-102.
Lowe, J. (2006). Architectural photography. Lewes, Photographers’ Institute.
Lusheck, C. H. (2014). “Perfecting nature: Empiricism, geometry and the rhetoric of liveliness in Leonardo’s Studies of Brambles, c. 1505-10.” from http://faculty.virginia.edu/Fiorani/NEH-Institute/essays/lusheck.
MacCannell, D. (1999). The Tourist: A new theory of the leisure class. New York, Schocken.
MacDonald, S. (2003). Consuming Ancient Egypt. London, UCL Press.
Mack, M. (1999). Reconstructing space: architecture in recent German photography. London, Architectural Association Publications.
Maclean, J. Retrieved 19/05/2016, from https://www.jmaclean.co.uk/art/two-and-two/.
Magyar, A. (2011). “Adam Magyar.” 2012, from http://www.magyaradam.com/.
Malcolm, J. (1980). Diana & Nikon: essays on the aesthetic of photography. Boston, D. R. Godine.
Martin, R. (2012). On Looking Back: Photography, Memory and Forgetting. Chancellor’s Hall, University of London.
Massey, D. (2013). Doreen Massey on Space. D. Edmonds. UK, Sage.
Massey, H. (2015). The Origin of Time: Heidegger and Bergson, SUNY Press.
Masters, A. (2003). Review: Books: Photo-start, photo-finish: Motion Studies by Rebecca Solnit Bloomsbury pounds 16.99. The Observer (London, England). London (UK), Guardian Newspapers Ltd: 21.
Maynard, P. (2000). The engine of visualization: thinking through photography. Ithaca, N.Y
London, Cornell University Press.
McCarthy, J. and P. Wright (2004). Technology as experience, MIT Press.
McClure, R. (2003). “Freeze frames.” FT.com: 1.
Mcleod, s. (1963). “Book Review: The Italian Townscape by Ivor De Wolfe.” Urban Studies 3(1): 77-78.
McQuire, S. (1998). Visions of modernity: representation, memory, time and space in the age of the camera. London, SAGE.
Meireis, S. (2012). On the Passage of a Few Persons Through a Rather Brief Unity of Time. Still Architecture. Cambridge, UK.
Meister, S. H. and M. Wesely (2004). Michael Wesely: Open Shutter. New York, MOMA.
Merleau-Ponty, M. (1992). Phenomenology of perception.
Meskimmon, M. (1997). Engendering the city: women artists and urban space. London, Scarlet Press.
Moholy-Nagy, L. (1936). In conversation with Walter Benjamin.
Moholy-Nagy, L. and R. Kostelanetz (1970). Moholy – Nagy, , Allen Lane.
Moholy-Nagy, L., et al. (1968). Painting, photgraphy, film. London, Lund Humphries.
Molitor, J. W. (1976). Architectural photography. New York, London, Wiley.
Morris, W. (1989). Time pieces: photographs, writing, and memory. New York, NY, Aperture.
Morrison, B. (2011). Recontextualising. Shutteritis. Belfast, NI.
Moure, G. (2000). Architecture without shadow. Barcelona, Ediciones Polígrafa.
Mückenheim, M., author. and J. Demel, author. (2012). Inspiration: contemporary design methods in architecture. Amsterdam, BIS Publishers.
Munchen., A. and W. Nerdinger (2011). Photography for architects: the photographic collection of the Architekturmuseum München. Köln
London, Walther König.
Museum, V. A. (2000). Photography and time: a special millenium issue, Aperture Foundation.
Naas, M. (2010). The truth in photography. Edinburgh, Edinburgh University Press.
Nadkarni, M. (2003). Making the past in Budapest’s statue park museum. Contested Pasts: the politics of memory. K. Hodgkin and S. Radstone. London, Routledge.
Naegele, D. (2014). “Review: LC Foto: Le Corbusier Secret Photographer.” Journal of the Society of Architectural Historians 73(3): 426-427.
Norfolk, S. (2002). Afghanistan: chronotopia, Dewi Lewis, Stockport.
O’Rourke, K. (2013). Walking and mapping: artists as cartographers. Cambridge, Massachusetts, The MIT Press.
Osborne, P. D. (2000). Travelling light : photography, travel and visual culture. Manchester ;
New York, Manchester University Press ;
Distributed exclusively in the USA by St. Martin’s Press.
Otter, C. (2008). The Victorian eye: a political history of light and vision in Britain, 1800-1910, University of Chicago Press.
Papalexandrou, M. and A. Mauzy (2003). “The Photographs of Alison Frantz: Revealing Antiquity through the Lens.” History of Photography 27(2): 130-143.
Pardo, A., author., et al. (2014). Constructing worlds: photography and architecture in the modern age. Munich, Prestel.
Pare, R., et al. (1982). Photography and architecture, 1839-1939. Montreal, Canadian Centre for Architecture.
Parr, M. (1995). Small World: A global photographic project 1987–1994, Dewi Lewis, Stockport.
Pearce, S. M. (1997). Experiencing material culture in the western world, Leicester Univ Pr.
