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THIRD EDITIO
NaoMi\ R osen bin
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BEL-TIB
770. 9 Rosenblum 1997
Rosenblum,
Naomi
A world history of
photography
31111021464068
A WORLD HISTORY
OF PHOTOGRAPHY
A WORLD
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Naomi Rosenblum
THIRD EDITION
BLISHERS
ABBEVILLE PRESS
NEW^ORK LONDON PARIS
The cover
in hill
and
are
pi.
no.
21.
Gerd
Volkerling.
Oak
Silhouette
Machine,
1780. See
c.
no. 29.
pi.
SECOND ROW
Reudinger Studio.
Jean
Scene, c. 1914.
THIRD ROW
Eugene Durieu. Figure Study No.
Mary
See
no. 63.
pi.
See
pi.
no. 345.
See
6, c. 1853.
Her Halloween
pi.
See
Tomn^ssond. Army
pi.
no. 242.
Costume,
Seattle, 1983.
no. 689.
FOURTH ROW
Felice Beato (attributed).
Eadweard Muybridge.
See
pi.
Woman
Using Cosmetics,
Studies ofForeshortenirigs:
Garden at La
in the
Ciotat,
c.
1907-15.
no. 342.
pi.
ROW
FIFTH
no. 793.
pi.
c. 1881.
See
pi.
no. 69.
ROW
SI.MH
Disderi Camera,
c.
1864. See
c.
pi.
no. 226.
ROW
See
1985.
pi.
no. "43.
1879.
no. 291.
c.
Alahomct Running,
pi.
no. 306.
Lumiere Brothers.
Untitled,
c.
pi.
no.
585.
1907-15. See
pi.
no. 343.
TITLE I'AGE
Laura Gilpin.
Editors:
See
pi.
no.
352.
(3d ed.)
Owen Dugan
(3d ed.)
Dana
Production Adanagers:
Ckile,
Roscnblum, Naomi.
A world history of photography / b\ Naomi Rosenbliim.
p.
;rd ed.
cm.
0-7892-0028- (hardcoxer.
Photograph\
TIU5.R67 1997
I.
770'. 9
Hisror\'.
I.
Title.
dc20
C>)mpilation
96-36153
including selection of
No part of diis
by any means, electronic or mechanical, including photocopying, recording, or
by any information storage anci retriexal s\steni, without permission in w riting
from the publisher. Inquiries should be addressed to Abbe\ille Publishing
conventions.
Group, 22 Cordandt
in Galliard. Printed
10
987654
Street,
New
and hound
in
China.
The
text
set
Contents
PREFACE
I.
1839-1875
14
2.
38
84
3-
DOCUMENTATION: LANDSCAPE
AND ARCHITECTURE 1839-1890
The Western Landscape
94
144
4.
DOCUMENTATION: OBJECTS
AND EVENTS 1839-1890
154
192
200
5.
208
6.
in
Camera Images
244
280
7.
ART PHOTOGRAPHY:
296
8.
DOCUMENTATION:
THE SOCIAL SCENE
to 1945
Camera and
340
Social Issues
384
9.
ART, PHOTOGRAPHY,
392
442
454
10.
462
II.
516
12.
568
624
NOTES
632
645
GLOSSARY
650
BIBLIOGRAPHY
655
INDEX
671
2011
http://www.archive.org/details/worldhistoryofphOOrose
Preface
As
From
ago.
Paris to Peking,
from
its
has flourished in
New York
to
Novgorod,
and give
common
tographs the
as
Not
pleasure.
more
become
to
the
way we
see has
Used
institutions,
and our
rela-
altered
that
it
tions,
lull
become
over substance.
and
clarify,
seem to
glorify
exotic.
their
objects, ideologies,
to
appearance
place
them
in
common-
On
phenomena and
cher-
social conditions
and
ment with
its
visual arts to a
own
histories,
its
origins
and
develop-
invention,
times tenuously)
as
to
in
these
photog-
first
published under
and issued
all
in
concerned
Soon
movement in photography
medium began to
evident.
about
its
after 1839
has
in a
first
related
The
physics,
phers.
disciplines
into
chemistry,
curiosity
investigations
the para-
real
stimulated
personal responses
photography provoked
products.
ical
The concept
um
owes
its
in fact, the
medi-
spheres of activity
is
basic to the
best-known general
his-
Newhall,
first
to
the Present,
by Beaumont
two volumes
in the 1980s
of
developments within
a social
framework. Besides
artistic
had an
effect
on the
societies.
al style in
taste
architecture
and
urbanized
life
in
new ways of
um
and popularizing
it
How
occupies in contemporary
concede the
as
degree, a conception of
socio-cultural
phenomenon informs
Social History,
by Gisele Freund
Throughout the
begun
in that they
in the 1930s
the
latter
etsociete
based on investigations
PREFACE
and not
"The Work of
of the
social
and
is
aesthetic con-
many
stimulated
is
places photographic
social context
ruminations.
later
may account
cerned
primarily with
graphic
art.
the
(1964), and
um portraiture,
medium of personal
makes
visible
both the
in widely
tic
artis-
Art and
Coke
structured in a
is
ters
com-
ments
book
about
of photography on
effects
at
artistic
to
the painting
modity,
To do
similarity
vidual threads.
its
article
several
Edward
1900
discussed in
was then
charge of American
in
War
II), later
and
rapher,
tising
on
became
aerial
a highly regarded
magazine photog-
finally
photography;
chapter
chapter.
as a Pictorialist,
and fashion
may be
individual
examined both
Pictorialism
and
in the
in the
this
pendiums
without being
the
historical
spheres
technological,
ampHfied through
aesthetic,
in 1977
social
appearing in
articles
and
in
has
all
been
periodicals,
proved a germinal
Photography
in
work epitomizes
a style or has
force.
is,
of course, the
result
of
and
scientific
and
aesthetic ideas.
of Mike Weaver, History of Photography expands the horizons of historical research in photography. Ail these
it
possible to
and
fill
social facets
in a historical
is
book,
distill
and
It
whose
history
summarizes developments
just in
photography
and
end of each
aesthetic
developments
in the
preceding
chapters.
great
together
will
is
aid
in
the
the generous
of weaving everything
task
facts
it
of the
com-
historical context,
as a distinctive
this
book
is
it
also
means
intended to
components
10
social
at the
of
and placed
visual arts.
being discovered
in
medium
is
in
relevant period.
my own
designed to
PREFACE
text,
the
book
many themes that photographers have found compelling. They comprise outstanding examples in portraithe
and
scientific
documentation, and
photojournalism.
ft-esh
is
changes
of
as a result
in
numbers of new
information,
and exhibitions.
scholarly publications
History of Photography
it
new
necessary to add
and images to
World
final
Library and to
in the
Museum
in
of Photography
raphs, the
Edward
J.
Paul Getty
L. Bafford
Museum;
to
Tom
Beck of the
A dis-
ments
in traditional
technical history.
to
of recent
critical histories
in a previous edition to
line,
provide con-
been updated,
as has
Museum
Haaft:en of the
New
Van
the glossary.
Keeping
of
all
this material
challenging
expediting
making
especially
new and
exceptionally abundant.
and changes
up-to-date,
It is
my hope
medium
has been
fill
some lacunae, and inspire further invesmeans by which photographs have come
in
tigation of the
That
owed
work
this
my
to
is
White
all
respects,
my
pleasurable;
is
hereby
gratefiilly
acknowledged. In
am
indebted to
my
editor,
first
Grubb,
ideas; to the
sitivity
my
researches.
indebted also to
publisher, Robert E.
ry of photography
am
lives.
Acknowledgments
is
and respect
been
Walton
Nancy
my
for
and meticulousness
in
dealing with
and
text
in
pursuing
who
col-
ation in China.
Beaufort and
Fidell-
especially efficient
to the
My
problem of providing
a visual record of
hundreds
of images.
for information
lections. In particular, I
Program
at
the
pleasant undertaking.
who
sions, pointed
pictures.
Gail
individ-
thank them
all.
In particular,
am
Estelle Jussim,
I.
and
My
Amy
Rule
was
gratefial to
support of my family.
my
am
this project
gratefijl for
without the
the enthusiasm of
my
husband, Walter.
PREFACE
II
About
Few
the Illustrations
for
oration
became
that
However,
print
is
and
its
image
size, coloration,
of the
significant aspects
from
form into
their original
a mechanical reproduction.
The question of
size
of varying
work
is
this
it
as well as in several
sizes
of the
earliest
on
easily in
reproduction. In
is
in
sometimes display
printing
35mm
size
as
are
reproduction. This
invention of the
mind's eye.
color-process prints.
in the
photographic
the
have to be seen
in
medium
in the
when
manipulative
Positive prints
the
(as in
with
possible
made with
mod-
in
mind
all
a distinctiveness
translate
should keep
do not
fragile
of color
in the original.
and
assumed a
cial
handling,
tain
are easily
cropped
the print
may
ative.
found
in this
hundreds of archives,
libraries,
museums, and
private collections,
size.
to provide
some images
and
tears in the
are visible.
new
might be missing
been omitted
A more
in the captions.
significant
problem
in
reproducing pho-
two
colors of ink. It
tonalities
is
as
duotones,
all
in the
the
same
and gold
silver
is
paper included in
in the original
About
the Captions
Caption information
is
foreign
English;
titles
structured as follows:
known;
tide
name of
medium
in
whether made
all
prints, the
prints
on
term
salted paper,
when
warm
silvery
instances, colored
12
PREFACE
In
numerous
the negative
medium
is
is
used
is
When two
first is
the
credits are
owner of the
A WORLD HISTORY
OF PHOTOGRAPHY
I.
is
What
the substance
is
it
endowed with
not only
penetrates itself with them, but preserves their impression; performs at once
the function of the eye
sensation
and
and sensation
itself?
^^Photo[enic
14
Drawini," 1839^
IN
THE YEAR
two remarkable
1839,
London and
Paris;
would
were announced
processes that
means remained
by the climate of
had
emerged
middle
Revolution of the
artists'
scientists
superficially related.
laterally reversed
a negative.
as
class
life
on
of
heat, light,
and the
capacity to portray
explored aspects
became
was transferred in
reverse, resulting in a
The
result
of
this
named
no. 2)
(pi.
after
its
inventor,
For
(see Profile).
process
initially
on
was
metal, but
ments
less
all
popular
it
than
was Talbot's
substantive develop-
photography.
in
By the time it was announced in 1839, Western industriwas ready for photography. The camera's
alized society
cultural
pictures created
filled
had
its
more
reality, a
ac-
need
medieval mind no longer served the purposes of increasingly secular societies, their places
accurately
objects
To
actuality
with greater
and
and figures
in correct proportion,
fig-
and to suggest
by the
both
Mande Daguerre,
Museum
of Photography
at
Rochester, N.Y.
15
artists rejected
dealing with
mundane
new
subjects
events in contemporarv
In
life.
new ways
sought
and to represent
lifelike
effects
information
tion
and
that the
them soon
for
growing middle
class.
power and
families diminished in
of the
arts
than the aristocrats, this group preferred immediatelv comprehensible images of a variety of di\'erting subjects.
demand
and
To
made available
When
in portfolios
Antoine Claudet.
Portrait of William
1844. Daguerreotype.
Henry Fox
among
Talbot,
on
the scene,
literallv
and
Though the
birth
slipped
it
figurativclv,
middle-
satisf\'
and entertaining
pictures.
plagued by
tions, sunlight
tually, the
nature of color
artists'
and
British, the
social rix'alries
new
itself.
be seen clearly in
and the
political
first.
As
the
for itself
from
a romantic
became more
trees, rocks,
by
initially
scientific as painters
and topography
as
as
the\'
in
and therefore to purchase. The eagerness with which photography was accepted and the recognition of
its
impor-
its
its
functions.
himself f/>/.
no. 3)
pursued
as
is
a science
and should be
of art and science and helped prepare the wav for photography. For if nature
was to be studied
was to be presented
truthfiilly,
what
dispassionately, if it
better
art
The Da0uerreotype
The
announcement published
bulletin
had succeeded
among them
pictures.
with the
after
Daguerre
of light,
converged
in yet
Courbet that
16
it
on
own
his
after
no. 4) (see
August
19, 1839,
Shan
at his side,
Then on
Arago
pre-
(pi.
no. s)
demonstrated to gatherings of
politicians at
weekly meetings
artists,
intellectuals,
at the Consen>atoire
and
desArts
et Metiers.
when Niepce
and print on
a press.
(pi.
He succeeded
no. 6) in
in
hoped to etch
making an image of
shadows on
it,
this
When
reached a
painter Daguerre,
he called
sed with the idea of making the image seen in the camera
is
under-
and
scenery for
illusionistic
entertainment in
The Diorama,
popular visual
Paris.
circular
of realistically painted
flat
scrims.
room, focused on
genuinely appeared
In promoting
light
graph.
effectively
a dovecote
The Diorama
into
he continued
He
Niepce
and
by
skill as
move
When
more
these
politically
of the
subscription.
in the Palace
death of
in 183?,
inspired one, a
invention.
new
nical
considerations,
as his partner
promotional
and
this role
understood,
artistic
taste
government* and
Arago
at the
Institute in
In an electric atmosphere,
led to the
gathering of notables
August,
1839.
by "exposing" a
silver-coated
"developing"
its
image by ftiming
latent
enumerated potential
uses,
in
mercury vapor),
The making of
but in 1839 the length of time required to obtain a daguerreotype image ranged from five to 60 minutes, depending
a factor
(pi.
visible
ing
on
no. 7) that
the
is
pump,
his
Daguerre made
all
left
Chapter
\.
Scene,
n.d. Pencil
Photography
at
relatively
(see
2)
many of
was more
easily
17
equipment to
ture
and
suitable locales
manual
and
who were
teurs
intrigued by daguerreotyping
who made
the
first
was Baron
daguerreo-
on a diplomatic mission
was fasci-
details
of which the observer may not have been aware when the
that
within the
Giroux
first
in Paris,
were manufactured
in France,
Germany,
fying glass.
The
still is
to concentrate
new cameras,
in
London,
all
of whom had
Max
Petzval,
enon
as a craze
or ''df^uerreotypomanie''
(pi.
no. 8)
far
from the
the daguerreotype's
on
interior views
led
Gros
(pi.
announced
that the
new
would be donated to
gift of the government
King. However, it soon
process
the world
became apparent
process they
would have
Daguerre's agent.
Much
but
tion,
it
among
scientist
Talbot had
come
pictures by the
and chemicals.
don
in
October,
1839, at the
new
appeared in translation
published within the
in
first
which had
was
in great
activities will
demand, but
be discussed
in
and pur-
though he praised
it
as a "splendid"
owner of a
plates,
in April, 1839,
Louis Sachse,
4.
18
5.
and
6.
at
19
7.
Mand Daguerre.
Louis Jacques
c.
1838.
mid-year; a few
months
later,
locall\'
ized.
this
it is
documentary
Wilhelm Haltfter
enjoyment was
(pi.
less
no. 10)
prevalent in Central
Europe because
advanced
German
French counterparts. As in
as their
interest in the
Avid
way
all
countries,
interest in the
make
portraits.
new picture-making
process, a
this
One of the
earliest
arts.
en-
He
among
no. 12)
the
first
(pi.
also
in
was
based
Anton Martin,
tute, to
1839,
librarian
fiilly
in the
Insti-
summer of
Winter Landscape
Martin,
20
is
mimdane
in subject
fall.
later
by
many photographers
many of whom continued
working between
the tradition
1850
begun
and
1880,
of publishing
landscape views.
Curiosity about the
new
picture processes
was pro-
8.
Theodore
Maurisset. La
Daguerreotypomanie,
December,
1839-
Lithograph.
"^'^'^^^^_
Gemsheim
Collection, Humanities
Research Center,
University of Texas,
Austin.
9.
Gros.
on the Thames^
1851.
DaguerreoDi'pe.
Bibliotheque Nationalc,
Paris.
21
lO.
WiLHELM HaLFFTER.
May
31, 185 1.
Daguerreotype.
Agfa-Gevaert Foto-Historama,
Cologne, Germany.
II.
Anton Martin.
Landscape, Vienna,
Daguerreotv'pe.
Kun.st
22
c.
Winter
1841.
Museum
fur
nounced among
scientists, artists,
and
travelers in
Ital)'.
In
own equipment
for
Among
Roman
make views of
the
Alexander John
Ellis.
German, and
British,
Rome
in
and
com-
farther east
less
Paris, da-
discovery, reprinted
in the French
ing a
less
art as hinting
lace that
who wished
em
star
were to fmd
it
and by
enough
photography
class.
England,
was
reotype.
their
As an image produced bv
"divine
positivism.
Some hoped
that the
this
Only
in the
France, and
in
of
scientific
help
was
made by machine it
at the same time, would
a picture
century.
painter
who
first
manuals
were
The Dafuerreotype
in
medium
appeared
it
practicality
in
light,
and
on
to follow a west-
com-
the move.
it
bined easily with other manual occupations such as caseor watchmaking, and those
expensive
Considered a mir-
early
significant.
press,
handmade
had purchased.
As one moved
tors
and traveling
living
American nationals
light,
was commissioned to
America
the daguer-
esteemed
scientist
including
Mathcw
to commercial
advantage.
appeared
in the
nal in 1859,
especially
it
by the
first
20 years
to the
that
of choice for
of equipment. His
many
cities
it
necessary
make
daguerreot)'pes.
As
in
portraiture, but
improvement
also
sons for this loyalty are not entirely clear, but a contribut-
ments and
structures.
was
monu-
nature of his
23
ttliir t)c
12.
View of Zurich^
state
la
?IilU
i)c
Xnrit-li
of the technique,
daguerreotypes by
artificial light
images on albumen-coated
astrophotographv; in March,
no. 14),
made
in
October,
1839,
is
(pi.
no.
is)
of
glass.
special interest
1851, alter
moon
(pi.
no.
