Los Lugares de Victor Burgin (o los placers de Vertigo a 9000 metros) / Locating Victor Burgin or Vertigo at 30000 ft

William Klein: Yes
Campany, D. 2023. William Klein: Yes. UK/US Thames & Hudson.

Walker Evans & Anastasia Samoylova: Floridas
Campany, D. 2022. Walker Evans & Anastasia Samoylova: Floridas. Germany Steidl Verlag.

Indeterminacy: Thoughts on Time, the Image, and Race(ism)
Campany, D. 2022. Indeterminacy: Thoughts on Time, the Image, and Race(ism) . UK MACK.

Victor Burgin's Photopath
Campany, D. 2022. Victor Burgin's Photopath. UK MACK.

#ICPConcerned: Global Images for Global Crisis
Campany, D. Campany, D. (ed.) 2021. #ICPConcerned: Global Images for Global Crisis . USA G Editions.

On Photographs
Campany, D. 2020. On Photographs. UK Thames & Hudson.

The Singular Picture
Campany, D. 2018. The Singular Picture. in: Jeff Wall - Appearance Germany Edition Cantz. pp. 122-139

So Present, so Invisible - Conversations on Photography
Campany, D. 2018. So Present, so Invisible - Conversations on Photography. London and Rome Contrasto.

Beneath the Street: Helen Levitt’s Subway Photographs
Campany, D. 2017. Beneath the Street: Helen Levitt’s Subway Photographs. in: Manhattan Transit: The Subway Photographs of Helen Levitt Cologne, Germany Konig.

Afterword
Campany, D. 2017. Afterword. in: Tod Papageorge: Dr. Blankman’s New York (1966-1967) Gottingen, Germany Steidl.

Colour, East and West
Campany, D. 2017. Colour, East and West . in: Harry Gruyaert: East/West London, Paris Thames & Hudson.

Under, Outside and Between: the Elusive Art of Ed Van Der Elsken
Campany, D. 2017. Under, Outside and Between: the Elusive Art of Ed Van Der Elsken. in: Ed Van Der Elsken: Camera in Love Munich - London - New York Prestel.

Of Time and Place
Campany, D. 2017. Of Time and Place. in: Fred Harzog: modern Color Berlin, Germany Hatje Cantz.

Oeuvrer Pour les Magazines et "oeuvres" Pour les Magazines: Walker Evans, la Presse Populaire et L'Art Conceptuel
Campany, D. 2017. Oeuvrer Pour les Magazines et "oeuvres" Pour les Magazines: Walker Evans, la Presse Populaire et L'Art Conceptuel. in: Walker Evans Paris, France Editions du Centre Georges Pompidou.

A Special Collection
Campany, D. 2017. A Special Collection. in: Goodman Davis, D. (ed.) Photography RX: Pharmacy in Photography Since 1866 Rome Damiani Editore.

Now is Then is Now
Campany, D. 2017. Now is Then is Now. in: You Are Looking at Something That Never Occurred London, England Zabludowicz Collection.

Image Ventriloquism and the Visual Primer
Campany, D. 2017. Image Ventriloquism and the Visual Primer. in: Thomas Ruff London Whitechapel Gallery.

Stephen Shore A-Z
Campany, D. and Bajac, Q. 2017. Stephen Shore A-Z. in: Stephen Shore New York, New York, USA Museum of Modern Art, New York.

The Still Point of the Turning World: Between Film and Photography
Campany, D. and Naudts, J. 2017. The Still Point of the Turning World: Between Film and Photography. Antwerp Kehrer Verlag.

A Question of Finish: thoughts on the work of Jeff Cowen
Campany, D. 2016. A Question of Finish: thoughts on the work of Jeff Cowen. in: Jeff Cowen: Photoworks Cologne, Germany Konig.

The Given Image
Campany, D. 2016. The Given Image. in: Trosch, J. and Bosshard, M. (ed.) John Stezaker: Unassisted Readymade Zurich, Switzerland JRP/Ringier.

Doomed to See
Campany, D. 2016. Doomed to See. in: Blank Cologne, Germany Hatje Cantz.

'Fiona Tan's Ascent'
Campany, D. 2016. 'Fiona Tan's Ascent'. in: Mori, Y. (ed.) Fiona Tan: Ascent Japan / Netherlands Izu Photo Museum / De Pont Museum.

Walker Evans: Anonymous and Ingognito
Campany, D. 2016. Walker Evans: Anonymous and Ingognito. in: Zander, T. (ed.) Walker Evans: Labor Anonymous Cologne, Germany Konig.

Light and Dark Chambers
Campany, D. 2016. Light and Dark Chambers. in: Intimate Distance New York Aperture Foundation, Inc..

Adventures in the Lea Valley
Campany, D. and Braden, P. 2016. Adventures in the Lea Valley. London Hoxton Mini Press.

