Publications

Monographs 

  • Nature Exposed: Photography as Eyewitness in Victorian Science. Baltimore: Johns Hopkins University Press, 2006 (paperback, 2013).   
  • The Tichborne Trial’s Many Faces: Photographic Evidence, Facial Recognition, and the Making of Modern Visual Culture. (Oxford: Oxford Univ. Press, under contract, estimated publication 2025)

Edited Books   

  • Tucker, co-edited with Margaret Vining and Barton Hacker, A Right to Bear Arms? The Contested Role of History in Contemporary Debates on the Second Amendment (Washington, D.C: Smithsonian Institution Scholarly Press and Penguin Books, 2019).

Edited Journals/Special Issues 

  • David Serlin and Jennifer Tucker (eds), Theme Issue: “Reenactment.” Advances in Nineteenth-century Research (Journal of the International Nineteenth-Century Studies Association, in development).
  • Tucker, co-ed. with Heike Baur, Melina Pappademos, & Katie Sutton, Radical History Review 142: “Visual Archives of Sex” (January 2022). 
  • Tucker, co-ed. with Simon Schaffer & David Serlin. Radical History Review 127: “Political Histories of Technoscience” (Winter 2017). 
  • Tucker, guest editor, History and Theory 48: “Photography and Historical Interpretation” (Dec. 2009). 

Articles  

  • “Diseases in the Darkroom”: Morality and Mortality in Nineteenth-century Photographic Chemical Work.” (April 2024), 16–31.
  • “Home on the (Firing) Range:  Gunfight Reenactments, ‘Old West’ Competitive Shooting, and the Myth of Authenticity.” Panorama (Nov. 2023).
  • “Gundamentalism,” Modern American History (May 16, 2023), 1-10.
  • Miller, D.H. and J. Tucker, “Common Use, Lineage, and Lethality,” UC Davis Law Review 55/5 (2022), 101–119.
  • “The Queen’s Mark: Guns, Photography, and the Visual Abstraction of Precision,” Victorian Review 48:1 (Spring 2022).  
  • “‘Over London at Night’:  Gasworks, Ballooning and Seeing the Thames,” British Art Studies: “Thames River Works: Art, Industry, and Environment”(March 2022) 
  • Editor, “Roundtable Review Forum on Ambivalent. Photography and Visibility in African History, American Historical Review (December 2021.) 
  • “Visual Sex: Collecting, Curating, Archiving,” co-authored, “Introduction” to “Visual Archives of Sex,” Theme Issue 142 of Radical History Review (Winter, 2022). 
  • “Guns, Germs, and Public History: A Conversation with Jennifer Tucker,” Interview by David Serlin, in Journal of the History of the Behavioral Sciences 57 (1) Special Issue: Going Public: Mobilizing, Materializing, and Contesting Social Science History, ed. Alexandra Rutherford (Winter 2021). [Published online on July 7, 2020] 
  • “Dangerous Exposures: Work and Waste in the Victorian Chemical Trade,” International Labor and Working-Class History 95 (July 2019): 130-165. 
  • “Photography/Science/Wonder,” Focal Plane: A Journal for Photographic Educators and Students 8 (Spring 2019): 18-23.  
  • “Display of Arms: A Roundtable Discussion about the Public Exhibition of Firearms and Their History,” Technology and Culture, Vol. 59, Issue 3 (July 2018): 719-769. 
  • “Editors’ Introduction,” Radical History Review 127: “Political Histories of Technoscience” (Winter 2017): 1-12, with Simon Schaffer & David Serlin. 
  • “‘To Obtain More General Attention for the Objects of Science’: The Depiction of Popular Science in Victorian Illustrated News,” Historia Scientiarum: International Journal of the History of Science Society of Japan, Vol. 25-3 (2016): 190-215. 
  • “Science Institutions in Modern British Visual Culture:  The British Association for the Advancement of Science, 1831-1931,” Historia Scientiarum: International Journal of the History of Science Society of Japan, Vol. 23, no. 3 (2014): 191-213. 
  • “Close Ties: The Railway Station and Photographic Networks,” Photoworks: Photography, Art, Visual Culture 21:  Collaboration (2014): 168-173. 
  • “Marvels to Spectacles: Photographic Exploration and ‘The First Glimpse’,” Aperture 21: Curiosity (Summer 2013). 
  • “Eye on the Street: Photography in Urban Public Spaces,” Radical History Review 114: Walkers, Voyeurs and the Politics of Urban Space (Fall 2012): 7-18. 
  • “The Hidden World of Science: Nature as Art in 1930’s American Print Advertising,” Spontaneous Generations: A Journal for the History and Philosophy of Science 6:1 (Fall 2012): 90-105. 
  • “‘Let the Microscope Tell Your Story’: Philip Gravelle and the Neglected Industrial and Advertising Contexts of Ultra-Microphotography, 1920-1940,” PhotoResearcher 17 (Spring 2012): 19-32. 
  • “Visualizing Darwinian Revolution: Review Forum,” Victorian Studies 52:3, (Spring 2010): 441-448. 
  • “Entwined Practices: Engagements with Photography in Historical Inquiry,” co-authored with Tina Campt, History and Theory 48 (December 2009): 1-12. 
  • “Objectivity, Collective Sight, and Scientific Personae,” Victorian Studies 50: 4 (2008): pp. 648-657. 
  • “The Historian, the Picture and the Archive,” Isis 97 (March 2006): 111-120. 
  • “‘Voyages of Discovery on Oceans of Air’: The Image of Science in an Age of ‘Balloonacy,’” Osiris 11: Science in the Field (1996): 144-176. 