17).
who
realized
Militia
ever,
who
built
and then
nolog\'
tlic
frontiers
on
glass.
John Adams
24
b\'
the seeming
its
fidelit)'
of "the
limitations.
The Calotype
how-
in portraits,
extraction,
was
For
stood by most
under-
ship.^
normal
relation-
13-
Photographer Unknown.
c.
1845.
14.
Oaober
16, 1839.
25
15.
John Plumbe.
Capitol
1845-46. Daguerreotype.
Library of Congress,
Washington, D.C.
Daguerreot\pe. Library
Company of Philadelphia.
26
of the
it
light
acteristic
The photograph's
Herschel
(later
as well as
physical
and
utilitarian
obvious that
are so
it
wall.
may seem
incredible that
inite
The
first
only
afi:er
inventors of this
most
def-
istry
social factors.
Pho-
London
was
in February, 1839,
an idea
at the time,
was perceived
even to
ftizziness
of his
Tal-
earliest
results
was demonstrably
tailed
less
had received
official
steer his
who
by John
informed both
Returning
South
Afi-ica
and
where
(pi.
no.
own
light.
He
as rather complicated.
the
fact.
distinterested generosity.
relayed
bot's
first
mind.
in the public
when
made
cal scientist,
in 1819
were
he convinced Talbot to
photography
first
light writing
and
Maedler.' Herschel
at the
same time
patrician
drawn
chem-
istry
and
optics than to
embraced
man of science
antisocial figure who
For a
sketching
on
traveled incessandy;
honeymoon
on
visible
literature.
image
at the time),
and
linguistics
was while
(pi.
no. 18)
up
this idea
on
his return to
England, Talbot managed first to expose and thereby transfer leaf forms
no. 21)
Then,
in the
summer of
1835,
(pi.
latticed
initially distinct
In
window
(pi.
a tiny postage-stamp-size
no. 20)
enough to count.
of ordinary table
on the
salt
silver deposits,
but
it
was not
until
both inventors
even though
as
it is still
17.
1851.
Daguerreotype.
Science
27
i8.
Melzi, October
sketch
on
Science
5, 1833.
Camera
Villa
lucida
Museum, London.
Ar>-^-<'y\
-i
>^
^-->
^^^^^^ffill^??^^^^
Via..
K^i^-
19.
Mountain, Februan'
sketch
on
7, 1838.
Camera
lucida
t.<ifi
20.
Latticed
7U./.tm-\
Acc^^^^c^
/V3S^
X^
28
iH-
Cn^
?-^ '^'
Museum, London.
inverse
as Talbot,
liberal
about
The
forced Talbot to
had done
ments,
little
made
in
end of January
among
friends.
at the
community and
However,
in
in Talbot's circle
of family and
and
indistinct to
its
Another disadvantage
required to
at first
dis-
on
fall
invisible
of 1840,
When
he
his
on
making possible
portraiture
and
word
1839.
21.
first
he also referred to
as a Talbotype.
Bath, England.
which
which English
scientific
and
in
artistic
problems
and
his lifetime
lemma
pended
ety.'"'
all
them
as
and
1851
as his
own
less
Talbot
who had
benefit fmancially
J.
P.
of
methods
of patenting inventions, a
di-
in Britain, France,
nessman with
an
matters
more compelling
attitude bolstered
his
and
ma-
indifferent busi-
interest in intellectual
by the
landed
of amateurs photographing
themselves.'^
coundess others
in socihis pro-
terial
biographer, H.
argued
were
However, Talbot's
fees
that patents
covering
Botanical Specimen^
fact that
estate.
he could
own
plea-
sure nor the utilization of the process for commercial portraiture materialized.
Among
who
did take
29
the well-to-do
Science
23.
Museum, London.
1843. Salted
paper
Museum, London.
?o
HippoLYTE Bayard.
24.
up calotyping were
relatives
Emma
Welsh
(see
Chapter
re-
nent
who
scientist
Robert Adamson,
Sir
young
was able to
Scottish chemist,
and open
a studio in Edin-
hands."'-^
its
tion to the
arity
the
in the
are considered
of
light
carefial atten-
humble scene
famili-
England and,
in fact,
were
specifically
in Vic-
mentioned
in
medium.
way
century
same
among
this
still
of facts, but
torian
Chapter 2),
Open Door,
burgh
(see
3).
necessary.
friends, the
W.
artistic
expression to those
Scotland, for
up
vision of Nicolaas
Henneman, an
he personally
had
a publishing establishment at
trained, Talbot
print itself in
Nature^ issued
serially
and
no. 23)
illustration.
illustrate
applications of photography.
(pi.
assistant
The Pencil of
tion to explain
Door
first
text
and
publica-
One of the
plates.
The Open
its
"micro-
in
running
a large-scale
photo-
instability
25 years.
populace enthralled,
artists
in the
31
affec-
the
spirited acclaim
tive
the
calo-
thetic decisions
before
it
Early in 1839,
Steinheil
paper negatives
even though
be
critics
lete
by French
ies
as a result
reotype
United States
among
Von
(many of whom
pursuit.
Other Developments
in Paper Photojraphy
Actually, a paper process
dendy
prominent figure
New
civil
exposed in a camera
among them
(see
a view of a
produced soon
of Talbot's process
(pi.
announcement
official
from Arago,
in the
in turn,
sell
The
calotypes
in the press,
as the
made by
in
political pressure,
himself to the
To improve
no. zs)
photographic community in
nevertheless,
member of the
discoveries
this
its
in France.
promotion with
a support that
the silver
Paris.
salts,
and
in
first practica-
as a
binder for
making
in
also
which
the\'
made
prints called
and traveled to
from Talbot
in
England, French
artists
when Louis
book
and photographers
Desire Bianquart-
who was
publication,
ai
32
and tonal
sensitivity.
when
One of
who
in 1851 described a
by the
below)
become an
announced a modi-
(see
to
the most
and positive
cr\'-
provided
had
with
interests.
was published
succeeded
(pi.
in
portraitists
his associates in
the
Although he signed
States.
by
tinent, Talbot
expected to
ued
Following an unpro-
Edward Anthony,
heims who,
Aware of Bayard's
cool.
reac-
of being urbanized
cess
was
on the whole
less
and
glass
in 1850
support
(see
state,
the
on
Because
Fred-
25.
as a
de
Photographie,
plate or
scarcely
darkroom about
afterward.
Still,
hoped
what many
immedi-
it
and to develop
to be just
order to sensi-
ately
in
Paris.
in the
on
it
proved
glass
positives
produced by
graphic enterprises.
collateral
photo-
also
for
The gift of
by Archer (who was to
a franchise.
was
all
in noticeable contrast to
his inventions.
When
he
as intrinsic to
lifeless
by
paper manufacture,
sil-
Coming
same time
itself.
as the collo-
new photographic
technology. Lasting
some
30 years,
it
promoted
surface,
made
a favorable decision
on
ents in
in
1855,
many
his
up
pending infringement
his
photography
pat-
and strong
Lille,
the
first
successful
33
soon appeared
Italy, as
ii
years of
in Alsace, Ger-
photographically illustrated
print,
problems with
Braun
stability
continued to
photographic
publishing firms
despite a
Annan
no great
interest
manding undertaking. At times the unappealing yellowbrown tonality of faded albumen prints was likened to that
of stale cheese. Again, sizings were blamed, and it was
method of
in the
water used
paper man-
in
left
of producing paper
tion.
free
German
city as the
air pollution,
and by committees
set
were confirmed by
the
Societe Frangaise
bert,
de Photographic.
Due de
It,
it
printing technology'
improvements
pigmented permanent
it
paper continued
tive
in the early
albumen
until
both nega-
in
became
less
frequently in commercial
means of individualized
pictorialist
however,
artistic
then
it
expression for
photographers.
the era
in 1856
the 1880s
era.
individuals
on mechanical presses
through the creation of a metal matrix. Another process
that utilized similar chemical substances
the Woodburytype, named after its English creator Walter Woodburv
printing photographs
Luynes,
would be found
in
sum
Stereoscope
d' Alfinal
element
in this
related to pho-
for photomechanical
De Luynes and
an image and
two almost
identi-
cal
an illusion of depth
who was
thrall.
recipient
of both
parts
of the
prize,
worked out
and
A Short
on
(see
researches under-
Mungo
Ponton that
of potassium bichromate,
by printing with
actively
promoted
in
Europe, especially
field
tonalities
Joseph Wilson
and
by manufacturing carbon
tonalities.
Called Autotype
in
34
late-ipth-centur)' viewers in
immensely
salable.
States,
re-
illu-
in large editions
mounted on
sales.
because
Produced
successflil
in the United
During the
held
stiff
selec-
a\'ailable in regular
format photographs
that often
also, there
especially sculpture,
anecdotes
all
and
illustrations
art,
education mandated a need for greater amounts of comprehensible pictorial material encompassing a broader range
of subjects
a necessity to
mentioned
figures
in this
were attempt-
And as soon
London and
as the
at in
Paris,
own
their
make or improve
fortunes.
Within
of Niepce's
25 years
successflil
first
image,
created
on two
tered
areas
own
Holmes-Bates Stereoscope with stereograph.
Museum
the
of
its
medium
for
which cen-
scenic views
26.
activity,
came
to rely
on photography
as
an indispensable tool for providing a record of appearances and, eventually, for suggesting different ways of
viewing
Histories of the
actuality.
As
will
become apparent
in the chapters
from
on public
1851,
first
where
time, the
was promoted
two long
articles in the
in the
United States
where
all
in
li-
mechanics or in
Louis Jacques
Profile:
Mande Da^uerre
fiiture
Nothing
using
light.
in Garmeilles-en-Parisis;
itself and
(pi.
no. 26) to
enable
its
was
a spectator
understanding.
time,
it
effect
Long viewed
on
attitudes
as a pleasant
household pas-
'^
the image
activity,
became
filled
exist
as a
brary
professional, art
beckoned
of Napoleon's coronation, so
in the studio
him
intui-
to rise
quickly,
and
Prevost,
in 1807
of
he occasionally submitted
20-volume
oils
to the Paris
Looking back
first
at
it is
medium
during the
work
to
also contributed.
skill
and imagination
35
appointment
as stage designer to
were recognized by
his
July, 1822,
with his
own
by
his
effects
light that
its
striking
transformed the
1830,
until
27.
of
36
political troubles
on
same
subjects,
the camera
trade
sider
obscura.
permanent
is
result
was an
associa-
first
to
finally to the
daguerreotype.
After the French government had acquired the process,
spite a
To
its
was considerably
He
and manuals of
less active
than others
Daguerreotype.
altar.
Although
at
number of daguerreotypes of family and scenery, no further discoveries issued from his workshop nor did he
develop
On
artistically
between
as the creator
of his
artistic
death in
his
(pi.
scenes.
still life
in Paris
and Bry,
and
of
Romannumber of
dear to
artists,
new medium
image, an 1837
1851.
and experience
training
plaster casts
tic
and
His
1839
mal training by
tex-
on
scholarly pursuits.
commenced
in
efforts
aside
terials
optics
his discovery,
Talbot exhibited
in
Royal
at the
in 1835
of
Societ\' the
both by direct
some three
picture, but
new
dozen
plates according to
difficult to credit
it is
regarding the
pictorial
stylistic
medium.
Profile:
As an
was concerned
scientific theory,
relationships,
it
possible for
a lucrative estate,
him to pursue
his multi-
in 1841.
which he patented
discovery, to envision
tical
kalos: beautifijl),
name
its
possibilities,
photomechanical means,
at the
subjects, landscapes,
portraits.
ing the
first
he envisaged the
at
alliance
of scientific instruction
in English universities
ests
interest,
Bom
optics,
new
retical
two
areas that
throughout
in
of the time,
mathematics and
remained fundamental to
his lifetime.
his inter-
Talbot augmented
his for-
fact that
he
made
of scientific
at least eight
and
of photo-
37
2.
A PLENITUDE OF
PORTRAITS
1830-1800
From
to
that
contemplate
its
trivial
A form of lunacy, an
Charles Baudelaire,
It
is
produce in the
is
and figure
to be
::
A PLENITUDE OF PORTRAITS
and finest
expression of
But
in the
representation of beauty,
?8
artist photographer to
aim of the
i8s9^
and
expression,
and
character.
1871^
VIRTUALLY FROM
ITS
new medium
By
their families.
the mid-i9th
were being
traits
dawn of
art.
who wished
and private
to express them-
selves personally
camera
likenesses,
cial
mode, photographic
lying aesthetic
fi^om
artistic,
portraits reflected
from
an individual's personality,
intellect,
trace, the
still
graph had arrived to accommodate the needs of new patrons for likenesses.
Of these,
painted in
fiill
imaginative
of the
color, often
skill
sitter.
on an
Farley
was
Regarded
shown a
by Edward Greene Malbone (pi.
were enclosed
it
in elegant cases
portrait
no. 28)
of Eben
usually
portrait
would be
pre-
and expression.
sitter's
Toward
the end of the i8th century, the concept that pose, gesture,
of the human
this idea
features.
The most
was contained
significant expression
of
of Man by
natural signs,
his exterior
These ideas
senses."'
of perceiving by
certain
the
attract
early
made and
from
new
clientele
emerging
artists al-
demand
as a result
for
of the
had been
and
i8th
28.
Eben
Farley, 1807.
Museum,
Worcester, Mass.
A PLENITUDE OF PORTRAITS
39
sented also.
The
silhouette,
it
appealed to those
daguerreot^'ping activity
profiles
were
as
(pi.
work on physiognomy.
plate.
even
States
The
lenses.
in
earliest
owing
plates,
were manufactured
a relative
made
a printed
were required
of a pointer attached by a
series
of levers to a
it
con-
pencil,
onto
glass.
trans-
when engraved
and inked, would permit the printing of an edition."^ From
ferred the
Paris, the
image to a copper
plate,
which,
by a French emigre,
who
New World
centers
between
cial
less
commercial
to patent restrictions.
accommodating smaller
in France
first
commer-
made
it
still
for
1793
Petzval to admit
by Viennese
a faster
scientist Josef
as
much
light,
and
physionotrace.
Daguerreotype Portraits
That the photograph might provide
more
efficient
to produce
first
make
sensitivity to light
of the
detailed daguerreotype
attractive
unrestricted in
many
localities, individuals in
Europe and
all
kinds of
29.
documentation.
Among
40
A PLENITUDE OF PORTRAITS
sitter
two minutes.
cities in
States
in
lines
1780.
Texas, Austin.
Max
was
IN*:
30.
\-*f
Museum,
With the
Voigtlander.
The
first efforts
to
make
more
experiments conducted
be found. As
late in
is
often true
in
conjunction
and developed
five to
method of
plate in a solution
of gold chloride
1840
in
visible
less susceptible
paying customers.
for
when
recep-
By
destruction,
Worcester, Mass.
its first
large
from
new
on
memnew one.
technologies,
painters, in
them
riences as craftsmen
might
fit
for
making camera
failed painters
harsh, but
it is
with too
true that
little
unem-
men
opticians, tinkers,
A PLENITUDE OF PORTRAITS
it
and
41
31.
Antoine Francois
Claudet. The
Lesson,
c.
Geoffraphy
1850.
Daguerreotype.
Gemsheim
Collection, Humanities
Research Center,
Universit^'
of Texas,
Austin.
it
new technology
portraits
being.
who
plates.
Antoine Francois
and lighted
to
made
a patent
a coal firm
(pi.
which he held an
camera,
in
demonstra
in technical
ters.
broad
interest in
photography
in general
that "failure
42
was the
rule
A PLENITUDE OF PORTRAITS
interest,
fig-
no. 31)
owned three
sell-
estab-
lishments in London, with daguerreot}'pists hired to operate the cameras, as seen in the
32)
making an exposure
in
image of Jabez
Hogg (pi.
no.
darkroom
is
may
be the
work,
and
it
use in
the
Mr.
arm of the
It is
Johnson^
is
stiffly
to lowly helpers. In
a fist
sitter
taneously
studios.
operator must
first
takes to
visible,
so
many of the
simul-
most
fashionable
sitters in
daguerreo-
No wonder
repeat
plate,
a Portrait
if
left:
was nerve-
with
but in the
portrait
in
He clutches
all,
a head- brace,
chair with
sitter
lens,
tim-
which female
upright
positioned in front of
clamped into
Hogg is shown
the other so that his fingers will not flutter. Aft:er being
?2.
remove the
fi"ame before
style, against
universally
posed, the
it),
at
supports
figures probably
this case a
of
photographer
which
earliest representation
showing
affords an opportunity to
facilities in
tripod
(or if
focusing glass of the camera, and insert the plate into the
employee).
vapor.
in
By
1842/4?,
Ruhard Beard's
when
this
Studio, 1843.
A PLENITUDE OF PORTRAITS
43
of chemicals
Its
popular-
ity in
traits
were exhibited
were
active in
in Paris alone,
and daguerreotypists
of the general
portraiture in that
were disposed
figures
level
and
style
and on material
in
which the
in the space
of commercial
it
on
the familial
In the German-speaking
cities
of Berlin, Hamburg,
portraiture
33-
Daguerreotype
Museum
case, frame,
of Photography
at
Although
Rochester, N.Y.
who
artists
were denounced
ally
themselves into
light,'
development. The
hypo and washed in
facilitate
fixed in
produced
that
in style
but
and craftsmanship.
as "paint-sputterers"
artistic
they produced
in France
and authoritative
skillfully realized
who
Blow in a Hamburg
like a
its
"ghasdy appearance
portrait
in the
to oxidation,
universally in
all
less susceptible
(pi.
no. 33) ,
made
in a variety
"sixth plate,"
2%
portrait sizes
all
derived
size
of the
of the
was
most important
number of serious
daguerreotypists of
medium and
in
its
and documenta-
tion.
in the
Hogg
por-
were situated on
like a
and
Hogg image
this era,
'50s.
shown
and s)
Chap-
illumination
ters 3
were "quarter
'A inches.
of sizes,
plate,"
al-
of the
activity
up
the larger
cities,
mainly by
portrait
itinerants.
work
a greater
exist, but,
in Central
amount of
other than in
However, much of
that
was
lost in
century. In a
later,
rooms somewhat
resembled greenhouses with banks of windows, adjustable
People)^
made by Janos
from squinting
in the
traits as
glare.