Walker Evans
Campany, D. 2016. Walker Evans. New York, New York, USA Aperture Foundation, Inc..

Photography as Rehearsal / Rehearsal as Photography
Campany, D. 2015. Photography as Rehearsal / Rehearsal as Photography. in: Teichmann, E. and Stewart, C. (ed.) Staging Rehearsal London Black Dog Publishing.

Between the Snapshot and Staged Photography
Campany, D. 2015. Between the Snapshot and Staged Photography. in: Bajac, Q. and Marcoci, R. (ed.) Photography at MoMA: 1960 to Now New York Museum of Modern Art, New York.

A Handful of Dust
Campany, D. 2015. A Handful of Dust. London MACK.

Photography, Encore
Campany, D. 2014. Photography, Encore. in: Time Present : Photography from the Deutsche Bank Collection Frankfurt am Main, Germany Deutsche Bank AG.

Angel of History in the Age of the Internet
Campany, D. 2014. Angel of History in the Age of the Internet. in: Krempel, L. (ed.) Stan Douglas: Mise en Scene Munich- New York - London Prestel.

Architecture as photography: document, publicity, commentary, art
Campany, D. 2014. Architecture as photography: document, publicity, commentary, art. in: Constructing Worlds: Photography and Architecture in the Modern Age Munich, London, New York Prestel.

Walker Evans: the magazine work
Campany, D. 2014. Walker Evans: the magazine work. Gottingen, Germany Steidl Verlag.

The Open Road: Photography and the American Road Trip
Campany, D. 2014. The Open Road: Photography and the American Road Trip. New York, USA Aperture Foundation, Inc..

Victor Burgin A Sense of Place
Maziere, M. and Campany, D. 2013. Victor Burgin A Sense of Place. Ambika P3 01 Nov - 01 Dec 2013

Gasoline
Campany, D. 2013. Gasoline. London MACK.

Walker Evans' Pages
Campany, D. 2012. Walker Evans' Pages. in: diBello, P., Wilson, C. and Zamir, S. (ed.) The photobook: from Talbot to Ruscha and beyond I.B. Tauris.

Jeff Wall: picture for women
Campany, D. 2011. Jeff Wall: picture for women. London Afterall Books.

The scene of photography and the future of its illusion
Campany, D. 2010. The scene of photography and the future of its illusion. Photoworks. 14, pp. 4-11.

Drink the wine, discard the bottle, drink something else
Campany, D. 2010. Drink the wine, discard the bottle, drink something else. Philosophy of Photography. 1 (1), pp. 18-21. https://doi.org/10.1386/pop.1.1.18/7

The 'sinister' photograph: Manuel Alvarez Bravo's Parabola optica, 1931
Campany, D. 2010. The 'sinister' photograph: Manuel Alvarez Bravo's Parabola optica, 1931. The Tosca Photography Fund Thames & Hudson.

Two reflections and a meditation
Campany, D. 2010. Two reflections and a meditation. in: John Stezaker: film still collages Ridinghouse/Karsten Schubert.

Page after page
Campany, D. 2010. Page after page. C International Photo Magazine. 10.

Moving with the times: Eadweard Muybridge
Campany, D. 2010. Moving with the times: Eadweard Muybridge. Tate etc.. 20.

Jeff Wall speaks with David Campany
Campany, D. 2010. Jeff Wall speaks with David Campany. in: Conversations with photographers Madrid La Fabrica.

Clare Strand: the spot marks the X
Campany, D. 2010. Clare Strand: the spot marks the X. Aperture. 200.

Anonymes
Campany, D. 2010. Anonymes. Paris Le Bal.

China everyday
Campany, D. 2010. China everyday. in: Braden, P. (ed.) China between Dewi Lewis.

William Klein's Tokyo
Campany, D. 2009. William Klein's Tokyo. Photoworks. 13, pp. 14-17.

Chris Killip
Campany, D. 2009. Chris Killip. Photoworks. 12, p. 46.

Yesterday's everyday and the depiction of work
Campany, D. 2009. Yesterday's everyday and the depiction of work. in: Mah, S. (ed.) La cotidiano / the everyday Madrid La Fabrica. pp. 22-25

Rinko Kawauchi
Campany, D. 2009. Rinko Kawauchi. OjodePez. 16, pp. 90-91.

Quotations for an essay about editing
Campany, D. 2009. Quotations for an essay about editing. Source Magazine. 60.

Motion pictures
Campany, D. 2009. Motion pictures. in: Mark Lewis: cold morning Canadian Pavilion, Venice Biennale. pp. 17-21

Interview with David Campany
Campany, D. 2009. Interview with David Campany. in: EXTRA no.3, Summer 2009 Antwerp Fotomuseum. pp. 22-25

In the light of the lumieres
Campany, D. 2009. In the light of the lumieres. in: Kierulf, I. (ed.) Seminarene pa Fotogalleriet 2005-2008 Oslo Photogalleriet. pp. 99-114

Historia de arte conceptualo un hogar para 'Homes for America'
Campany, D. 2009. Historia de arte conceptualo un hogar para 'Homes for America'. Papel Alpha: cuadernos de fotografia. 7, pp. 3-24.

