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Preface

This book traces its origin to the spring of 1992, when I was a prospective graduate student taking a photographic criticism course. At one point during the course, the instructor made a remark that struck me deeply: he informed a class of aspiring young photo majors that photography would soon be supplanted by digital imaging. This prospect saddened me, for it was depressing to think that the mystery of darkroom chemistry might one day be abandoned for a television monitor connected to a mouse.

Coinciding with this occurrence, I was more and more convinced that instead of evolving in recent years, photography had instead been devolving, ...

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