With
44
A PLENITUDE OF PORTRAITS
is
Nepei {The
monuments.
Daguerreotype.
Bibliotheque Nationale,
Paris.
Grevkov,
who
tried to
work with
in 1840 Aleksei
plate,
opened the
first
who
all
of these
artistic
purposes, was
localities,
its
debut, an
much
as a
Dafuerreotype Portraiture in
America
electric
and natural
light in
made
order
necessary by
United
States,
where
it
A PLENITUDE OF PORTRAITS
45
?5
Alexander
1847.
fur
Daguerreotype.
Museum
Hamburg.
its
arrived
a mirror
The power
start.
from England
Chemistn,' at
come
sunlight
tion
with
might recognize
cohesive bodies of
a truth that
its
work produced
to
distill this
46
A PLENITUDE OF PORTRAITS
message
initiative.
September,
1839,
Samuel
F. B.
in
in Philadelphia
duce likenesses
the
sitter's
known
face.
1840 portrait
plate
size
of
his sister,
for
Drapers
scientist's
still
well-
Dorothy Catherine
as a
(pi.
token of
contributions to photo-
portraiture,
by Henry
size
of a
large postage
opened
in
New
first
com-
York City by
in Philadel-
own
and
installed
in their studio
sitter,
window
on
the
filled
with a blue liquid. Although their mirror camera was eventually discarded,
ogy
in the
optical systems
also
and cameras
were manufactured
as well as plates
and chemicals
expensive
stamp.
Alexander
plates
improvements
in
daguerreotype technol-
finest lenses
and
the
power and
so-called
German system
in
manufacturing and
The
of
is
nevertheless
em-
many early
The work of John Plumbe,
businessman out to make a success of
an enterprising
selling
sive likenesses,
who opened
a studio in
as well as
Boston
inexpen-
in 1841
and
36.
Carl Ferdinand
Woman,
1840s.
Daguerreotype.
fur
Museum
Hamburg;
Staatliche
Landesbildstelle,
Hamburg.
A PLENITUDE OF PORTRAITS
47
?7.
GusTAv Oehme.
Toung
Three
Girls, c. 1845.
Daguerreotype. Colleaion
Bokelberg,
lishmcnts in 14
cities,
of
typical
is
Plumbe
3P),
frontally
and
centrally,
As
Luqueer
in the
this st\'le.
studios,
with no attempt
fills
(pi.
no.
swags and
t\'pc portraits.
statuarv'
found
in
European daguerreo-
in part because
of its
similarity to the
solemn
Vincent Storm
few
(pi.
N'cars earlier.
no. 40)
Nor was
by
Ammi
portraits
made
artifice is
unknown maker, of
48
just a
41)
by
of Mrs. John
Phillips,
A PLENITUDE OF PORTRAITS
bv the suggestion of a
The
the space
at artistic pose,
(pi.
is
no.
mod-
Hamburg.
distinctive presence.
Chapter 4) are
lessons in
now
legendan'
no. 42)
opened
his first
jcwelr\'
New
Pro-
After taking
(pi.
(see
this
and daguerreo-
"Daguerrean Miniature
Galler\'"
on
the
cit\',
was
in the
of the
P. T.
Bamum, and
in part because
Brady
relations.'^
By
?8.
Catherine Draper,
7,9.
Daguerreotype.
York.
engraved
attention
on
his
it
was
a one-of-a
kind image.
of national
figures.
it
comprised
12
lithographs
James Audubon
implicit
(pi.
no. 44.).
contribution to public
and stance
is
ideas about
An
among them
life
physiognomy.
is
in the
conjunction of appear-
40.
on
Ammi
canvas. Brooklyn
Museum;
gift
c.
1835-40. Oil
A PLENITUDE OF PORTRAITS
Jr.
49
1843 to 1862
of transcendentalist thought
and
fact.
represented as
it is,
but
as
it
is
not
at all to
be
possi-
which
many of which
in
truth.
South-
and
light
The varied
would be
most American
of the work
level
ble studios or
who charged
by small-town or
litde
enough
in fashiona-
itinerant daguerreotypists
from
25 cents to
one
dollar
A medallion
portrait
their sitters
usually fme.
of an unknown
Sumner
(pi.
no. 4s)
by Southworth
made with
in 1855,
is
un-
41.
Sauk chief
Unknown
Photographer.
Frederick Douglass, 1847.
Daguerreotype.
Collection William
D.C.
50
A PLENITUDE OF PORTRAITS
Washington,
42.
Francois D'Avignon.
Portrait
New
1851.
I.
Foundations.
Keokuk
(pi.
no. 47)
On
Missouri in 1847.
likenesses
made by Thomas
working
Easterly,
in
were remarkably
Pictorial
in full regimentals
wax
into
there
statuary attitudes
assembled for a
fijneral.
elry
young
and looking
.
is
as if
the fast
in his
poet.
There
is
the intellectual
and the
something interesting
in the
something of nature
43.
A.
Berghaus. M.
from Frank
B. Brady's
Leslie's Illustrated
New Photographic
Newspaper, Jan.
5,
in
all
of them." '+
Gallery,
1861.
A PLENITUDE OF PORTRAITS
51
of urban
life
in those regions,
Among
spent a
symbols of
self-realization.
mention
ada,
as
is
made of
month making
names of other
a female daguerreotypist
likenesses in
women
Montreal
in 1841.
who
The
for
it
was not
in itself regarded as
women. Anna
an unsuitable pastime
Cameron, Gene-
in
Europe
and Mary
best
own.
members of the
family or
on
their
worked on assembly
44-
lines; later
Of course,
sitter,
head
in
clamp and
was
it
attire.
no. 48)
whom
required proper
sitters
Even more
made
as keepsakes for
As Richard
in the
loved
mute
United
were the
joyless
employed
and recording of
their time
and
their
cance."'^
52
first
portraits in
made by
Europe seeking
A PLENITUDE OF PORTRAITS
itinerants
a lucrative
Can-
from
employ-
45.
Society, Boston.
46.
Albert Sands Southworth and Josiah Johnson Hawes. Unknown Lady, n.d. Medallion daguerreotype.
of Fine Arts, Boston; gift of Edward Southworth Hawes in Memory of his Father, Josiah Johnson Hawes.
Museum
A PLENITUDE OF PORTRAITS
53
47-
Thomas
Sauk
Easterxy. Keokuk,
Chief, 1847.
silver print
from
Modem
a
gelatin
copy negative
of the Missouri
in the collection
Anthropological Archives,
Smithsonian Institution,
Washington, D.C.
among them
those
the
Lumiere brothers.
no. so)
Ganvinced that
as the da-
Portraits on Paper:
(pi.
likenesses,
The Calotype
Queen
first
successes in
were so
Henry
Collen, to
make
calotype
(pi.
Collen excelled
at
which
portraying the
he made a
among them
54
a three-quarter
view of exceptional
A PLENITUDE OF PORTRAITS
vitality
its
broad chiaroscuro
style
fine detail
P^J^''^^!ilf^iPf^P
48.
Unknown Photographer
Dead
Child,
c. 1850.
(American).
49.
N.M.
in
En-
as
noted
record the
400 or so
(see Profile)
In an endeavor to
make
in 1843
commemorating
the
separation of the
of individuals
who had no
relationship to the
reli-
work of God,'"*
Hill
it
minimum of furnishings
or on location, were
Chapter
Victoria with
Her Daughter,
Royal Library,
in
looked
artists, intellectuals,
the upper-class
town of Newhaven.
James Linton
(pi.
no. si), a
of the
working fisherman.
On
women
is
Adamson images
in paintings
recall
(pi.
in
in
the
paintings.
In
artistic
and
photography
Among the
sitters,
who
Edinburgh, with
in that they
made
use of traditional
artistic
During the
A PLENITUDE OF PORTRAITS
1850s, a
55
so.
Talbot.
"C's Portrait"
(Constance Talbot),
1840. Calotv'pe.
Oa.
lo,
Royal
and
in a studio setting.
Le Gray, Charles Negre, and Victor Regnault on the Continent followed a similar path, using themselves, members
of
their families,
portraits
ftissy
tographers
who
resorted to
among them
entice sitters
likenesses to be printed
the
all
problems.
definition
The
glass plate
made
first
to solve
prints
on
56
A PLENITUDE OF PORTRAITS
many pho-
manner of inducements
elegantl}'
to
appointed studios;
carte-de-visite.
on
detail.
all
established, photographers
number of
glass
bleached or underexposed
51.
c.
A PLENITUDE OF PORTRAITS
57
52.
Calotype. Metropolitan
58
A PLENITUDE OF PORTRAITS
Misses
c.
1845.
800
The
molded
which
(to
tiifferent
it
was technically
it
ambrotype
was patented
at
Kenyon College
was
a one-of-a-kind
by an American professor
Like the daguerreotype,
similar),
avail-
designs.
in 1856
Ohio.'^
in
image on
had been coated with black lacquer and sensitized collodion. Dull gray in tone without the sheen of the mirrorlike
cheap, making
travelers
soldiers,
it
and
War
Civil
The combination of
a negative
on
coated with
glass
sensitized collodion
a print
selves
world invested
in
major
capitals
Unknown Photographer
c. 1858.
show
positive
and negative
removed to
partially
effect.
Gemsheim
Collection,
and
portraits often
face
and body,
(pi.
no. xjj,
in 1854.
same
size as
an unusual cultural
this
it
glass,
and housed
in a slim
Japanese photographers
lag,
Framed
in traditional
in
Europe and
kiri-wood boxes,
By
when
this
papier mdche or
leather
wood
velvet in the
United
lockets, brooches,
case
States,
when
silk,
and watchcases. In
in
Europe and
in the
1854, the
"union"
became secondary,
dis-
fiirnish-
As the
of the
The
decor
skillful
visible in the
portraitists
Adam-
in
Munich
in 1853.
He
soon
won
albumen paper,
S4).
as exemplified
Hanfstaengl's earlier
by
work
his prints
Man
with
exhibited
where
it
was
on toned
Hat
at
(pi.
the
no.
1855
criticized for
fabrics
the
retouching
in
is
in this
lighter tonality
(pi.
his
figure
no. ss)-
sitter's status,
and
visually.
The
A PLENITUDE OF PORTRAITS
59
and
suggest
Pierson,
Napoleon
to be an
Dodgson
which
ciepicts the
a lens
and polishing
author
oi'
cloth, suggests
demeanor
through
his expres-
of
personality
Italian spy).
sion and
of Mayer Brothers
seductive
the
mistress
Ill's
by Louis
no. .0)
(pi.
images of friends
as well as
which include
portraits,
is
who
known
better
(pi.
no. 266)
role
of the
of handmade
Manuals appeared
his
figured in the
work
like-
portraitists.
and con-
worn
correct colors to be
ed
print.
sensitivity
also
54-
Included
plates.
when
should assume
sitters
posing.
more
still
presti-
over in watercolors,
oils,
example
(pi.
and C. Reichardt,
in Venice.
was possible
photograph
glass positives
one patented
Baltimore
fine arts in
sitized
by David Woodward,
in 1857
including
a professor
simplified enlargement
When
partially
common
sidereci
(pi.
in
last
as X-rays
Fran(;ois.
This practice,
because
reprehensible
helpmate
onto sen-
by Alexander
no. sS)
the
of
developed, the
just for
to canvas
tlie
in creati\e
in
photography
the
\\as to
\'iew
of many
be the
artist's
55.
c.
60
A PLENITUDE OF PORTRAITS
erisimilitude
on the
artistic status
rapher resulted
in
on
part
56.
Metropolitan
Museum
of Art,
Castiplwne,
New
c.
i860.
Albumen
Adolphe Braun)
1947.
A PLENITUDE OF PORTRAITS
61
Carte-de-visite
With the
and
possibility
lodion negative,
it
Celebrity Portraits
size
made by
line,
United
several
of a likeness for
class
and the
gentry
nature.
of small portraits to
affixing
licenses,
who
a social
photographer
also
was
active in
image
card
mounted on
1854.
This small
a slighdy larger
58.
Oil
canvas. Collection
sitting,
septum
more
Lincoln, n.d.
George R. Rinhart.
(pi.
no. 226)
natural
and horizontal
a vertical
hill-length
possible,
and
in
it
The
reasons
mouslv popular
no. S9)
(pi.
why
a considerable part
not entirelv
wav
clear,
but for
this inexpensive
much
in
the
same
where
in
major
millions of
hill-
and provincial
cities
of the
turned out
pasted
villages
images apart
after processing
and
on
GusTAV Rejlander.
Charles L. Dodpison),
March
28,
i86^ Albumen
print.
Backgrounds
stiU
62
A PLENITUDE OF PORTRAITS
sitters also
and vignetting
were posed
in
which the
Adults
dispersal
that
of
of
celebrity images
a pleasant
were
attire
infor-
fession,
means of evoking
As
little
compass
as a
famous works of
women
(at
art,
Montez became
Lincoln
is
their
promotion through
when he
character.
fashionably attired
British
still
him
sales
oi carte portraits
and of
celebrities
collo-
59.
Uncut albumen
from
a carte-de-mite negative.
A PLENITUDE OF PORTRAITS
6?
of artistic
taste
decorated
who
London
attire. Sil\y,
in 1859
opened
a French
photographer
fore and
aft,
and
so to speak
of luxuriousness.
demand
special holders
satisfy the
tivity received a
Victoria,
manufactured to
photographs
as
state gifts,
patrons of
The Photographic
installed a
albums and
darkroom
for their
Societx'; in addition
own
use in
they
Windsor Casde.
British
raphy
in general
because
it
60.
taste for
Spencer y Cia.
Albumen
print.
Neikrug
Photographica, Ltd.,
York.
Santiago
Valparaiso.
64
A PLENITUDE OF PORTRAITS
New
6i.
Unknown Photographer
Presidents^
Library'
and
their royal
leaders.
During the
selection
began to assemble
print. Pro-
in
as a
of political
(pi.
ites
(pi.
format
as souvenirs.
was
tography
Designed
as advertising publicit)' to
of real-looking space.
qualit\'
as
in
by Francois Willeme
in-
briefl\'
artistic director.
in
The
A PLENITUDE OF PORTRAITS
65
j3.
Ci^/^ y^a^fTcui't
62.
Adolphe Jean
if.
Fran(,:ois /VIarin
^h\
C'^"-^
^roO{-^
Dallemagne. Gnllay
66
A PLENITUDE OF PORTRAITS
of ('ontniipomiy Artists,
N'ation.ile, Paris.
c.
iS66.
Albumen
prints
J
63.
Reutlinger Studio.
Albumen or
64.
Paul Nadar.
Lillie
(who encountered
in
one adapta-
on exactitude
head
start
life,
although
up again
as
ever)'
once
in a
has come.
cartes also
albumen
prints
mentioned
in
tion
"permanent"
Chapter
often
re-
United
Album
States.
Weil-known examples
der Zeit^nossen
portraits
in
of German
are Hanfstaengl's
undertaken by the
Edmund
Fr)'
realistic);
by Pierre
series,
and
who found
Petit.
regarded French
artistique
politicians
1876
than
too
their likenesses
from
refusals
1884, to
which
Company between
all
was "physiognomic"
in intent
and expression,
in
as in the
commanding
life
through pose
presence projected
Hugo
this collection
(pi.
tw. 94)
of 1866
shown
posing in trompe
(pi.
no. 62), a
I'
group of 50
oeil
portraits
of artists
intellectual,
A PLENITUDE OF PORTRAITS
67
65.
68
Nadar (Gaspard
A PLENITUDE OF PORTRAITS
1865.
Albumen
left:
Napoleon Sarony.
66.
Sarah Bernhardt,
Albumen
c.
1880.
print. Library
of
Congress, Washington,
D.C.
right:
67.
Napoleon Sarony.
Famese
Hercules),
Albumen
print.
c. 1895.
Harvard
Theatre Collection,
Cambridge, Mass.
literary,
and
Gaspard
Felix
His aim
in portraiture
instant
model
artistic figures
Tournachon, known
was to
Nadar
as
in
his habits,
One example
Bernhardt in 1865
(pi.
a portrait
no. 6s)
suggest character
in this case
classi-
actress
both the
who had
theatricalit\'
achieved
just
stage success.
photography
is
by no means a complete
art,
artist.'""
tated by the
demands of
Nadar's
later
like that
Emile Reutlinger
relegating portraiture to
manv
photographers.
in the Capital,
make portraits.
Cabinet members and
last likeness
of the President
his assassination
(pi.
no.
68) .^
on
4 x 5'/2
inches,
mounted
Promenade,
when
his
son Paul
The
style
of
attire.
no.
a direction necessi-
(pi.
was oriented
the photog-
years,
first
same
As French
her
in the
Nadar's ability to
still
photography
t)'pifies
portrait. "^^
sion,
really
in fashion
(see Profile)
his ideas,
is
of contemporaries such
as
Charles and
specialize
and Bachrach
among them
Fredericks,
Phila-
As
in
A PLENITUDE OF PORTRAITS
69
68.