Eugene Atget's intelligent documents
Campany, D. 2009. Eugene Atget's intelligent documents. in: Eugene Atget: photographe de Paris Errata Editions.

And yes, it's over, now the powerful have found me (or, LA through a high altitude daydream)
Campany, D. 2009. And yes, it's over, now the powerful have found me (or, LA through a high altitude daydream). PA Magazine. 2.

That obscure object of photography
Campany, D. 2008. That obscure object of photography. Photoworks. 10, pp. 4-7.

Polaroid: an obituary
Campany, D. 2008. Polaroid: an obituary. Icon. 59, pp. 36-37.

Motion pictures: the films of Mark Lewis
Campany, D. 2008. Motion pictures: the films of Mark Lewis. Frieze. 112, pp. 124-129.

The one, the many, the one
Campany, D. 2008. The one, the many, the one. PA Magazine. 1, pp. 4-5.

The fashion shoot in cinema
Campany, D. 2008. The fashion shoot in cinema. Aperture. 190.

A conversation with Edgar Martins
Campany, D. 2008. A conversation with Edgar Martins. in: Edgar Martins: Topologies New York Aperture. pp. 115-122

The aesthetics of the pixel: Thomas Ruff's JPEGs
Campany, D. 2008. The aesthetics of the pixel: Thomas Ruff's JPEGs. IANN Magazine. 2, pp. 32-47.

Strangely simple and simply strange: the photobook for children
Campany, D. 2008. Strangely simple and simply strange: the photobook for children. Source Magazine. 54, pp. 20-25.

Re-viewing Rear Window
Campany, D. 2008. Re-viewing Rear Window. Aperture. 192, pp. 52-55.

Photography and Cinema
Campany, D. 2008. Photography and Cinema. London, UK Reaktion Press.

From ecstacy to agony: cinema and the fashion shoot
Campany, D. 2008. From ecstacy to agony: cinema and the fashion shoot. Aperture. 190, pp. 40-45.

Brian Alfred is a person
Campany, D. 2008. Brian Alfred is a person. in: Brian Alfred: Millions now living will never die!!! London Haunch of Venison. pp. 4-8

The painting of modern life
Campany, D. 2008. The painting of modern life. Frieze. 112.

Polly Braden's solo city
Campany, D. 2007. Polly Braden's solo city. Photoworks. 9, pp. 38-43.

Conversation with Paul Graham
Campany, D. 2007. Conversation with Paul Graham. Art World. 1, pp. 128-129.

Conversation with Brett Rogers, director of the Photographers' Gallery, London
Campany, D. 2007. Conversation with Brett Rogers, director of the Photographers' Gallery, London. Foam: international photography magazine. 11, pp. 22-26.

John Stezaker's precise enigmas
Campany, D. 2007. John Stezaker's precise enigmas. Photoworks. 8, pp. 12-19.

'A theoretical diagram in an empty classroom': Jeff Wall's picture for women
Campany, D. 2007. 'A theoretical diagram in an empty classroom': Jeff Wall's picture for women. Oxford Art Journal. 30 (1), pp. 7-25. https://doi.org/10.1093/oxartj/kcl033

Seung Woo Back's double vision
Campany, D. 2007. Seung Woo Back's double vision. in: Seung Woo Back: real world Tokyo, Japan Foil Co. Ltd.. pp. 60-75

Photography and cinematic surface
Campany, D. 2007. Photography and cinematic surface. Aperture. 188, pp. 40-49.

Posing, acting and photography
Campany, D. 2006. Posing, acting and photography. in: Green, D. and Lowry, J. (ed.) Stillness and time: photography and the moving image Brighton, UK Photoworks / Photoforum. pp. 97-112

Glass camouflage: photography, objects and objectivity
Campany, D. 2005. Glass camouflage: photography, objects and objectivity. in: Seelig, T. and Stahel, U. (ed.) The ecstasy of things: from functional objects to fetish in twentieth century photography Gottingen, Germany Steidl.

Safety in numbness: some remarks on problems of 'late photography'
Campany, D. 2003. Safety in numbness: some remarks on problems of 'late photography'. in: Green, D. (ed.) Where is the photograph? Maidstone, Kent Photoworks. pp. 88-94

Almost the same thing: some thoughts on the collector-photographer
Campany, D. 2003. Almost the same thing: some thoughts on the collector-photographer. in: Dexter, E. and Weski, T. (ed.) Cruel and tender: the real in the twentieth-century photograph London, UK Tate Publishing. pp. 33-37