An environmental history of chemical photography through the lens of its deep connections to empire and industry.   Dependent on the extractive practices of fossil-fueled industrial capitalism, chemical photography’s emulsions and films were highly sensitive to polluted atmospheres, and photographic companies had to work hard to control this sensitivity. Drawing on histories of empire, coal, and chemistry and from the archives of British photographic manufacturer Ilford Limited, Michelle Henning exposes the ways photography shaped how we see and understand the atmosphere while leaving its toxic residues in the air, soil, and water.   Structured as thirty-six short chapters and with over seventy illustrations, this innovative book begins in interwar London, follows the supply of Ilford products to photographers on the West African coast, and considers photography as a military technology linked to the development of chemical warfare. Combining close readings of photographs with discussions of low-light, tropical, and aerial photography, Henning examines the extraction and development of photographic materials, their role in the current environmental crisis, and how they have shaped experiences of time and the environment.   “ A Dirty History of Photography  is a passionate, unusual, and conceptually rich exploration of photography’s complex material histories and ties to industrial capitalism. Starting with the premise that photography is both atmospherically and environmentally sensitive, Henning weaves a complex web that connects the chemical industry, industrial pollution, and the photograph.” -- Siobhan Angus, author of "Camera Geologica: An Elemental History of Photography" “Film emerges here as a lively, sensitive, and sensing thing, responsive to the atmosphere and in turn generating new industrial environments—much like the humans who use the technology. Henning focuses on interwar Britain and Ilford, then expands from there, connecting to coal extraction imperialism, and beyond, demonstrating how deeply photography permeates domains of the social and industrial infrastructure, global trade, and cultural conceptions.” -- Monica Bravo, author of "Greater American Camera: Making Modernism in Mexico" Michelle Henning is chair in photography and media at the School of the Arts, University of Liverpool. She is the author of Museums, Media and Cultural Theory , Museum Media , and Photography: The Unfettered Image . She also works as an artist/designer, designing award-winning album covers for artists including PJ Harvey.