70
A PLENITUDE OF PORTRAITS
Albumen
print. Librar)-
^^g^^^B
^^
B^HjfcT
^^^^H'
^^K'
BLm^-^^t^
miL
^*W
L^^
"^
l#.
IF
tSm*"
'
^Bulr i^imw*!^^^^^^^^
"k
B?
rIJ
1^
1 m
1
f
"
1^
m
NJ
^^^^H
^^
J7
^^^^r
^^HL
:
B
V
l>
*Vfl
1
1
1
^^^^^^B
^^^l^^^^^^^^^^^^^^^^^B
f *?*
I
ii^^Miil
^^Kb,m.
^^,.
^J
.X
^^^^^
Li^i^
: i^i^^ lihH^'a^M^B
r"
silver print
from
original negative.
A PLENITUDE OF PORTRAITS
71
70.
Albumen
print. Collection
Szubert,
Konrad
1875.
c.
71.
Pollesch,
New
Cracow;
that
was
main bv the
satisfied in the
and
New
York
his
Eugene Sandow
of
fiisty
(pi.
(pi.
rw. 66)
"dumping ground
and indigent
last
40 years of the
in Australia, India,
in provincial
^rawn from
all
classes,
fact that
owners of
attitudes.
One
such example
is
72
A PLENITUDE OF PORTRAITS
War Dress,
Albumen
1868.
c.
portraits
of working
studio settings
descripti\'e
on
(pi.
In
some
means of emphasiz-
as a
fme
sitters.
line
may separate
the
no. 70)
from man\'
similar images
and cabinet
in
localities, patriots
locally
of the poses
crocodiles."^''
During the
clientele
and strongman
Brave in
Museum
York.
Will Soule.
print.
of
in carte
is
discernible.
in the
tribes indige-
and explorations
Chapter
(see
among them
sitters,
of Will Soule,
that
in Fort Sill,
Okla-
when
and
known,
ists.
most
71)
In South America,
zilian
Marc
Ferrez, the
no.
best-known Bra-
Amazon
region while
on expeditions
same
tralia to
to the
in
Aus-
run by foreigners,
littie
The
else has
studio of
stable
of its
the
Indians of the
in
homa, which specialized in commercial portrayals of indivian 1868 photograph tided simply 5rai'f in
colorists in the
British
families.
Com-
individuals
Camera
Portraits in
began to appear
Asia
The introduction of
portrait
photography
in the Far
themselves.
class
order to
with images of
The
truth."
in Japanese
first
portrait
mean "copy
daguerreotypes made in that
(shashin)
literally
artist
Matthew
Ameri-
Jr.,
but experimentation
when
1848
Nagasaki merchant
imported the
first
first
1857,
who
not only
major
cities
late-'yos they
were opened
were so
in
in the
all
the
Tokyo
members
to
sit
isolated
Among the succession of foreigners, Milton Miller, a Califomian who ran a studio in Hong Kong in the early 1860s,
made
photographer John
and peasants
It is
ambi-
72.
YosHiKAZu
Color woodblock
print.
Agfa-Gevaert Foto-Historama,
Cologne, Germany.
A PLENITUDE OF PORTRAITS
73
Lewis Carroll
Charles L.
DODGSON).
Edith, Lorina, and Alice
Liddell, c. 1859. Albumen
73.
:'i^
(Rev.
print.
Photography
Collection, Humanities
of Texas, Austin.
in
Indore, Bombay,
When
intellectual friends
made
creet
in India
during
this
of Indian miniatures,
just as in
used
in a different fashion
photographers were
tation of space
itself
was
somehow
different
same time,
young
reflects
their children,
work of amateurs
able
st\'le
of portraiture developed
circumstances
who
make
'70s this
their living
group
in the
mostly comfort-
regarded photography
in
which
as
from
an
in
Britain
included
used the
74
A PLENITUDE OF PORTRAITS
[pi.
no. 73)-
virginal beaut}'
At
of these
own
(usually considered an
subjects.
Seeking out
or impressive
artistic
and
literary contributions
individuality
appeared to
tiiat
on
of the imier
effective in portraits
of majiy years
who had
just
(pi.
no. 74)
and of her
Cameron's work,
like that
style especially
its
most
a family friend
to be the
no. 7S)-
t^'pes,
it.
dis-
grouping of
trated
on the
and
in his
dios, a
he favored the
them
elsewhere.
and
his stress
sitters (also
innocence and
among
print.
A PLENITUDE OF PORTRAITS
75
75.
76
A PLENITUDE OF PORTRAITS
1867.
and a
England and abroad ap-
number of photographers
in
proved of her approach, the medium's most vocal proponents of art photography criticized the "slovenly manipula-
work
Newly emerging
as "altogether repulsive."^'
provided
scientific ideas
other
still
era.
problems (skin
was
called
lesions,
upon
to
hydrocephalism,
strictly
etc.),
medical
the camera
came
ment of Talbot's
such
scientific
discovery,
first
to advocate
collodion by Archer
former patient
County Asylum
(pi. nos.
76-77)
Royal Society
relationship
patients. In
in 1856, Dr.
of photography to psy-
were useful
in diagnosis,
identification
of the
illustrated
with
gnomic
theories that
had
related
embrace the
mentally abnormal.
Fleeting facial expressions were photographed in 1853
work on
Felix) for a
illustrate
for
Darwin chose
in 1872 Charles
to use photographs to
in
minor
human
passions.
on metal,
numbers of
people
the newly
affluent as well as
many who
formerly
Many of these
as
no
76-77.
County Asylum,
when
Dr.
Albumen
prints.
Royal Photographic
A PLENITUDE OF PORTRAITS
77
78, 79.
Emotions
in
frailties.
youth, middle
of life
age,
and
elderly
1872. HelioU'pes.
The
cult
practice
of publishing and
persons.
With
made
of famous
selling likenesses
and
Illustiations for
devoted his
life
New
An
countryside
(pi.
cultural
of Edinburgh.
life
no. 80)
He
a famih'
of
phy
On the whole,
traiture
is
hands of
Hawes,
Hill
portraits
unpaid and,
By
among
as
portrait itself
artistic artifact,
and as an item
has remained an
intriguing
Involvement
this
event in a
through
whom
Adamson
(pi.
as
an aid in painting
was mourned
A PLENITUDE OF PORTRAITS
commemorate
cess. Hill
Mo\'ement,
no. 81)
78
death.
it
the
Robert Burns.
communication
At his death
portrai-
challenge to photographers.
Profile:
in 1829,
while
cultural
Academy
mirror of personality, as an
of
in
probing
artistic ideal
Scottish
still
seemed to distill an
individual personality.
ture
with
who had
about
in a studio at
Hill,
Edinburgh, and
8o.
Oil
sometimes on location. In
tlieir
joint
work, each
man
pro-
in
composition and
light-
ing, while,
collaborator
and
in
handling the
energetically organ-
two
became more deeply involved with the medium,
partners
skill
HLU
as the
had no
producing
many of the
negatives
and to
sell
individual calotypes
from
his
the Scottish
lowing
second marriage
in 1862
and the
unsuccessftil
Compared with
it
in
seem to
exist
without
air
Hill's last
make photographic
similes
of
this
photography,
more than
century.
work.
it is
Had
photographic
facAt M^-M^^y^ ^t^t.
of the
arts
of the 19th
82.
JuLL\
Tear, 1872.
Albumen
of the Nen'
A PLENITUDE OF PORTRAITS
Profile: Julia
Margaret Cameron
One of seven
ous
"a
unique
Educated
in
figure, baffling
who
beyond
and
and imperi-
as
long
of angels
(pi.
no. 82)
and
was interested
in
found them
as she
hundreds of idealized
religious subjects, par-
description. "3
death of her
after the
in 1838
married Charles
and
classical scholar,
jurist
unrenowned
also
Tennyson's
issue
two
Idylls
of the King,
Cameron
raised
money
to
Cameron's
attitude
typical upper-class
portraits
on occasion and
through
P.
Cameron, using
1863,
on
embarked on
portraits
and
on the
Isle
of Wight,
in
allegorical subjects.
Models,
at
times paid
among her
Cameron residence,
household
staff at the
visitors to the
homes
British
Carlyle,
artistic
and
literary
circles,
including
practicing the
medium
Photograph.
Julia
for
payment
"From
Life.
They
printsellers.
Copyright Registered
gold medal
exhibitions of
in
Edinburgh,
at the latter
was
it
Camerons returned
to
figures in
Ceylon, where for the three years before her death she
Thomas
plantations
and foreign
visitors as
models.
83.
Nadar (Gaspard
F^Lix Tournachon).
Pantheon Nadar^
1854.
Lithograph. Bibliothcquc
Nadonale,
80
A PLENITUDE OF PORTRAITS
Paris.
84.
Nadar (Gaspard
Felix Tournachon).
J.
Paul Getty
Museum, Los
Angeles.
A PLENITUDE OF PORTRAITS
81
85.
82
Blapier,
c.
A PLENITUDE OF PORTRAITS
185?.
AJbumen
print. Bibliotheque
Nadonale,
Paris.
graphic depiction of
intelligentsia.
Nadar an immediate
more important,
celebrity;
it
intro-
his brother
Adrien
as a
photog-
him
tion of joining
in the enterprise.
(pi.
of discipline
is
believed to have
caused Nadar to open a studio on his own, moving eventuthe Boulevard des Capucines
ally to
of the entertainment
district.
He
(pi.
life, filling
intent
Ever open to
first in
France to
artificial light
and the
first
Even though
of heavier-than-air traveling
devices,
proponent
he financed the
ofLe Geant, a balloon that met with an unfortunate accident on its second trip. Nonetheless, he was
instrumental in setting up the balloon postal service that
made it possible for the French government to communicate with those in Paris during the German blockade in the
construction
86.
Unknown Photographer
Nadar's Studio at
1880.
Albumen
Profile:
is
(French). Facade of
Ruined
In
writers
and
Felix
Toumachon)
first
1848 to enlist in a
movement
a career in literature
to free Poland
in
recently vacated
thus
still
Nadar's
last
in 1886 as
a series
he interviewed
of well-known
no.
'90s,
when he
During
against."'"
Nadar
take.
and
first
photo studio to
from foreign
political
establishment with his son Paul that turned out slick com-
circle
science. After
financially
of
of the bohemian
(pi.
cal leanings,
the era's
War of 1870.
Franco-Prussian
Nadar
83),
a litho-
as "a darcde\'il,
At
had outlived
theon,
always
on
all
swim
age of ninety, he
which had
started
him
in
photography.
A PLENITUDE OF PORTRAITS
83
The Galerie
Contemporaine
Appearance
and Character
in 19th-century
Portraiture
The
literary,
and
political figures in
different portrait,
from 1876 to
of 241
portraits
of celebrated
in Paris
accompanied by biographical
text,
work of some
this period;
28 photographers
who
were used
some
plate,
sizes,
depending on the
cases they
Whether
some
arts.
these photographs
et Cie.,
1894.
artistic,
had purchased
Woodburytype process
made by
this
Goupil
in
France
method.
work of little-known
84
of excellence.
19TH-CENTURY PORTRAITURE
ambitious publication
87.
International
Museum
of Photography
at
19TH-CENTURY PORTRAITURE
85
88.
Nadar (Gaspard
Ffelix
Tournachon).
WoodbuntA'pe. International
86
Museum of Photograph\'
19TH-CENTURY PORTRAITURE
at
187-.
89. Etienne Carjat. Gioacchino Antonio Rossini, from Galerie Contemporaine, 1877.
Woodburytype. International Museum of Photography at George Eastman House, Rochester, N. Y.
19TH-CENTURY PORTRAITURE
87
Nadar (Gaspard F^lix Tournachon). Eugene Emmanuel Viollet-le-Duc, from Galerie Contemporaine,
Woodburytypc. International Museum of Photography at George Eastman House, Rochester, N. Y.
90.
88
19TH-CENTURY PORTRAITURE
1878.
1877.
19TH-CENTURY PORTRAITURE
89
92.
International
90
Museum of Photography
at
19TH-CENTURY PORTRAITURE
Etienne Carjat.
19TH-CENTURY PORTRAITURE
91
94-
92
19TH-CENTURY PORTRAITURE
95-
Etienne Carjat.
1878.
Woodbun'npc.
Pri\ate Collection.
19TH-CENTURY PORTRAITURE
93
3.
DOCUMENTATION
LANDSCAPE AND
ARCHITECTURE
1839-1890
To
represent
the beautiful
and
and of heart,
demands
Creative Spirit.
is
form
Art
is
cheap
and
Matter
how many
millions ofpotential
in large masses
transportable.
since
94
::
1859^
natural
and constructed
was so
that Talbot
had
first
desire
place,
difficult
and others
The
photographers.
first
and
was
it
of the
precisely because
felt
new
into the
explorers, geologists,
and
naturalists
to study previously
tions.
And
as
of
how
itself became
From
environment.
the Renaissance
until the
of academic
relaxation
had been
as
With the
artistic subjects.
art strictures
seen from
afar,
actuality,
wa-
and
armed with
from the
based on drawings
lucida, see
up
that the
1841.
/,
new concepts
cal
and the
96.
Casa No.
fruits
of the
As
field.
heirs to
would
faithfully record
a dual fiinction
that pho-
at
artistically
increasingly popular.
The landscape or
this genre,
its
it
was
\'iew
become
photograph
a logical extension
supposedly more
faithfijl
monuments, and
As an example of the overlap that came
about in the wake of changing technologies, drawings
made bv the American explorers Frederick Catherwood
and John L. Stephens of their findings on expeditions to
representation of topography, historic
exotic terrain.
(pi.
and
1841
were based
print,
supplving the
time
when
at a
appealing fashion.
Landscape Daguerreotypes
effect
of the i8th
and
Truthftil representation
of the
real
many
95
i9th-ccntur\' scientists
and
French
intellectuals, including
who
artist
should
Comte and
others
who were
understanding of material
and
tation
the
means
reality
scientific
social progress.
fitting visual
convinced that a
as a
of nature. Nevertheless,
it is
determine
difficult to
fiill
plates have
been
lost
and private
in archives or in historical
been surfacing
such images
collections, have
in recent years,
exist.
Manv
and monuments.
seems
it
97.
Daguerreotype. Collection
1840.
York.
somewhat less
art critic
uscftil for
John Ruskin,
own daguerreotypes
pure nature.
who
in
on
of others
in pre-
architecture, praised
the
same thing
"''^
re\'eal attitudes
aware
at the
time.
The
stark
art
of which
scene in
solitary'
side.
New
Hampshire
(pi.
no. 97)
who
acquired his
was working
at the
very
materials
probably
made
in a state
of flux. In contrast,
bv Alexandre Clausel,
1855, attests
to not
Alexandre Clausel.
Museum
Near
Landscape, Probably
Daguerreot\'pe. International
of Photography
at
Rochester, N.Y.
manner
in
which the
traditional canons
United
States,
Niagara
Hawes
by George
Fails
in 1845,
1853
and
by the
and from
dr\' plates
bv George
also
indicates the
unif\' sk\'
v\'a\'
the
many
image of Berlin
tangles of light
for
no.
typifies the
became
The drama
Wilhelm
demonstrates another
(pi.
this process,
96
by
landscape photographers.
method of treating
visible
Thames
and foreground,
a formula for
Halftter's
and Boats on
1851
and
1855.
1859 respectively,
of
ambrotv'ped
Albumen prints from collodion negatives of the Falls were made b\' English commercial photographers John Werge and William England in
Langenlieim brothers in
9)
incredible
glass plates
is
was daguer-
numbers than
larger
actual land- or
became
com-
broad mar-
for a
by employing
artists
One of
the
first
Soon
after the
in
Europe and
announcement of the
on
At
first,
of individual daguerreo-
series
maker who
publishers of an extensive
haci
States; these
fillips
often added by
artists.
work appeared
daguerreotypists whose
Excursions dajjuerriennes:
Vues et
Among
the
in Lerebours's
monuments
plus
les
all
by Fainnount Waterworks
major
(pi.
cities, as
exem-
by
in Philadelphia in 1848.
nation
360-degree
cities in
an attempt
their
eyes;
Alexander Hesler
Horeau
all
(pi.
seems, had
become
who
who
it
easy, a
in 1858
first
such
effort.
and the
make drawings.
that even
though daguerreotyping
number of other
Panoramic views
in the field
similar projects
were
initiated in
also
wide-angle
in
an arc
who
views
com-
ftill-plate
made
himself in
exist.
The
Near Eastern
architecture
that
might show
cietails
and
structure in
architecture
and
biblical
history.
In Switzerland, Johann
early
women
by caravan throughout
published.
Panoramic Views
Before giving way to the more practicable negativepositive process, the daguerreot)'pe achieved a
measure of
much wider
panoramas (and
in Paris,
It will
be
among
the most
99.
Simbel, 1840.
97
loo.
International
Museum of Photography
at
city,
in eight plates.