Peirce, C. S. and e. J. Buchler (1955). “The Theory of Signs’.” Philosophical Writings of Peirce. New York: Dover Publ: 98-119.
Pelizzari, M. A. and P. Scrivano (2011). “Intersection of Photography and Architecture—Introduction.” Visual resources 27(2): 107-112.
Penz, F. (2004). “The architectural promenade as narrative device: practice based research in architecture and the moving image.” Digital Creativity 15(1): 39-51.
Peter Blundell, J. and H. Andrew (2008). Mediating Modernism: Architectural Cultures in Britain. Cambridge, Cambridge University Press. 35: 181.
Picton, T. (1979). “The Craven Image, or The Apotheosis of the Architectural Photograph.” ARCHITECTS JOURNAL 170(30): 175-190.
Powell, H. (2012). Stop the clocks!: time and narrative in cinema. London, I.B. Tauris.
Price, M. (1994). The photography: A strange, confined space. Stanford, Stanford University Press.
Proust, M. (2010). In Search of Lost Time, Volume 5: The Captive, The Fugitive, Random House Publishing Group.
Rapp, D. (2015). “Lights, Camera, Architecture!” Architectural Review 1416: 22-23.
Rawson, P. and P. B. Rawson (2005). Art and time. Madison, Fairleigh Dickinson University Press.
Rendell, J. (2006). Art and architecture: a place between. London, I. B. Tauris.
Richards, J. M. (1969-1970). “Manplan series.” The architectural review(71-83).
Roberts, H. (1993). “The Need for a Photographers’ Authority Database.” Visual resources 9(2): 143-149.
Roberts, J. (1998). The art of interruption: realism, photography, and the everyday. Manchester, Manchester Universtiy Press.
Roberts, R. (1997). Taxonomy: Some Notes Towards the Histories of Photography and Classification. InVisible Light. Oxford, MOMA: 41.
Roberts, S. (2008). We English.
Robinson, C. and J. Herschman (1988). Architecture transformed : a history of photography of buildings from 1839 to the present. New York; Cambridge, Mass., Architectural League of New York : MIT Press.
Røssaak, E. (2011). Between Stillness and Motion: Film, Photography, Algorithms, Amsterdam University Press.
Rosselli, P. (2001). Architecture in photography. Milano, Skira Editore.
Rubinstein, D. and K. Sluis (2008). “A LIFE MORE PHOTOGRAPHIC.” Photographies 1(1): 9-28.
Salsich, A. (1984). “Review of Photography and Architecture, 1839-1939 by Richard Pare.” The Public Historian 6(2): 127-128.
Savtchehkobelskaia, A. (2014). “Curating identity.” Architectural Review 236(1413): 108-109.
Self, J. (2014). “Constructing positions.” Architectural Review 236(1413): 104-105.
Shaheen, J. G. (1987). “The Hollywood Arab.” Journal of Popular Film and Television 14(4): 148-157.
Shaw, J. (2003). Time/Motion. Stockport, Dewi Lewis.
Sheets-Johnstone, M. (2012). “Movement and mirror neurons: a challenging and choice conversation.” Phenomenology and the Cognitive Sciences 11(3): 385-401.
Phenomenology and the Cognitive Sciences 11 (3):385-401.
Shore, S. (2010). The nature of photographs: a primer. London, Phaidon.
Shulman, J. (1977). The photography of architecture and design: photographing buildings, interiors and the visual arts. New York, London, Whitney Library of Design.
Shulman, J. and P. Gössel (1998). Julius Shulman: architecture and its photography. Köln
Sinnema, N. (2014). ” All Photographs Are Accurate.” Literature Visualized Research Journal: 2-5.
Slevin, T. (2012). Expanded Photographies. Expanded Photographies, Southampton Solent University.
Smith, P. M. (2012). “Paul M. Smith.” 2012, from http://www.paulmsmith.co.uk/.
Smyth, D. (2004). “Reality Bytes.” British Journal of Photography 151(7491): 18-20.
Smyth, D. (2004). “No Space Invaders.” British Journal of Photography 151.
Sontag, S. (1977). On Photography. London, Penguin.
Sorkin, M. (2015). “Starchitects are putting lipstick on a rash(er) of enormous pigs.” Architectural Review 1422: 16-17.
Soutter, L. (2013). Why Art Photography?, Routledge Ltd.
Spence, A. (2015). “Where have all the people gone?” Architects’ Journal 242(11): 54-59.
Spirn, A. W. (2008). Daring to Look: Dorothea Lange’s Photographs and Reports from the Field, University of Chicago Press.
Spirn, A. W. (2008). Daring to look: Dorothea Lange’s photographs and reports from the field, University of Chicago Press.
Stanek, L. (2011). Henri Lefebvre on space : architecture, urban research, and the production of theory / Lukasz Stanek. Minneapolis, MN, University of Minnesota Press.
Stanek, Ł., et al. (2014). Urban revolution now : Henri Lefebvre in social research and architecture. Burlington, Ashgate Pub.
Stetler, P. (2014). “Review of Camera Constructs: Photography, Architecture, and the Modern City.” History of Photography 38(1): 98-100.