Book Chapters 

  • “’The History of America in Pictures’: Visualizing the Past with the Yale Pageant of America Educational Lantern Slides.” Scientific Instruments as Cultural Artefacts, ed. Paola Bertucci and Alexi Baker (Yale University Press, forthcoming 2025).
  • 2023. “Hidden Mothers,” Collaboration: A Potential History of Photography, eds. A. Azoulay et al, New York: Thames and Hudson, p. 231.
  • 2023. “Objectivity,” in A. Byrd and E. Siegel. (eds.), The Art Institute of Chicago Field Guide to Photography and Media, New Haven: Yale University Press, 128.
  • 2022. “Experiments and Demonstrations in Radical History,” co-authored with D. Serlin, in The Mantis Shrimp: A Simon Schaffer Festschrift, D. Margócsy and R. Staley (eds.), Cambridge: The Cambridge HPS Collective, 317-19.
  • “Foreword,” Hybrid Photography: Intermedial Practices in Sciences and Humanities, ed. Sara Hillnhütter, Stefanie Klamm, Friedrich Tietjen (New York: Routledge, 2021). 
  • “Magical Attractions” Lantern Slide Lectures at British Association for the Advancement of Science Annual Meetings, ca. 1850-1920,” in The Magic Lantern at Work: Connecting, Witnessing, Experiencing and Persuading, ed. Martyn Jolly and Elisa de Courcy (New York: Routledge Studies in Cultural History, 2020), pp. 67-87. 
  • “Making Looking: Lantern Slides in British Science,1850-1920,” in Sarah Dellmann and Frank Kessler (eds.), A Million Pictures: Magic Lantern Slides in the History of Learning (Utrecht:  John Libbey Press, 2020).  
  • “Introduction,” A Right to Bear Arms? The Contested Role of History in Contemporary Debates on the Second Amendment, co-ed. with Bart Hacker and Margaret Vining (Washington, D.C: Smithsonian Institution Scholarly Press, with Penguin Books and Barnes and Noble, 2019).  
  • “A View of the Ocean, Between the Tropics (1765-1800),” in Martina Droth and Nathan Flis, eds, Britain in the World: Highlights from the Yale Center for British Art (New Haven: Yale University Press, 2019), pp. 64-67. 
  • “Photography in the Making of Modern Science,” Handbook of Photography Studies, ed. Gil Pasternak (London: Bloomsbury Academic Press, 2019), pp. 235-254. 
  • “Visual Ecologies,” in Marvin Heiferman, ed. Seeing Science: Photography, Science and Visual Culture (New York: Aperture, 2019).   
  • “Popularizing the Cosmos: Pedagogies of Science and Society in Anton Pannekoek’s Life and Work,” in Chaokang Tai, Bart van der Steen, and Jeroen van Dongen (eds), Anton Pannekoek (1873-1960): Ways of Viewing Science and Society (Amsterdam: Amsterdam University Press, 2019), 175-197. 
  • “Visual and Material Studies,” in Sasha Handley, Rohan McWilliam, and Lucy Noakes, (eds.) New Directions in Social and Cultural History (London: Bloomsbury Academic Press, 2018), pp. 129-42. 
  • “Photographic Migrations: The Tichborne Claimant, Popular Archives, and the ‘Evidence of Camera Pictures,’” in Kelley Wilder and Gregg Mitman, eds. Documenting the World: Film, Photography and the Scientific Record (Chicago: University of Chicago Press, 2016), pp. 22-44. 
  • “‘Famished for News Pictures’: Mason Jackson, The Illustrated London News, and the Pictorial Spirit,” in Jason E. Hill and Vanessa R. Schwartz, eds. Getting the Picture: The History & Visual Culture of the News (London: Bloomsbury Academic Press, 2015), pp. 215-220. 
  • “Foreword,” Ashgate Research Companion on Victorian Spiritualism and the Occult, eds. Tatiana Kontou and Sarah Wilburn (Aldershot: Ashgate, Fall 2012): xiii-xv. 
  • “The ‘Social Photographic Eye,’” in Brought to Light: Photography of the Invisible, ed. Corey Keller (New Haven: Yale University Press, 2008). 
  • “Gender and Genre in Scientific Photography, in Ann Shteir and Bernard Lightman, eds, Figuring It Out: Visual Languages of Gender in Science (University of New England Press, 2006), pp. 140-163. 