Landscape Calotypes
Despite unparalleled
clarit\'
of detail
in landscape da-
posures in the
field
subject to reflections
its
own,
as
embracing
reality
even
for pub-
lication
and
scenery,
it
flcxibilit}'
when
though the human eye could not possibly have seen the
tween
more
cityscape, historic
realistic
panorama would
encompass
as
wide an angle
as the
less
segmented panoramas
unknown
1841
and about
1855,
collodion
on
glass sup-
rural scenery,
were beginning
to appeal to Europeans
who had
rvpe views
aquatints,
artists
and
more
and
this
calo-
works such
as
elitists in
the intellectual
community who
pre-
as a basis for
still
had enough
detail to
recommend
in 1846
when
it
weard Muybridge,
oramic
sions,
Vi
who
ws of San
Francisco
on
successftil
panoramists in the
98
Somewhat
the
field,
plicated
easier to deal
enough
to
make
its
in
was com-
theless, a
public
home and
trast
Mansel Talbot
from Great
were
W.
the
members of
first
Rome
no. loi)
(pi.
in Italy
who
much
pictures,
ous fading;
in
atmos-
as in description.
a small
made
graphic Views
(who pho-
some 1,700
in
its
Is:
in 1858
album
Wheelhouse
entitled Photojjraphic
Caranza
and
early figures
Afiica
the
De
in Anatolia,
Pierre
cess, to
1859
Another group of
and
In a Series of Photo-
seri-
who
East.
to the Victorian
visible at
tographed
after
his circle
and
in part
the unde-
because they
classical heritage.
no
restrictions
on the noncommercial
flourish in
use of calotypes,
landscape and architecture achieved a pinnacle of excellence in France during the 1850s, as a result of interest by a
small
group of painter-photographers
in
an improved
to glass,
The spread of
this
improved technique
new
in
life
France during
and resulted
in
among Barbizon
unspoiled nature in
The improved
human
experience.
calotype also
photographic campaign
made
conceivable the
government or
privately spon-
One of
loi.
Museum, London.
99
exhilarating organization
Gray
(see Profile), in
of masses of sculptural
was involved
in
demanding
making collodion
Le
detail.
calotypists first
technician
who
also
and an
tographed
is
known of
associate
in Brittany
and Normandy on
The image of
own and
his
company with Le
in
(pi.
Gray.
in
no. 103)
finest
example of medieval
fi-uition.
some 300and
prints
were
filed
fiall
away
aim was to
in
too
were used by
architects
still
a century later,
proved to be
usefiil
guides in
whether
regard photography
102.
Henri Le Secq.
Strasbourg Cathedral,
Calotype. International
Museum
1851.
of Photography
albumen
at
as a tool integral to
III
its
continued to
or collodion/
calotype
evidence of
its
organized
in 1851
toriques {Covavaiss\on
on
Historical
Monuments)
his-
to pro-
Rhone
River in 1856
(pi.
no dichotomy
mind between landscape art
Undertaken
initially
it
Republic,
III to
in
preserve
fortresses, bridges,
and
and documentation.
Not
all
five
photographers engaged in
this innovative
doc-
as
painters
is
that scientists as
Among
Secq, both of
whom
as painters in the
artists,
The
no. 104). It is
paper photography
(after 1852)
first
when Talbot
and president of
Societe
in 1851 after
improvements had
no. 102),
100
one of a
series
of
architectural
monuments,
is
(pi.
an
and produced
10?.
c. 1851.
Monuments
Paris/SPADEM.
104.
the
Rhone at Avignon^
Nationale des
Sites, Paris.
1856. Calot^^pe.
Monuments
of
Caisse
Historiques et des
lOI
I05.
Sh'res, 1851-52.
106.
c.
of Chicago.
Louis Robert.
Versailles,
102
Seine at
Neptune Basin,
Andre Jammes,
Paris.
Sevres
no. los), in
(pi.
worked both
at
as casks
and
albumen on
were included
in Blanquart-Evrard's 1853
is
(pi.
no. 106).
of Barbizon
rural
life.
British
As
pub-
These images
similar to that
aspects
number of
glass; a
greater sensitivity
its
and
definition.
heirs to picturesque
in
that the
possible.
At
clar-
times,
107.
seem to
ings
reflect the
1850S.
Albumen
print. Collection
d' Architecture/Canadian
Warwickshire,
Cliffe,
Centre Canadien
ognomies much
Cliffe,
like
Warwickshire
no. 107)
spirit,
The most
kinds of buildings.
architectural images.
who made
p)ortraits
and
architectural views,
(pi.
Thomas
glass plates.
On
the
on
make
the calotype for only a very few years, and then only
occasions
when
him
to
his acquaintance
108.
1856.
on
Chapel
(pi.
no. 109)
church architecture
where the
is
factual record
Paris.
of ancient
accentuated illumination.
850s. Stewart's
region
(pi.
no. no).,
who lived in
graphie.
first in
Britain to
Pau
Pyrenees in
cal
Isles,
who made
in the
artistic effects
technology.
Near
Egypt
East,
in particular,
in the countries
of
these
regions.
103
I09.
Thomas Keith.
Doorway,
St.
Oran
's
Chapel,
Thomas Keith
Edinburgh
Gallection,
Cit}' Libraries.
official
the
young
Flaubert,
facsimile casts
Du Camp
of hieroglyphic
Auguste Salzmann
authority to
Jerusalem
in
briefly
make documents of
architectural
were printed
at the
difficult
establishment at
first
scale, as
Lille.
in
Camp
calotype
made
clarit\'
that die
improved
possible.
104
(pi.
no. 112)
seen in the
circum-
Blanquart-Evrard
The
monu-
inscriptions. '
Syrie," display a
ruins in
nati\'e
of
light.
the
unique aesthetic, an
and
hands of imagi-
ability to
actuality.
and publi-
tcchnolog}', discovered
1851,
transport an entire
darkroom
and even
water
distilled
and
It
114)
may seem
on the same print one for the sky and one for the
ground or employing hand-manipulations to remove un-
Landscapes in Collodion/Albumen
glass plates
attractive
no. lis)
by Camille
Silvy, praised as a
of
this
"rich in exquisite
and varied
detail,
116)
greater range.
ing
skills
more
sharper and
and had
With
the promise of
around
1856
works
similar in
Gustave Courbet
at
(Cette)
theme and
and
light,
no.
preempted
(pi.
its
in a
style to sea-
negative with
all
technique for
(pi.
language.''
ness of the image because the printing paper was also coated
could be and
of foregrounds taken
photo-business.
at
this
period
were not
in early
reflected in the
is
water or
noon.
itself were
attitudes
plates.
Because of
publishers
this characteristic
1857,
of photography. Writing
first
was decried by
serious English
in the Quarterly
Review
in
if
the landscape be
all
and that by
Among
too much.
its
others
who
and
light
Vogel, an influential
German photographer,
and
critic,
quendy
and
in
who was
tivity
of the
silver
Photographers
improve the
fre-
'70s,
sensi-
concerned
with
artistic
landscapes
"artifice."
no.
John Stewart.
10^
III.
106
Maxime
Du Camp.
The
c.
1850.
Museum, London.
men
albums or used
To
in stereograph viewers.
satisfy this
up
their
As
usually considered
consequence,
artistic effects
of primary import
in
were not
images intended
embraced
as
one
promoting
a pleasing picture
taste
of a place, but
a style that
might be
profound
if not
always
determinable effect on the viewing public, in that photographic evidence was considered synonymous with truth
AuGUSTE Salzmann.
1854.
What at
first
glance
may
->V5^,
n3-n4. Unknov^t>j. European-style Pmable Darkroom Tent, 1877. Wood engravings fi-om yl //wtfTrv and Handbook of Photography,
edited by J. Thompson, 1877. Metropolitan Museum of Art, New York; gift of Spencer Bickerton, 1938.
107
115.
Camille
as
views taken
dom
1858.
in this
their
era, the
Bissons
art
views
second scaling of
scription
cal
(pi.
Mont
no. 117),
its
tonalities a
(pi.
known
classi-
balance of
forms and
A similar
six
effort
one of the
as a participant in the
no. 118)
who
is
by
better
scapes. In
in
108
photographer
Paris
in
who supplied
prints in a variety'
States.
in
Re-
first
scape and
to
bon
instead of
albumen
in
stability.
(pi.
no. iiq)
is
artistry'
human
fig-
ures or structures.
re-
both
of formats
in
a prolific view-maker,
print. Victoria
camera images of
\'irgin
AJbumen
monuments
initiated
ro\'al
b\'
acclaim and, at
members of
the
by photographers them-
selves or
Fenton, the
commanding
figure in English
monuments
dion in
1853,
and
made
in Russia in 1852.
state.
photography
calotypes of archi-
and
He changed to collo-
tive
(see
to facilitate
mountain
rocks,
porary
critics
on both
sides
Gantem-
his
photoengravings
albumen
landscape
prints in
these
in
Albumen
as
between
1855
prints
and
when,
it
zations
and public
personalities,
torical,
of
aerial perspective.
However,
do hand-
and Park,
Harei^vood House
cized as offensive.'*
116.
(pi.
no. 120)
as
were
The
criti-
in
a sense
as
atmosphere and
is
'60s.
book illustration
believed, more than a
became popular
1885
(see
and
artistic,
biographical, his-
topographical
and
image
Albumen. Albumen
travel
in this
manner was C.
pruit. Victoria
first
illustrate scien-
109
i"".';iil|fc:!fSip: ^iT"'^'*
'%^
i^:rS^^g/!
V-
-s-
which appeared
in 1858
with
18
is
necessary
Sm\th and his party conducted astronomical experiments. It was soon followed by
five years
and included
stereographs.
prints
The
still lifcs
success
cit}'scape
fidelit)'
and
up which
is
painter
employed over 10
assistants in his
remove
all
field to
Aberdeen
print-
and
result
and image
at the
of even more
made
same
photo-
efficient
time.
images,
Cascade
scapists
besides
Fenton with
among them
(pi.
localities
wilderness
for
Francis Bedford
it
as well
who
is
of scenic images
in the 1880s
(pi.
no. 121)
Inter-
no
landscapists
era.
Other
stabilit}'
British
(see
successfiil
to those by Wilson.
below) ^
similar
in the
new
endeav-
aesthetic for
landscape photography.
Similar ideas about landscape motivated
'60s.
Hermann Krone,
German view-
more
versatile
of the two,
Dresden
who
as a
adver-
source for
ii8.
Charles Soulier.
Gorjie of the
Tamine,
c. 1865.
Albumen
print. Collection
Gerard-Levy,
Paris.
III
119-
Adolphe Braun.
Carbon
print.
J.
Paul Getty
Museum, Los
and stereographs
scenic views
as well as portraits,
was
Album
less
(pi.
no. 123)
still
reflect the
romantic attitude of
1866 image
trees
localit)'.
typified
In a
(pi.
still
no. 12s)
made
in the
no. 124) ,
is
light
of forest
mid- to
an
and
foliage
late- 1860s
and
influ-
112
travelers to the
Switzerland
and
that
Though
not
cit)'scapc
its
1865.
and
Sachsens (King's
and
c.
Angeles.
views
pher
35
serve as
these
stN'lc
(pi.
no. 126)
captured
b)'
ice
Knudsen
reflect the
mantic
of landscape painting
remembrances of places
in that they
visiteti
not only
but encapsulate a
Landscape photographs of
Italv
I20.
Terrace
House,
and
1861.
Park,
Harewood
Albumen
print.
121.
George Washington
Wilson. The
Silver Strand,
Loch Katrine,
c.
Albumen
1875-80.
George
Washington Wilson
Collection, Aberdeen
print.
University Library.
"3
continuing stream of
for ruins
was
easily
at least a piece
home of civilization,
early
MacPherson,
art dealer in
a Scottish physician
Rome, captured
gest unfathomable
romantic effects
is
by the
at
Neptune, Tivoli
127).,
(pi.
no.
Italian
Railroad
on
122.
Glas
the ruins
a popular
Francis Bedford.
Pml
Cascade (Lifnant
Valley), 1865.
print.
Albumen
National Gallery of
Canada, Ottawa.
114
r,3}r-.^'^ir^
w^
1
\tt^
"-^^
\
f
^^^v'
-4
3i
t
fi
USmd
J|ip:
ti
r.
ii
lOT
-^jimwtm^'
--
K
123-
Hermann Krone.
Albumen
print.
124.
Hermann Vogel.
Albumen
print.
:^;'
f.
^^'\:
v^ms
Agfa-Gevaert Foto-Historama,
Cologne, Germany.
touristic tradition
of visiting
Roman
by night.
The
best
Italian
view-makers were
the Brogi family and the Alinari brothers; the latter established a studio in Florence that
Braun
is still
in existence. Like
mass-production photo-
tions,
Rome
origin,
Naples in
1857,
ity that is
in
in
as land-
itineraries
of many 19th-century
travelers.
The best-known
Englishman
living in
Madrid,
who was
court
Working
also in other
art treasures
as well as landscapes
II.
and architectural
in
Granada
still
subjects; his
(pi.
view
also
more
Ducal Palace
(pi.
no. 129},
maker
made
Ponti, an optical-instrument
scenes
and
ject
fruit
German
ruins,
it is
Given the
small-scale topographical
who had
turned to
of disappointment with
his paint-
photography
as a result
accepted.
as
131),
was
called Autotype.
in
(pi.
no.
England
IIS
125.
Gerd Volkerling.
Oak Trees
Albumen
in Dessau, 1867.
print.
Agfa-
Gevaert Foto-Historama,
Cologne, Germany.
ract
owing
hope of obtaining
anything that
artist
is
in the
to transfer to his
no. lii). In
voluminously on the
world
(pi.
beyond
to the climate,
litde tent"
glass
difliculties
of the project,
commenting on
as well as
on the
sights in
the "smothering
boiling up
and rock
car\ings.
light
on an aspect of 19th-century
of getting
Palestine
116
fifth cata-
view
o\'er the
which he delighted
especiall\'
satisfactorilv in the
difficult)'
camera: foregrounds
brick
^^^*^-^
K.
126.
Knud Knudsen.
Torghatten, Nordland,
c. 1885.
Albumen
KNUBSCH. 8EKfttN.
117
127.
Albumen
print.
J.
Paul Getty
Museum, Los
RIGHT ABOVE:
128.
International
RIGHT
BE'
Museum
of Photography
at
1865-75.
Albumen
print.
OW:
129. Carlo Ponti. San Giorgio Ma^iore Seen from the Ducal Palace, 1870s. Albumen
Smith College Museum of Art, Northampton, Mass.
118
print.
Angeles.
II9
wall or other
would make
While
common
if
object.
Oh
what
we
pictures
points of \'icw."^'
Frith
number of different
most ambitious,
scribed,^
had
Efiypt
Frith
variet}'
\'olumes,
b\'
some
in large editions.
in a
The
a significant effect
it
on
British perceptions
of
of the
locality,
policy-makers should
influence in
Some 40
North
wake up
to the
pronounced French
Africa.
who accompanied
known to haxe
1880, among them
States, are
Robertson. Studios
owned by
Von
local
photographers also
sprang up.
and
Felice,
130.
c. 1856.
I?].
William
Stillman. Intenor of
the Parthenon from the
Western Gate, 1869.
Carbon print.
Photograph Collection,
New
York Public
and Tilden
Foundations.
120
132.
Francis Frith
Boat at
Ibritn, c. 1859-
(?). Traveller's
Albumen
Andover, England.
133.
Philae,
Collection,
New
Librar\', Astor,
York Public
Foundations.
121
134-
Dead Sea,
Albumen print.
Museum, Harvard
1860-90.
Semitic
muting heroically between the Near and Far East, but now
it is
Eg)'ptian
images
the
after 1862,
among them
Temple of Horus
at
Edfu
for photographic
The
this
(pi.
no. 13s)
acti\'itics in
in 1867,
of
is t\'pical
iS^i,
Bonfils
it
monuments and
first
to calor\'pc
from Beirut
and picturesquelv
"\'er\'
As
selected.'"^''
consequence of
of photographicall\'
illustrated
and
W. H.
mili-
illustra-
Pigou.
in collodion in India,
mented
\'iews, all
was handed
in
tra\'eled at times
Dead
Sea,
region and
it}'
that
ization
its
monuments had
raphers continued to
work
a great
and
in the
\'ital-
tri\'ial-
number of photog-
two
crates
plates, t\\'o
whom,
produce
Kashmir during
left a
122
in
136)
.-^
perfectionist
who
he waited sexeral
was considered
was noted
required
remote areas
began to penetrate into India and the Far East toward the
but pro\'iding images for tourists was not
it
He
end ot the
1850s,
cameras, a ten-
of chemicals.
had
in the area.
a partner
was
Colin Murra\',
to
circumstances that
Miiddan Mahal
(pi.
no.
latter
135.
Antonio Beato.
Albumen
National Gallery of
Canada, Ottawa.
(ruler)
of Hyderabad;
as
native city
Lala
his studios in
Deen
Chapter
8).
Architectural images by
Lucknow,
his
Ubbas
patron
Alii
of
(see
his
123
who were
responsible
eral
first
by
scenic views in
visiting
China
Europeans
who
who were
and
organization.
traditional
The
Western concepts of
earliest daguerreotypists
(large-scale
and
pictorial
of the Orient
who in
Jr.,
(see
Chapter
a daguerreot^'pe studio
136.
Samuel Bourne.
Boulders on the
Hong Kong,
sce-
124
4)
Between
photographed land1861
Miller,
apparendy taught
The most
and Zambra
Felice Beato,
active in
fortitude,
c.
1867.
Albumen
specializing in portraiture
and
in
street scenes.
print.
137-
Kong
home
as
originally
at Udaipur,
c. 187?.
Albumen
Hong
some 5,000
miles
usually
Thomson
print.
Colleaion Paul
chants expressing
Walter,
F.
much
New
York.
interest in this
form of expression
accompanied
who produced
worked
in
b\'
China berween
England to publish
His images
Gorie,
b\' his
Szeclman
\'er\'
b\'
{pi.
life.
Chinese painting,
traditional
as
Wu-Shan
b\'
was opened
in
Hong
regarded
b\'
Thomson
as "a
of the
centur\-.
rc\eal an
Hong Kong
Island
alone
it
when he began
his
Highly
citA'
and
its
(pi.
no. 140).
en\'irons, including
Donald Mennie,
an image of a
made ethnographic
also British
Henry
iews, while
w ell-
(pi.
