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“... Desert scenes​ of an army’s destruction fill an entire gallery, from floor to ceiling. The view switches between shots taken from an aircraft – bomb craters, fields of shattered armour and abandoned trenches already softened by erosion and sandstorms – and others taken at the photographer’s feet: sacking, boots, looted goods and shell cases ...”

“... A few dozen​ photographs were taken of me as a child. I remember lining up with my family on the beach as a wealthy uncle tried out a new photographic toy and, bright glare of sun off sand in our eyes, being told to stand completely still so as not to ruin the shot. Film and processing were quite pricey, and being photographed was an event. We were behaving just like everybody else, so there is nothing remarkable about the scene except that I remember it ...”

“... The longest-lived of camera films has just ended its 75-year history. The only laboratory that still processed Kodachrome, the first commercially available colour slide film, stopped doing so at the end of last year. Kodak progressively withdrew the film from sale between 2002 and 2009, though many photographers loved it enough to buy large stocks to keep in their freezers ...”

“... of art made thousands of years ago, he marvelled: ‘In the beginning there was no fumbling.’ Julian Stallabrass, in his Verrine blast against Britart, combines the early Berger’s fierce critique of consumerist contamination with the later Berger’s sense of art’s high purpose: ‘It is often said of high art lite that it has a dark view of ...”

“... or extinguished. In his piece about the end of the Kodachrome colour slide (LRB, 3 February 2011) Julian Stallabrass pointed out that nine of the images produced by the American photographer Steve McCurry – another Magnum member – when he petitioned to shoot the last roll of Kodachrome in 2010 were of a vanishing nomadic tribe in Rajasthan. The ...”

“... contemporary art with the media and the market has affected it in other ways as well. The critic Julian Stallabrass highlights the parallels with corporate mass culture in his book Art Incorporated (2004): ‘an emphasis on the image of youth, the prevalence of work that reproduces well on magazine pages, and the rise of the celebrity artist; work that ...”