Stimson, B. (2014). “Reasoned and Unreasoned Images: The Photography of Bertillon, Galton, and Marey, by Josh Ellenbogen.” History of Photography 38(2): 202-204.
Sutton, D. and D. Martin-Jones (2008). Deleuze reframed: a guide for the arts student. London, I. B. Tauris.
Szarkowski, J. (1978). Mirrors and windows : American photography since 1960. New York, Museum of Modern Art New York.
Szarkowski, J. (2007). The Photographer’s Eye, Museum of Modern Art.
Tabrizian, M., et al. (2012). Mitra Tabrizian: Another Country, Hatje Cantz Verlag GmbH & Company KG.
Tabrizian, M., et al. (2004). Beyond the limits, Steidl.
Talbot, S. W. H. F. (1841). “Calotype (photogenic) drawing.” Literary Gazette: 108.
Talbot, W. H. F. and L. Jones (2010). “www.thepencilofnature.com.” Retrieved 24/12/2013, 2013, from http://www.thepencilofnature.com/.
Thomas, C. (2011). “Shropshire Days.” 2012, from http://www.colinthomas.co.uk/Shropshire_Days/index.html.
Tisdall, C. and A. Bozzolla (1977). Futurism. London, Thames and Hudson.
Tormey, J. (2013). Cities and photography. New York, NY, Routledge.
Trachtenberg, A. E. (1980). Classic essays on photography, Leete’s Island Books.
Urry, J. (2002a). The Tourist Gaze. London, Sage.
Ursprung, P., et al. (2004). Pictures of architecture, architecture of pictures: a conversation between Jacques Herzog and Jeff Wall. Wien, London, Springer.
Vegue, F. (2015). “Blank Paper school.” BJP(July 2015): 45.
Vionnet, C. (2012). “Photo Opportunities.” Retrieved 17/10/2012, 2012, from http://www.corinnevionnet.com/site/1-photo-opportunities.html.
Waliczky, T. (1999). “Focusing 1998.” Retrieved 5/1/13, 2013, from https://contactzones.cit.cornell.edu/artists/waliczky.html.
Walker, J. A. and S. Chaplin (1997). Visual Culture: An introduction. Manchester, Manchester University Press.
Ward, K. (2012). Augenblick: The Concept of the’decisive Moment’in 19th-and 20th-century Western Philosophy, Ashgate Publishing, Ltd.
Wigley, M. (2001). White walls, designer dresses: the fashioning of modern architecture. Cambridge, Mass
London, MIT Press.
Wilson, R. (2005). “At the limits of genre: Architectural photography and utopic criticism.” The Journal of Architecture 10(3): 265-273.
Witcomb, A. (2003). Re-imagining the Museum: Beyond the Mausoleum. london, Routledge.
Woloshyn, T. (2013). “Reasoned and Unreasoned Images: The Photography of Bertillon, Galton, and Marey.” CAA Reviews.
Wong, M. (2012). “Tate’s scandalous ‘rubbish’.” British photographic history. 2014, from http://britishphotohistory.ning.com/profiles/blogs/tate-s-scandalous-rubbish.
Woolf, V. (1927). To the Lighthouse. Oxford, Oxford University Press.
Yaneva, A. (2005b). “Scaling Up and Down Extraction Trials in Architectural Design.” Social Studies of Science 35(6): 867-894.
Yaneva, A. (2009(1)). Made by the Office for Metropolitan Architecture: an ethnography of design. Rotterdam, 010 Publishers.
Yaneva, A. (2009(2)). The making of a building: a pragmatist approach to architecture. Bern
Oxford, Peter Lang.
Yaneva, A. (2012). Mapping controversies in architecture. Farnham, Ashgate.
Young, E. (2012). “Camera Constructs.” RIBA Journal 119(10): 26-26.
Youngblood, W. (2011). Mathew B. Brady’s Civil War. New York, Chartwell Books.
Zamindar, V. (2010). Heritage in the Muslim World: The Politics of Placing the Past. London, Routledge.
Zimmerman, C. (2001). “Mies in Photos.” MoMA 4(5): 2-5.
Zimmerman, C. (2004). “Photographic modern architecture: inside ‘the new deep’.” The Journal of Architecture 9(3): 331-354.
Zimmerman, C. (2005). Modernism, media, abstraction: Mies van der Rohe’s photographic architecture in Barcelona and Brno (1927–1931). Ann Arbor, City University of New York. 3239309: 355-355 p.
Zimmerman, C. (2008). “The Monster Magnified: Architectural Photography as Visual Hyperbole.” Perspecta: 136-147.
Zimmerman, C. (2011). “Absent or Deferred? Utopia and Desire in Postmodern Architecture.” Oxford Art Journal 34(2): 297-302.
Zimmerman, C. (2012). “Photography into Building in Post-war Architecture: The Smithsons and James Stirling.” Art History 35(2): 270-287.
Zimmerman, C. (2014). Photographic Architecture in the Twentieth Century, University of Minnesota Press.
Zugmann, G., et al. (1995). Architecture in the box: architectural photography, 1980-1995. Wien, New York, Springer-Verlag.