Social
and
political
found
virtually
all
made
The Pag-
in traclitional Chi-
it
nati\'e
photographers
appears to ha\e
come
were interested
at first in
to Japan in 1864,
who
few photographers
the Far East during the collodion era, and, in the period
that followed, the gelatin dr\' plate
Amateur photograph\' also appears to ha\e begun slowwith neither foreign residents nor
scenic xiews.
ly,
of that
ceremonial gate
Lai's images,
se\^eral
tal<.en
no. 138).
Commercial view-making
gan
and
displa\' a
1868
nati\'e
Chinese mer-
tlie
establishment of an identifiable
125
138.
Szechuan^ 1868.
Philadelphia
IJ9-
Afong
1860S.
Museum
H. Kwan Lau,
126
of Art.
Hong Kong
Lai.
Albumen
Island, late
print. Collection
New
Gorge,
print.
York.
I40.
Yuan, Summer
English
ofYuen-Minpi-
d' Architecture/Canadian
print.
as a possible area
of the camera
\\'ith
lens.
in the
ruined
cities
tween
1858
1882).
The
and
1861
in
first in this
edifices.
Montreal.
Collection
some
c. 1858.
car, Java,
and Australia,
this first
to be the
interest
Dom
and
of the
Pedro
II
Supported
in
made
some
in
South America
cases
bv the
ax'id
imder Emperor
minded Europe-
an-oriented middle
in
an expensive two-volume
translation into
wood
b\'
available for
engraxing to accompan\'
articles in
class,
de\'elopment in a faxorable
if
light.
the popular press. ""^ Despite the fantasy of ideas put forth
in
of the
new world,
cities
most
certainh'
141), re\'cal a
sened
to
m\'stcrious
power
that
scientific
after
(pi.
no. 142),
Ferrez's
scale
in
his
Paris,
1870 Rocks at
\ isuall)'
arresting image.
127
North American
attitudes
or
classical history'
Many
and
God in
forests
favoring the
photography to be the
of
it
painters) facing
artists
had vanished
exist.
bum
brothers,
concerned
merce
in
largely,
Black's
mountain scene
Landscape
luminous
of
man
(pi.
(pi.
no. 144), in
river,
its
wav
no. 143)
with a com-
On
it
was
diffi-
occasion, a sense
in relation to nature,
is
as
painters,
in the
Hudson
early i86os.
White mountains
regions,
*^Z"'<-f/i
128
exclusively,
of sublimity.
mmi^'imm
Marc
though not
142.
artistic
did not
Ferrez. Koch at
Itapuco, 1870.
Albumen
print.
,r
<i^/ 1^,\
Colleaion H. L. Hoftenberg,
New
a plea
by a
"^
York.
144-
the
White
print.
Art
Princeton, N.I.
Landscape, n.d.
Historical
Museum
129
145-
John Moran.
146.
Societ\',
1864.
Albumen
Warehouse,
130
c.
Company of Philadelphia.
New
York.
work," that
is,
to
by John Moran,
Gap
no. 14s)
(pi.
and
whose photo-
by 24 inches
mind.
which
mammoth
camera.
For the
emerged
photographers.
about 20
first
time,
documentation
landscape
river valleys
group of American
of New York,
New
is
of
photographers made
own
sale
their
it
In
representative
determining areas
civilian settlements.
is
values.
artistic
as aids in
naturalists,
regard for
of Native Ajnericans
portraits
and make
interest,
effort to
Images of
all
their
large
assistance
was
in
Europe
from the
available
packers included
mous
New
York,
lintels,
and
New
around
informed by
1855, are
are largely
brick
in Philadelphia;
by
in the
of composition
a fine sense
camera pictures of
(pi.
no.
cities
and chemicals
in special
among them
Carbutt
where
in 1865
(pi.
no. 147),
lack
of pure water,
tiie
tendency of dust
clarity
striking.
make topographical
daguerreot\'pes
on Colonel John C.
Western Views
Photographs of western scenery were conceived
documentation
also,
sense of buoyant
wonder
at the
spirit,
as
mountains
that the
in
the
and
Though
in the Creation.
reflect the
same
moved
Photography became
1860s,
when
railroad
recognized that
it
and
'50s.
a significant tool
during the
could be
usefijl as
unknown
illustrators,
and photogra-
147-
Wood
engraving
1865.
Private Collection.
131
Bierstadt,
accompanying an
first
\\2lA
become
among
i48)
they (and
articles written
on the
who began
Weed
naturalists, including
early
among
in 1868
closest competitor,
likewise
to photograph the
had worked
to imprint his
in
who
Robert Vance,
Carleton
Metropolitan
132
E.
when he
Museum
of Art,
New
in the
(pi.
no.
who found
21,
published by
I.
Taber,
c.
1866.
of Yosemite
Watkins. Cathedral
on the
148.
style
By
own
Albumen
print.
more
authentically photographic
Albumen
to this group by
Muybridge
image and
were made by
of the photographers'
fascina-
stereographs.
in
ephemeral
with Bierstadt in
1872, also
Guatemala
made
and
number of remarkable
Timothy
War photographer
I?3
I50.
Eadweard Muybridge.
who became
experience
cxpressi\e
was exceptionally
and
(pi.
no.
///),
Albumen
print.
1875.
areas,
with an accuracy'
(pi.
no.
IS4-)
is
gi\'en scale
all\'
(pi.
not
infuse
life
Civil
War
construction of the
painting.
reveals a sensiti\it\'
unusual
In
in its
i87i,
Parowan
(pi.
no. nz)
an expctiition
is
also
scale.
whose image of
134
pass.
a magnificent
Canvon, Utah
(pi.
no. 168),
and
Union
Pacific Railroad.
photographic
Andrew Joseph
b\'
in intrinsically
whom he eventu-
taken
Hillers learned
scientific
John K.
ment and
create an
and
b\'
man photographer
(pi.
no. iss),
expanded
begun
in the
That sun'ey
Rix'er,
included
artists
San-
landscape
The
\'iew
scouted
b\'
Moran, who
is
seen in Jackson's
(pi.
fate
b\'
American
sur\'e\'
his
work of
the
most compelling.
is
Unlike the
is
no. is6)
Missions helio^raphiques,
it
ph\'
wa\',
b\'
in-
Isaac
Bradford. John L.
Black's
tions
Moran made
besicies
ford's publication
itii
Romantic
Critcherson, of
an
for
cli-
zine
(pi.
no. IS7) in
later years,
151.
scenerx'.'^
In
Timothy O'Sullivan.
1867.
in
of Polar exploration,
Albumen
print.
Pear\',
and
i?5
152.
Series
No.
Librar)', Astor,
lo,
Albumen
New
Hieropilypbic Pass,
153.
print. Art,
1872.
York Public
D.C.
1871.
Albumen
print.
National Archives,
Washington, D.C.
136
3^" V
^SlZ
155.
William Henry
Albumen
print.
National
Archives, Washington,
D.C.
some of tliese
later
images,
Midsummer, Antarctica
(pi.
it is
not
among xhcmAn
no. isp)
bv British
191?
tliat
characterized die
recall
first \'iews
of
b\'
now Manitoba;
is
pher
and
in
a well-to-do amateur,
Hime,
a partner in a
Toronto
may
ha\'e
been influenced bv
through
his
membership
in the
and
seems close
American Hudson
tlie
Stereoscope Exchange
Lawrence
oudook of the
efiFecti\c
were taken
attract
indi\idual photographers,
cal pictures
adequate topographi-
fianc-
newly
early date.
of
Ri\'er artists.
umentation of
St.
new
settlers
in
of the
or of
b\'-
dian
sur\'e\'s
made
in
connection
v\'ith
railroad routes or
whom
as
of the land-
nation
made during
scape.
as the
sides
\'ar-
b\'
137
156.
Sprinpfs
Moran
Standinj;)^ 1871.
One-half of an albumen
Museum of
George Eastman House,
stereograph. International
Photography
at
Rochester, N.Y.
157.
Thomas Moran.
Washington, D.C.
138
158.
John
L.
International
Dunmore
Museum
and
George Critcherson.
of Photography
at
print.
1.^9
and
Barker,
is
for views
St.
Johns River
eras
(pi.
no.
of Niagara
Falls, in
clarity that
had characterized
earlier
Henrv Hamil-
159.
no. 162)^
Herbert Ponting. An
Iceberp/ in
Midsummer, Antaraica,
on
result
of
urbanization
It
was pardy
an attempt to preserve
a reaction to
nature's beauty.
The
on the Colorado,
Nile, or
Yangtze, the photographer had to be profoundly committed to the quest for scenic images before embarking
1910-13.
Carbon
140
calot\'pe
in Kil-
of the
re-
Wisconsin Dells
pendicular rocks.
its
apparent in images
nowned
for
i6i)
famed
Chap-
print. Original
result that
on an
Parkville, Australia.
i6o.
Alexander Henderson.
St.
Lawrence,
1865.
Albumen
print.
this
iencc
first
made
roll-film
who
plate,
1851,
when
they appeared in
his
(Nav Treatise on the Tbeand Praaice ofPhotofiraphy on Paper and Glass) b\' which
time Archer alread\' had made the first public disclosure of
a collodion
camera,
all
The
Profile:
Gustave Le Gray
Marx'ille,
and
skill
of both
artist
and
scientist.
method.
While
stiU a
curiosits'
student in
esteem
b}'
his
suggestively.
He
was invited to
photographic projects,
iqnes,
in the
new medium
until the
end of the
1840s.
His
inabilit\'
working with
b\'
Enshrouded
was asked to
in mist
uniformlv high
to use light
abilirs'
in
participate in important
among them
where he photographed
Fenton, Le Secq,
camp
Chalons
at
and surrounded bv
on
(pi.
silent,
him
for
intellectuals eager to
and
Du Camp,
came
now
figures in mid-igth-centun'
Le Gra\'
also
encampment.
t\'pe
On
photographs
forest in 1849
his
own, Le
in the
and
mo\'ement of clouds
Gra\'
made
Barbizon tradition
at
artistic calo-
Fontainbleau
(pi.
of the
no. 116),
and
141
i6i.
George Barker.
on the
St.
Albumen
Moonlight
of
162.
Henry Hamilton
142
at
fleet.
In
\'iev\'
the
difficult to
may seem
tan' leadership to
Mississippi. Departing
or mili-
ci\ilian
Exposition Univenellc.
1855
portraiture, techni-
reproductions of artwork
and indulge
his
Comte de
medium
itself
became
more competiti\x and commercial, and the count's patronage ended, Le Gray foimd himself more interested in problems of light and pictorial organization than in making
salable \iews that
a
fit
ornament
"were got up
for an\'
Nadar characterized
ably
Le
as
them
his friend
and
final]\'
Egypt, where he
fin-
foliated terrain
in the
was
it
accomplishments
marketplace
left
b\'
0'Sulli\'an's
likeh'
ci\'ilian
purpose
in joining this
Wheeler to be
his
own
institute.
The
qualit)'
of
his salt
inno\ati\'e \'ision.
from
of
conception of print-
art.
Timothy O^Sullivan
Profile:
after
lines
and on the
assistant in
Mathew
Brad\^'s
of the
New
as
Ci\il
War.
York studio,
former
in 1861
he
"Brad\''s Photographic
work of
indi\'idual
photographers,
his
among them
(pi.
fields
of
no. 209).
and experience
as a
1875, 0'Sulli\an's
problematical health
photographer on the
lowing
sur-
photographer
in the
newly
was
first
ment
in
director,
and
a position
King
his tuber-
own
After
battlefields
no. 163).
0'Sulli\'an
integrit\'
of
\isible
decisi\'e
he had the
capacit\' to
in nature.
c\idence
isolate
and
Beyond this,
a sense
of
may be
were to
his
contemporaries,
who
e\'e
regarded his
than
the\'
ijiiages as
accurate
14.?
The Western
Landseape
Natural and
Fabricated
This selection of early views of the American West suggests the dual role that
War
of this
1867
relatively
and
part
photographers
employed by
studios in
inspired
unknown
who
either
landscape, by
its
Beyond
their roles as
its
make
it
A number of the
building of
rail lines,
commercial buildings
system.
As the
silence
sparkling
of the region.
called
upon
and urban
document the
to
centers.
Eadweard
showing cable
mammoth
cars, churches,
frontier
its
were
all
pristine wilderness
Muybridge produced
documenters,
scale
numerous
the
cities.
by the spectacular
waterfalls.
railroad companies, or
West Coast
and development
in the exploration
(18
x 24 inch)
industrialization
began to change
photograph
as a
means of both
its
advance.
Timothy H. O'Svlltwah. Ancient Ruins in the Canyon de Chelle, Nm' Mexico, 1873. Albumen
International Museum of Photography at George Eastman House, Rochester, N.Y.
163.
144
print.
145
164.
Cabxeton
Baltimore
and
E.
Albumen
print.
Museum
Partial Gift;
of Art; Purchase with exchange Hinds from the Edward Joseph Gallagher
of George H. Dalsheimer, Baltimore.
III
Memorial Collection;
Panorama
146
Albumen
prints.
i66.
Carleton
Albumen
print.
River, 1867.
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Pi*
1
fc^r^
Frank
i67.
Haynes.
Yellowstone,
c. 1885.
J.
Geyser,
Wyoming,
Albumen
168.
New York.
Andrew
J.
Russell. Hanging
Rock, Foot of Echo
Albumen
print.
Western Americana
Collection, Beinecke
Manuscript Library,
Yale University,
New
152
Haven, Conn.
*i
J-
.r
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.-.
-,;
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*-"-
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153
4.
DOCUMENTATION
OBJECTS
AND EVENTS
i83p-i8po
Let him who wishes
to
is
Olix>er
154
OBJECTS
AND EVENTS
Wendell Holmes,
1863'
exists in
the world
but the
it
wound up by
of,
what
believing that
saw a photograph
it
was true."'
The need
for pictorial
rec-
1830S
may answer
illus-
The
The
materialistic
outlook
and
'40s,
trations
Penny Magazine, an
ships,
and
document
graphic
as a relatively
unproblematical means
visible
world. Depictions
in the previous
sociological
scientists, artists,
of
disasters;
considered by intellectuals,
al
social relation-
all
were
unaltered
view of
an exemplary record
which
solid fact
lay
that
in the capacity
plate,
as
it
is,
faith
of periodicals
publishers
early starter in
in
Zeitung
To make good
their
moving panorama of
Europe
in Paris,
United
States,
Newspaper.
Leslie's Illustrated
promise to present a
living
and
document
translate
as a basis for
The need
graphic imagery.
wood
engravings to
of dividing
number of woodblock
to
a sensitized
its
more
stituting a
mentioned
graph
is
earlier.
camera image
(in itself a
and, in
fact,
missed by participants in
As "form divorced
rate catalogs
of
fact that
Specific temporal
reality.
way
which by
several
as original
in
significance.
realistic facture,
lishers.
in
States),
Albumen
produce
in large
into presentation
prints,
more
numbers than
calotypes,
albums made up
were organized
into stereo-
distribution activities
in
structures
historian William
M.
Ivins,
Jr.,
art
true,
and
New
scopic
York, the
Company
of companies such
Langenheim
in Philadelphia, the
and Petsch
in
as T.
brothers'
& E. Anthony
American Stereo-
London
in Paris,
Stereoscopic
and Loescher
Germany.
OBJECTS
AND EVENTS
i.';5
Camera Documentation:
Industrial Development
in
role played
bv photography
as well as to display
of the
However,
of urban
of bridges and
and
facilities
fairs that
monuments,
170.
possible to
Sydenham,
collo-
document the
entire
at
1851
to 1854
new
location
(pi.
Philip
no. 170)
and the
installation
of the
new mate-
it
exhibits,
in 1851
The
impor-
first
London
Philip
Henry Delamotte.
Albumen
print.
156
OBJECTS
Greater
London History
AND EVENTS
c. 1853.
lyi.
Robert Howlett
(?).
November
Millwall,
Albumen
print.
Paul Getty
J.
30, 1857.
Museum,
Los Angeles.
tr)'
still
afford,
interesting
and indeed
record
among
is
the
more
the industrial
From
this first
fairs
that followed.
called
maker
upon
The
fre-
up by
of such records
usefiilness
no. 171)
(pi.
of
quendy was
also
were exhibi-
clarity
and precision
image of engines
roundhouse
in the
also characterizes an
at
Nevers
(pi.
no. 173)
carr)'ing
volume seen
de Fonts et Chaussees
tern^
in views
liner capable
made
it
of
embraced
real rather
works with
Company
was
than synthetic
artistically
at
treatment of
(see
Chapters)
of camera
art
critics
was
suggested
in the sensitive
initiated
by the
rail
rationality
Baldus,
to
of these structures.
whose other commissions included the previon the Rhone floods and a
was
entirely
Museum
actuality'.
situ-
conceived
style
of the
When
increasing commercialization
the need to
made
OBJECTS
this
approach to
AND EVENTS
157
172.
International
documentation
N.Y.
work in gravure
had
modem
who
As John
no. 174)
scener\',
human
interest,
old and
as a
Nevertheless, though
document,
it
lacks the
its
of the structure;
in
of
no. 176),
their
unknown photographer
on an animated
figures in the
foreground.
Photographs of industrial
work
force also
character of
methods
struction
Europe
at
new
that
were
upon
of
a special appeal
portrait firm
158
to
OBJECTS
AND EVENTS
less
as a
clearest fashion.
The
life
particulars
thie
with
mundane activit\', such as work, into evocative experience. Few images in either Europe or the Americas were
N'erts
century
(see
Chapter
8)
173-
International
OBJECTS
AND EVENTS
I.S9
174. William
England. Niagara
Suspension Brit^e,
1859.
Albumen
Museum
Art,
175.
print.
of Modem
New
York.
AUGUSTE
AuGUSTE BiSSON.
Two
Bridqes, n.d.
Albumen
print.
Bibliotheque
Nationale, Paris.