Works (Articles & Book Chapters) in Progress 

  • “Objectivity,” in The Art Institute of Chicago Field Guide to Photography and Media, ed. Antawan Byrd and Elizabeth Siegel (Chicago: Art Institute of Chicago, in press.) 
  • “Lethality, Lineage, and the Common Use Text,”  co-authored with Darrell A.H. Miller, UC Davis Law Review (Spring 2022). 

Book and Film Reviews 

  • Review of Discourses of Vision in Nineteenth-Century Britain: Seeing, Thinking, Writing by J. Potter, in Technology and Culture 63 (2), 535-53 (2022).
  • Film Review: “One Night in 2012” (2016), Nationalities Papers, Vol. 46, Issue 2 (January 2018). 
  • Engines of Truth: Producing Veracity in the Victorian Courtroom, by Wendie Ellen Schneider, reviewed for Journal of British Studies (October 2017): 925-27. 
  • Meeting Places: Scientific Congresses and Urban Identity in Victorian Britain by Louise Miskell (Ashgate, 2013), for Victorian Studies (Spring 2016).  
  • Family Secrets: Shame and Privacy in Modern Britain, by Deborah Cohen (Oxford: Oxford Univ. Press, 2013), for History: Reviews of New Books, vol. 44, no. 1 (January 2016): 19-20. 
  • The Sympathetic Medium:  Feminine Channeling, The Occult, and Communication Technologies, 1859-1919, by Jill Galvan, for Technology and Culture 53 (January 2012): 213-214. 
  • The Civil Contract of Photography (MIT Press, 2008), by Ariella Azoulay, American Historical Review vol. 116, no. 1(February 2011): 141-142. 
  • Medicine’s Moving Pictures, eds. L. Reagan, N. Tomes, and P. Treichler. Bulletin of the History of Medicine, vol. 83, no. 3 (Fall 2009): 639-640. 
  • The Tichborne Claimant: A Victorian Sensation, by Rohan McWilliam. American Historical Review 113 (June 2008): 906 907. 
  • Predicting the Weather:  Victorians and the Science of Weather, by Katharine Anderson. Annals of Science. 
  • The Long Sexual Revolution:  English Women, Sex and Contraception, 1800-1975, by Hera Cook. Bulletin of the History of Medicine, 79 (Spring, 2005): 842-843. 
  • African-American Pioneers in Anthropology, by Ira E. Harrison and Faye V. Harrison. Isis (June 2004). 
  • Nature’s Government:  Science, Imperial Britain, and the “Improvement’ of the World, by Richard Drayton. Journal of Colonialism and Colonial History 2:2 (Fall 2001). 
  • Nature’s Museums:  Victorian Science and the Architecture of Display, by Carla Yanni. Journal of the Society of Architectural Historians, Vol. 60 (March 2001). 
  • Science Incarnate:  Historical Embodiments of Natural Knowledge, by Christopher Lawrence and Steven Shapin, eds. Victorian Studies 42 (2000): 497-499. 
  • Empire’s Nature:  Mark Catesby’s New World Vision, by Amy R.W. Meyers and Margaret Beck Pritchard. Journal of Garden History 20/3 (2000):  259-260. 

Film

  • 2024: Co-producer, Good Morning, Buffalo (working title), with co-producer/film director Thomas Allen Harris (Yale). In development.
  • 2024. Producer, “Civilian Lethality Index Project (CLIP),” 8-min. film about the journey to the first quantitative measure of small arms lethality, by director Iain Overton. April.
  • 2021-2022. Sundance Institute Collab course on screenwriting for screenplay of dramatic historical film, “One Night on Baker Street.”
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