160
OBJECTS
AND EVENTS
176.
Unknown
Photographer
(probably Scottish).
Construction of the Forth
Brieve,
c.
1884. Gelatin
silver print.
Collection
Centre Canadien
d'Architecture/Canadian
medieval to a mod-
streets
(pi.
24).
(who took
office in 1853),
Old buildings
In
and
all
major
also to
cities,
document
aspects of
graphed
no. 177)
former
illustrator,
by Charles Marville
manv of
(pi.
Blanquart-Evrard's
Working on
his
own
(after recovering
1839, in
which
his
own
made
after 1859
anonymous
were much
in
street
new
life,
demand by
(see below)
the waxed-
no.
activity con-
was
fiirther
Near
and the
OBJECTS
AND EVENTS
161
177-
Charxes Marville.
Tearing
Down
American view
might
Though
was to
disinter
works confirmed
in-
objects.
context and
a sense
of con-
c.
1865.
Albumen
print.
in scale afforded
Femique
States
an
(pi.
was
no. 180),
just
activitv that
too.
One
lively figures
of the idealized
cultural
visually stimulating
industrial Europe's
the camera.
modern
setting
(pi.
past,
from the
pil-
no. 179)
was captured by
become the repositories of statuary and decofrom all over the ancient world, the growing
popular interest in archeology and its finds must be attributed in some measure to the camera.
rative objects
Monumental contemporary works of statuar\' also provided subjects for photographers intrigued by the contrast
AND EVENTS
and
its
installation in the
United
was going on
of the
real
in
mammoth
statue Bavaria
(pi.
no. 181)
constituted at least
to the installation of
OBJECTS
States
already had
162
pieces.
bv such
Carnavalet, Paris.
tion,
Musee
in
North
pri-
monuments
Drawn largely
and
its
attitude to
photography
in general.
artists,
mid-century European
instilled in
them about
art in general,
but
arts
in the
as a business
and
many photographers
in the
sumed by
interest in
geometry of engineering
and buildings
of camera position
fects
This
said,
it still
is
(by an
their
inspirational.
in Brooklyn Bridge
unknown photographer)
(pi.
The choice
Under Construction
no. 182)
diminishes the
178.
Henri B^chard.
c. 1878.
from L'Egypte
1888.
Charles
Phototype
et la
Nubie,
Edwin
Wilbour Library of
Egyptology, Brooklyn
Museum.
OBJECTS
AND EVENTS
I63
179-
Philip
Henry
Delamotte.
Colossi
Setting up the
185?.
180.
Albert Fernique
(?).
1880.
Albumen
print.
Rare
164
OBJECTS
AND EVENTS
i8i.
Albumen
print.
Agfa-Gevaert
Foto-Historama, Cologne,
Germany.
to the small
group of top-hattcd
figures. Typical
of the
many views of this project, the image falls short of embodying the daring energ}' which the bridge itself
still
sym-
bolizes. In
Bridge
also
As
is
F.
power of the
structure.
their wills
way, unusual
Andrew
Utah
Territory, in 1869
tradition
(pi.
no. 184)
life.
is
Promontory Point,
in the
mainstream
in
(pi.
no. iSs) ,
landscape predomi-
natesthe understandable
However, there
routes
resulted
rails
of track-beds
in
images of
Many of Russell's
effect
of an attitude that
rails
and
re-
intri-
official
photographer
at the
end
and
rails in
Rau's images
(pi.
OBJECTS
AND EVENTS
I6S
i82.
Unknown Photographer.
Albumen
166
print.
New- York
OBJECTS
Historical Society,
AND EVENTS
New
York.
c.
1878.
trial
in visual expressions
were sold
in stereo-
shown
in
fires,
floods,
little
and storms
catastrophes
show strong
make a daguer-
control but
able to
Oswego,
plates
New
York, in
Even
after glass
Newsworthy Events
man
as
figures,
when
included, remain
still
during exposure,
tation
would have
With the
of flux on
length (4V2 to
resulted in blurring
1840S and
there
'50s, in
fact,
during the
was continuous,
if
was done
it
was
1S7)
of
H.
T.
no. 189)
is
a typical
18?.
William Notman.
Victoria Briilge,
of Tube
and
Looking
in.,
Albumen
Framework
Staging,
May,
print.
1859-
Notman
Photographic Archives,
OBJECTS
AND EVENTS
167
trial
(pi.
no. 190)
were
emerged. Between
tries,
all
three coun-
began to appear
(see
still
modem
viewers are
technology made
Andrew
168
J.
print.
customs.
Though under
OBJECTS
Pacific Historical
AND EVENTS
those
exists
Thomson
of photographv, but
Union
Near East
life
in
order to
and ethnic
that
truthful records
of
in
is,
a sense
of
Curiosity about the everyday lives of the world's peoples predates the invention
collodion/albumen
their selection
1880,
what
184.
and about
accustomed.
Albumen
1855
it
Rails,
as indus-
it,
and by the
close observation
called
desire for
commercial suc-
185.
Andrew
J.
Russell. The
Albumen
print.
Western Americana
Book and
Manuscript Library, Yale University,
New Haven, Conn.
Collection, Beinecke Rare
. -^
^^-^
OBJECTS
AND EVENTS
169
attitudes
trie
and
in
some
cases even
evoked admiration
folks
in the areas
Beato
back home.
Hindu
Among
those
aspect.
and teak
industries
were Felice
who worked
in the
Punjab and
in
Kash-
life
Known
or
oversee or to
the empire
unknown,
document
Bomba\- Photographic
Societ\',
18-".
volume containing
61 photographs.
Group of Cotton
OBJECTS
AND
EA'ENTS
set" sent
The
effects
home
views
and
New
on Western viewers
scantily clad,
somerimes
unindustrialized
determine.
No
doubt
as
positivists in
whether
made
viewers
more conscious of
AiBEKT Sands Southworth and Josiah Johnson Hawes. Opermng Room, Massachuictts
Patient, 1846-45. DaguerreotN-pc. Massachusetts General Hospital News Office, Boston,
Woman
170
in
photographers sent to
Africa, Australia,
parts
natural -looking
The now
images of lower-caste
more
tattooed or painted
British
a single
to
part
on the
in Tlie
common
his
many such
rw. 191)
portra\ing nati\e
(pi.
photographers.
nit\'
Carders
individual differences
General Hospital,
s<
K.
^ AJsK tVEXT^v
rt
among
on
the indi-
itary
men,
laborers, vendors,
on the context
Graceftilly
in
occupations appeared on
cartes-de-visite
Thomson
China and
Its
reproduced
in heliotype
of nearly
Hong
spent in
include,
detail
may
in
and scenery,
portraits
mundane
activities,
among
its
sharpness
Views of everyday
life
in
in the Illustrated
upon by
The
its
afi:er
the
camera was
two volumes
and
is
Descriptive
Notes
devoted to "Native
Types."
190.
HiPPOLYTE JouviN.
172
OBJECTS
AND EVENTS
c.
i860.
no. 333)
posed
hand-colored by Japanese
artists,
and
these works
information and
life.
Similar
artistic effect
amalgams of
sociological
studio,
a partner
and Japanese
fiarther refined
latter's
assistants,
no. 193).
(pi.
assistant to
von
Stilltried
no.
(pi.
late 1860s,
who
194).
which
Tokyo
Commo-
appeared; one of
delicately
(pi.
accident.
in Japan
result
besides
appeared
issued Illustrations of
the
Itinerant Tradesmen,
This image
did not
them
life
People in 1873-74.
five years
mainland
and
in the port
cities
the
made
composed
and geisha
emblems of
Albumen
in
railroad,
survey,
and
fi-ontier
photographers
(first offi-
mented Indian
north,
life
his portfolio
docu-
United
To
the
191.
of Cotton Carders
Albumen
and
192.
John Thomson.
c.
Museum
Stieglitz Restricted
Itinerant Tradesman,
1868.
Albumen
print.
of Art; Purchase of
Fund.
OBJECTS
AND EVENTS
17?
19?.
Baron Reteniz von Stillfried. Rain Shower in the Studw, c. 1875. Albumen
Museum of Photography at George Eastman House, Rochester, N.Y.
International
174
OBJECTS
AND EVENTS
print.
194
International
Museum
of Photograph)'
at
c.
1890.
Albumen
print.
OBJECTS
AND EVENTS
175
1902.
Platinum
print.
Private Collection.
176
OBJECTS
AND EVENTS
196.
Edward
Race,
c.
S.
Museum of Modem
197.
Robert Flaherty.
and
Child,
Ungava
Portrait cf Mother
Peninsula, 1910-12.
Canada, Ottawa.
OBJECTS
AND EVENTS
177
ditions in 1858.
West began to
escapees from
attract
of the
life
densely setded
umentation of Indian
life
Adam
who
California bookseller
accompanied
first
idealizing
Clark Vroman, a
of
a party
based on
atlas
micro-daguerreotypes taken
by
Jean
clinical physician
development of the
in 1845.
With the
An
(pi.
discussed in Chapter
based on photographs,
lectures
in slide
the photo-
later,
possible.
important contribu-
Physiology by Professor
2.
Human
it
first
book on
scale to illustrate a
Edward
an ambitious com-
S. Curtis,
moved
felt
to record
text
first
writers to investigate
investment banker
through
a veil
initially
costumes and
at
times
artifacts
no longer
in general use.
Working
at a
emphasize
196),
life.
matter
to
detail
his overall
American Indian
this subject
Often haunting
in character
life
(pi.
no.
could be con-
of documentation
(see
Chapter
7).
Used
some
still
one of
heroicizing
life.
Photo-
Human Frame
Munich in 1861.'
England and Germany to provide
for publication in
at first in
lesions to glandular
and
every
that
photographic
illustrations
to the
Similarly, Portrait of
Mother and
1,500
was projected
tribal life
him to introduce
led
P.
J.
on the
America. Supported
New
administrative, diagnostic,
Dr
mental
earlier as a
"moral treatment"'^
an
Scientific
dom
and nonconstructive
slides.
The second
documentation. The
first
in
was
also an era
of
daguerreotype micropho-
In what
activity
the
first
use of photographic
document
microscope
lens.
Other
early experiments in
both calo-
The Documentation
of Wars
and
Conflicts
War coverage
become
collodion era.
erage, although
178
OBJECTS
AND EVENTS
made by
this
It
some
portraits
method. The
ill
first
suited for
war cov-
iy. Hii'i'Oi.vii:
the
Hayari).
Rematm
of
of 1S4S,
199.
(
(iusiAVi,
1,1,
(iRAy, Souvenirs du
1X57
New York;
New York.
Walter,
Art,
OBJECTS
I'.iiil
1'.
Miiseiini of MtKlern
AND EVENTS
179
time
reflects
army camp
Chalons
at
(pi.
Napo-
no. 199)
that
have
the
first
survived"
British Establishment
large
a founder of the
Photogra-
elitist
Black Sea..
March,
plates,
with two
1855,
and
Van
with
ID, 1855.
Gemsheim
in
glass
(pi.
no. 200)
Work-
Nov.
700
Unknown.
200.
Harbor
Collection, Humanities
he complained of getting
litde
To modem
no. 198)
up
in Paris
and by British
Army
surgeon John
may seem static and contrived. This was pardy the result of
McCosh
also, a difficult
Burma
in the
mid-ipth century,
made
Though somewhat
static
by modern standards,
sig-
civil dis-
The awkwardness
is
bal-
factors that
in
fire, in
because documentary
201.
Roger Fenton.
Le Gray made
National
180
at
OBJECTS
AND EVENTS
1855.
28th
Albumen
print.
202.
James Robertson.
Albert
203.
Roger Fenton.
print. Science
OBJECTS
Valley of the
Albumen
Museum, London.
Shadow of Death,
1855.
AND EVENTS
181
Albumen
National
Museum,
about
to 20 seconds
but
exposures
Army
and ordnance
Regiment
His Day's
Work Over
of many of the
edged
still
portraits.
required from
(pi.
personnel
Hcdlewell 28th
an almost
no. 201),
embatded surroimdings
incrediblyobserved,
At the same
a broader mission.
in
is
ing,"" he
fields
likely to
deserted batde-
Oanstantinople,
Crimea
after
Near
East,
took over
ments of
hospital
facilities.
incursions
Among
docu-
piles,
and
wrought by foreign
OBJECTS
less artful
ammunition
forces
on the landscape
182
in addition, they
London
into
ro\'alt\',
presentation
were exhibited
in
and
profound
Valley of the
effect
Shadow ofDeath
on viewers used to
(pi.
artistic
m.
203)
depictions
made bv
artists
want of likeness to
of uplifting tone
in
The absence
especially
and sold
Paris,
illustrations in the
London and
typical
movingly.
Mint
be historically interest-
son's
New York;
in
Lx)nclon.
which
encampment
ing an army
print.
Army
AND EVENTS
(pi.
m.
202)
is
show-
as real
and
pictures in a review
the "palpable
reality^"
critic
Crimean
held that
one wonders
a
if the
class.
exhibited, the
in Britain
indifference, with
205-
Unknown
Photographer. Communards
in Their Coffins^
May,
Albumen
Gemsheim
print.
1871.
Collection, Humanities
of Texas, Austin.
206.
Mav
25, 1871.
Albumen
print.
CRIMES DE LA
COMMUNE
VICTIMES
F^D^ReS
T. R. R^,CAl>TlBR
R- Pt
Bourakd
R. p.
DELiiORMt:
Lo Mkillrt,
LiTni'iA,
R. P.
COTHAULT
R. p.
ChataohkUbt
R. p.
procureur dc
ik-
Com
la
BouiN, capitarne au
VoLAND (Francois)
Gros (Aime)
lor
Hkauhls^ lieutenant au
\o\-
Marce (Aatoine)
Thalrh, gouveraeur du
Cathala (Thiodore)
fort d(
Bicfetre
DiNTRoz (Francois)
Cheminal (Joseph)
pKTrr (Germain)
Pascal, lieutenant au
\-j-j'
QuESMOT, commandant du
fiGHAPPS A0 MASSACRE
L'abM Grahcolas
li
mune
GuiUKMET
Gauqublin
mcmbrc
Gironcb, lieutenant au
so'
20'
(Joseph)
Bertrand (douard)
Rezillot (Jean-Baptiste)
Gauvain (^douaitl)
DtiAiSTRE (Prosper)
Burpo, i6dir au loi'
Ducnti (Aatome)
BkouHo
(StcDon)
^r^ ^-irT^l3iA^^,i(iSf^it-
IT)
M.ii UITI.A
^Itmircs
<>l
:.
u^&ii:.j&(Mij-."^^
ARCUEIL
(in
OBJECTS
AND EVENTS
183
result that
tie
extent anticipated by
its
to the
sell
publisher.
War
ist
and
fairly
his
War was
Civil
the
Union
the early
Run
defeat at Bull
that issued
prise
be "by
because
Taku
destruction of the
documented the
Opium War
{pi.
no. 204),
far the
battie conditions,
dying, but, in
images have
his
of battles somewhat
in the
manner of ghoulish
still lifes,
as "distant
and
making,"
perceptions can
to
may be
working
also that
of a "distant witness,"
in
images
irrelevant; these
1870s,
and
largely
and
clear, inclusive,
finely detailed
littie
quality'
acknowledged that he
actually
that
conflict
as
would be of short
him
1855
mirrors of
reality,
but
Commune
of
1871,
One
when
portraits
of the
Communard
problem that
leaders,
made
made
it
possible for
him
From then
(pi.
no. 20s).
authenticity;
later
shown
to be fakes
(pi.
atrocities
tall
had believed
tiiat
184
OBJECTS
AND EVENTS
truth.
"
among them
for a corps
of about
politicians
lines
no. 207),
(pi.
bivou-
dead
just
batties,
which
of the
counted
^
I
20 men,
Northern
by the
Brady
commanded
16 X 20 inch, 8 X 10 inch,
and execution
time
to outfit a
at the
portrait studios,
now
identify
it is
ciuration,
Between
belief in
picture-
stemmed
medium of
\'iewers
There can be
of
ally,
unflawed, to be
activities.
indeed, to present
to suggest that
fact,
and
pictorial
prominent
Hoppin went on
range of behind-the-lines
frontal poses
com-
Carefiilly
1865.
this enter-
successfiil
of the Sudan.
from
turned up on the
battlefields
be
conflict to
first
in seconds.
sold by Brady
Published
as Incidents
still
witii
and
corps and
of an independent
cameramen
War were
Civil
New
Brady's
York studio
Much
(pi.
in 1851,
pho-
memorating the
modern
warfare, in which
diers, their
it
die anonymity of
sol-
unknown by
no. 208).
home
brought
battie. It
and
strangers,
in
The
strange land."^^
haunting
stillness oi'
the various Brad)' tield operatives, with the result that our
Gardner,
is
scholarship has
work
is
and was
Civil
a quintessential evocation
War
owed
reportage
of the desolation
its
visual
tool,
Men"
to
porary media
Frank
Leslie's
the weekly
for images
and
and hiring
illustrations,
wood
artists
engravings, these
first
time.
As the documentation
New
made
acutely aware of
Death,
Gettysburg,
Pennsylvania
(pi.
no.
209),
what the
Harvest of
taken
by
hiring photographers
units.
documented
the afi:ermath of
he
published
selection
The
of Barnard's commitment to a
it
com-
photograph
(pi.
no. 211),
fideli-
style
when he
a pic-
as
surpassing
of impression,"^* noted by
are evidences
in 1863; three
of images
Brady
years
new
that
believed
One such
207.
Mathew Brady
OR Assistant.
Landitiq Supplies on
the James River,
c.
1861.
Librars'
Albumen
print.
of Congress,
Washington, D.C.
OBJECTS
AND EVENTS
185
2o8.
George Cook.
Cook
Collection, Valentine
an
emblem of
Museum, Richmond,
Union Army,
is
especially
moving
Sometime around
at
tiie
Appomattox, April
would be the
last
portrait
10, 1865,
of Lincoln
no.
68).-''
Follow-
later,
portraits
light
Through choice of
methods of war,
flict
in the
interest,
the modern
sty-
antithetical to
both the
of
7,
print.
exhaustion.
Army
Albumen
Va.
still
was
need to
qualities consistent
inxest the
One
tives
made
a sccjuence
spirators
specific
one
of the
earliest
photographic essays on a
that issued
from
this
The views
186
OBJECTS
fi-equentiy
F.
Hmtiwtji Rendinjj
how
the
AND EVENTS
Photographic Documentation
imbue these
that
found
there
Pictorial
was commissioned
publications
illustrator
also
on both
Alfred
of graphic
sides
Waud,
competent
Homer,
at the
time
Civil
a
artists
by periodical
of the Atlantic. In
if
artists"
young unknown
the
uninspired drafts-
War "sketch
fact,
1861.
is
Winslow
Besides turning
magazine
illustrations.
Homer
War
as
theme.
209.
human
Timothy H. O'Sullfvan
Albumen
print.
side
of armv experience
(originally printed
New
no evidence
that
of direct experience
a stereograph
Homer
war. Although
(pi.
no. 212)
visible in
Trooper
Three Soldiers
no. 213) ,
(pi.
bv an unknown maker.
Homer aside,
there
is
no question
that
soon
after their
realit)',
more
Though
affected
theme and
seem to be
efficient tool
moments of reality,
known
by Alexander Gardner),
in
with
in his
Today, the
sent by Harper's
is
oils
York Public
ri
moved
as Realists.
painters
That these
Hanvst of Death,
Librar)', Aster,
especiallv the
artists
group
in
France
consciously sought to
OBJECTS
AND EVENTS
187
historian
American
art
in the
languid. His
flections
oudook,
associations,
and
activities
ble reaches
of British society
For about
icize a political
occurrence that
artists
had
classically treated
to
promote photography. In
suddenly renounced aU
1862,
mind
negatives,
triumph
batdefield,
It is a
in death,
and the
sanctity
on
the
when
structures, reveals,
way it
the
medium demonstrated
camera to illuminate
as well as record.
common
effete
in art rather
textile
French salon
artist
new field,
to
nor
artists
also for a
more
practical career in
the Royal
Academy, and
in
calotype.
later,
ffraphique, that
his
was
of
Roger Fenton
Profile:
his
equipment and
of life.
From
and returned
activities
without explanation he
Realist painters
and maintain
would meet
a library
The Photographic
helio-
entity.
210.
Unknown Photographer.
188
OBJECTS
AND EVENTS
15
aaivity in the
re-
in the comforta-
in the mid-i8oos.
were
211.
George N. Barnarx).
Books Division,
1853, after
museum. From
this
time until
Fenton's influential associations brought about the patronage of Queen Victoria and Prince Albert for the
In addition, he
was
new society.
ciation, a professional
body, and
sat
Asso-
on committees
to
gravings
Me^azine,
scopic
right laws.
tions
1853
he made a number
later
he traveled to
document the building of a bridge in Kiev, stopmake calotypes in St. Petersburg and Moscow, as
Russia to
ping to
well.
On
his return,
Mu-
still
lifes,
some
year,
he
dear to Victorians
(pi.
no. 260)
his
War project,
five years.
were involved.
a publication
about
After providing
art
On
justify his
abrupt renuncia-
number of
factors probably
own
OBJECTS
most of his
AND EVENTS
189
campaign
spirited
in the
them as art. Like contemporaries in France who also withdrew (Le Gray, Baldus), Fenton may have found these
events too discouraging.^^
In
as his images.
activities are
While he made
of as great
fine landscapes
and
interest
still lifes,
conflict, his
field.
about the
artists
In organizing photo-
medium from
elit-
then
the dr\' plate, and finally the snapshot camera pushed pho-
medium.
Mathnv Brady
Profile:
as well as
high
critical
New York
He was
probably in the
iTiid-i8?os.
he
may ha\'e
mention
in
Samuel
F. B.
a sense
Son of poor
Irish
introduced by the
Morse, from
whom
the
\'ears in
esteem.
cit)'
are scantih'
no
is
His early
as a student.
in
one
failure in
ments
in
he was
212.
WiNSLOw Homer. A
Grave,
c. 1865.
Omaha, Neb.;
gift
Sister
known
BradN'^s
Museum,
both
Washington and
owner of fashionable
cities.
to
all
this
end
moves
as the
in
New
portrait establish-
showmen,
era.
Ann
se\'eral
late 1850s,
his luxuriouslv
To
GifFord Forbes.
later,
albumen
portrait. In
work remarkably
well preserved,
medium
that
became apparent
atti-
as collo-
little
190
had been
sales
of images. Further-
relegatecl to the
OBJECTS
Museum
AND EVENTS
trained artists,
in
by well-
of
contained stereoscope
bv a
\'ariet\'
of makers.
It is litde
latest
cards
all
one
edition,
by
However,
the
first
sell.
a portrait of Lincoln,
Taken
address,
work
this
soft:encd features to
make
When the Civil War broke out, Brady's sense of photogHe was able to
own
also his
Bull
after his
1862,
wagons
Unknown Photographer.
21?.
shell-fire at
territories,
had
Soldiers, i86os.
ex-
penses of his ambitious undertaking by selling photographs, mainly in stereograph format, but after the war
the
in
famous
work
sitters,
a line
of Brady's
New
York
political patrons
coupled with
At the same
down-
of both
albumen
prints
at the
Anthony company
time
it
was taken
it
medal
its
to
at
era,
triumph was
Brady
first
was on the
trip to
Europe
critical
Washington
influen-
portrait gallery.
it
is
commercial enterprise. In
1845,
he proposed
the
as
came up
tion of
1871,
it
negatives
at
auction in
charges of $2,840;
of the
historic services
was impossible
for
only had
made
it
most bureaucrats to
War
it
not
West, but
it
first
transforming momentary
life
that of
expression.
OBJECTS
AND EVENTS
191
Before Photography
In China in the 5th century B.C.,
Mo
Ti recorded his
tree,
which was
of foliage onto
Abu
'Ali
it
215.
diffijse as
phenomenon
obscura
Sixteenth-century
and
direct
through
efforts to control
literally, a
dark
room
Vitruvius,
in
struction of the
first
natural colors.
by Leonardo da Vinci,
descriptions
in
and
in Italy
b\'
Erasmus
magicians, and
tists,
it
artists.
had become
By die
indi-
familiar to scien-
camera
ft-om
pictorial representation, in
From
in
time
(pi.
which
as if seen
no. 214)
lenses sharp-
more convenient
geographers as well as
ble version
his
1646
artists,
on
among European
by Adianasius Kircher
treatise
surface for
(pi.
light as a suitable
Florence^ n.d.
192
].
Rosenwald Collection.
TECHNICAL HISTORY
a device
both
the
is
and
it
as
for
apparent fi-om
descrip-
as "life itself,
something
of the 17th
tion
so refined that
words
century remarked
on
During the
its abilit}'
to produce a "picture of
inexpressible force
and
a vivacitx'
excell.'''''
and graphic
explanations about
peared,
fictional
work Giphantie to
concept
this
is
raculoM Mirror
by
artists
seen in an
obscurae.,
used
were
no. 216)
(pi.
shown on occasion
a truthflil
image of
obscura.
Hyde
liam
and
lens
Wollaston in 1807,
on
tant object
cally
is
lucida^ invented
by Wil-
an arrangement of a prism
draftsman to see a
dis-
making transcription
easier.
stances
and
first
of silver
more
accurate observation
and
The
accidental dis-
Medicine
at the
was the
result
this
change
to photography.
The
light sensitivity
Wilhelm Scheele
aware that
Beccaria,
at
who
mid-centur)' an Italian,
was
actinically^
more
active in
Battista
end of the
solar
producing
this effect
ride
Giacomo
and
of particles of metallic
by Jean
in 1782
salts.
He
of
light to
of
owing
later
trum reproduced
itself in
natural colors
on the
chloride
surface.
link
between these
early
way
to
retain an
by
light.
on white bone
216.
Unknown.
The Miraculous
Museum of Photography
George Eastman House, Rochester, N.Y.
Engraving. International
at
were acquired
who
TECHNICAL HISTORY
19?
of Russia to provide
a table service
after
light,
Wedgwood's Lunar
prominent figures
In 1802,
in the
European
his association
with
community.
scientific
paintings
Parisian optical-instrument
Jacques Louis
nor
is
on
the silver
tually
salts;
unaltered,
Wedgwood
chemist Humphry
Mandc Daguerre
experimentation
and
process together.
plates, discarding
fabrics.
among both
nomenon known
of new
scientific discover-
as
making possible
Chalon-sur-Saone
who
after the
a series
Napoleonic Wars, to
of inventions, including
problem
on
in the
camera
out
was no longer
1837
it
a phe-
and
upon
mercury vapor
in this case,
hit
when he
1835,
by chemical development
estates at
too,
silver
successfiil in
Paris as
no. 4)
parallel interest in
was completely
developed
Le Gras. Daguerre's
ies
at
of light
is
deepest."* Neither
visible,
but
of
in
light
dium
indirectly
from
Herschel.
were
tive prints
unsuccessfiil,
1827,
when exposed
and then on
placing
them
to light. Be-
on
against engravings
made
delicate
translucent by oil-
conditions
its
In
1833, at
years he
forming the
plates,
prints
of the
plate; after
ter
rest
process,
lines. It
In the
194
had succeeded
summer of 1827,
TECHNICAL HISTORY
in the
in
as
made by
alternate
first
permanent image
washes of sodium
pictures
were of
flat
objeas,
Daguerre's early
monochrome on
processes.
no. 33)
(pi.
lines
silver salts
glass
thiosulphite) to
forward
1835,
to
image
Talbot carried
when he produced
a one-
Abbcv
(pi.
no. 20)^
made by
To
stabilize
these
early
in bright
images,
salt,
Talbot
but early
in 1839
correct
and
tonal
spatial
proposed to
inversions
by placing
make
it is
it
translucent)
and expos-
made
at this time.^
most
Talbot's
significant invention
nitrate
paper by swabbing
and
independently
it
it
in the
He
sen-
of silver, exposed
ly
at
was
he called gallo-nitrate
it
in the
same
219.
1839,
camera to be
sold in any numbers to the public. The lens was fitted
with a pivoted cover plate (A), which acted as a shutter.
A plaque
first
and Giroux's
seal.
on
took out
unknown
by
Greek phos
and [raphos
light
writing)apparendy the
first
Other Experiments
in
a process
of which
Widespread
interest
light-related
others.
born
artist
interior
who had
of Brazil
in 1828.
He
his journals
and examples of
his
come up with
life-size portraits.
announced
civil ser-
was
was exposed
largely
and potas-
when
the
in the
ignored
silver chloride
at the time,
owing to France's
official
preference
along
By
this line
to
the
in a
paper process
daguerreotype, experimentation
continued.
developed
method of bathing
when
for-
Talbot's
a hole,
which
Exposed
in a
damp
resulting negative
on the
state
had done.
surface, as Talbot
(as Talbot's
showed improved
than brushing
more evenly
saturated.
TECHNICAL HISTORY
195
when
the
waxed-paper process
immersed
sium or
it
was
being
sensitized. After
ammonium
being sensitized in
iodide,
and
silver nitrate
in either
damp
or dry
state.
paper
Le Gray's
in
was not
it
until
was introduced
inexpensive
finish),
start
to
soldiers during
made of and
as a
prevent
silver salts
The
manufacture.
of
irregular fiber
just
States;
his prints.
in 1853 in
him to
first
practicable
in 1850
by Blanquart-Evrard,
transparent coating
on
glass,
in
and pyrogallic
process,
called
Adams
gallic
acid.
similar
ammonium
chloride, after
which
was sensitized by
floating
strong solution of
exposed
in
silver
albumen-side
it
nitrate.
down
After drying,
that
no chemical
and
when
sticky
liquid, transparent,
that
after
appeared
it
as a
first
practicable direc-
and
1850
in
but the
two-part
in a
1851
image
is,
day from
devel-
a paper
exposure
400
prints
when,
silver salts
article
The
in
um
The
glass
plate,
form
to be developed
in its
wet
The
silver iodide.
state.
if
the
it
had
while
still
Because
to be called, made
work a necessity.
collodion process became used exclusively
it
came
Before the
for negatives,
of the
it
enjoyed
glass positive, or
sion, patented
Boston, was
in
called.
a period
of popularity
Ambrotype
as its
in the
form
American
ver-
Ambrose Cutting of
By adding chemicals to the developer
with black cloth or
black varnish, the image was reversed visually ft-om a negative into a one-of-a-kind positive
client
(pi.
iron.
Known
196
fig-
ured
TECHNICAL HISTORY
of an oblong box.
1854 by James
220.
was
Bingham
in France in 1850,
visible
in
it
ed to achieve a
was
derivative
it
as
was placed
patented in
at the
back
measuring about
2 x 2.5 inches
(51
64 mm).
in a
pany
in
Hanfstaengl in Miuiich.
(first
duced by
with other
salts
based on
arc re-
chloride or ferric
ferric
and potassium
citrate,
it
is
which
salts,
ferricyanide. In the
ammonium
mid- 1840s,
this
specimens
(pi.
no. 329) ,
221.
camera of
1851
had
a fixed,
its
it
attracted
at the rear
(c),
to
screen.
(a),
bv bellows
is
brilliant
artistic
cur-
photog-
raphers.
A somewhat different
dampened
its
color
from
in
order to change
a glossy sur-
negative and
large-scale
search
the
for
glass
commercial
burytype after
making
tin
its
inventor Walter
a relief image
from which
press. Filled
from
a thin lead
Wood-
Woodbury, invohed
a negative in
dichromated gela-
in a hydraulic
hand
in
bath,
was developed
stable
as
albumen
printing
medium
continued.
The carbon
sensitivity
process, based
sium by Scottish
Mimgo Ponton
Edmond Becquerel
scientist
tinued in France by
Alphonse Poitevin
in 1855,
in 1858), substituted
ment
on
and
in
in 1839 (conin
1840 and
prints.
When
which
was carbon
name
and potassium
the
light areas
of the scene
exposure. In
its
it
Swan
water
Joseph Wilson
warm
when
British inventor
tis-
became
lightest tonalities
were
commercially available in
222.
Edwards' Dark-Tent.
The "perambulator" or
When
TECHNICAL HISTORY
197
17th century.
two
plate.
"mousetraps"
small instruments,
first
no. 218),
(pi.
referred
British
to
as
later
better-
tographic camera was designed bv Daguerre and was manufactured by Alphonse Giroux (a relative by marriage)
from
Alexander
223.
Claudet
Stereoscope.
to form the
fitted;
(pi.
219).
tio.
S.
were
on
1839
produced a brighter
light rays
and
them
reflecting
(pi.
no. 220)
many
in 1841, the
enclosed in a
same year
camera was
use until
first
1851
when
it
come
(pi.
first at
no. 221)
into
a rectangular
but
New
in
1851,
The
first
crich
of about
150 degrees
on
measuring approximately
224. Holmes-Bates Stereoscope. Joseph Bates manufactured
Holmes;
was sold
in 1861
plates
by Oliver Wendell
in this
gland
in 1862
rotated
on
coUodion
ment
bv
4'/2
its
in
Woodburyt\'pe
(confi.is-
produced rich-looking
of any kind.
cals
was moved by
a string
The
earliest
TECHNICAL HISTORY
as buffing tools
and
photographers
in the
and perambulator
tents
wet
pulle\' arrange-
t\'pe
in
England, that of
of suitcase mounted on
198
and
afterward.
Early Equipment
during
tional
carts
in use
glass
plate
Curved
inches.
15
sensitizing boxes
panoramic view
The
(pi.
darkroom
no. 222)
means of mirrors of a
pair
as if seen
by
two
ticular
laterally for
len-
lenses placed
on
on paper
for
after
stereo-
and shown
at the
Great Exposition in
1851
pocketbooks.
The
Holmes
(pi.
ex-
tastes
and
became
all
(pi.
no. 223)
decorated models
camera
few inches,
laterally, a
226.
stereoscopic camera of
string (E).
correlated. In 1853,
devised.
Another method,
England
cer in
first
laterally
in 1854, involved
moving
a plateholder in a
septum so
During the
Achille Quinet,
and
1850s, a bino-
(pi.
by
in France
camera de-
a twin-lens stereoscopic
no. 22s)
number of other
was
oflfered
designs ap-
sliding
Eugene Disderi
(pi.
no. 226)
In 1857, David A.
Woodward, an American
artist, pat-
ented a device he called a "solar microscope or magic lantern" " for the enlargement of photographic negatives.
which
225.
had two
Dry
a negative
plate could
be read through
glass could
be
box into
fitted,
throw-
promoted
Along with
plates could be
on paper or
scientist
Woodward
actively
a similar apparatus
photographic portraiture.
TECHNICAL HISTORY
199
A 19th-century
Forerunner of
Photojoumalism-
The Exeeution of
the Lineoln
Conspirators
The
Presidential
Box
at
Abraham Lincoln
in the
14, 1865,
provided
the death scene, the funeral cortege, and the capture of those involved,
but
it is
The
perished in an
ambush during
7th, that
remain by
portraits, other
far the
most
of the
all
vivid
who
his capture,
made
in the
a sequence
a military' tribunal.
trial b\'
up
his
camera on
For
roof
and the hanging of George Atzerodt, David E. Herold, Lewis Pavne, and
Mar\' E. Surratt. This series appears to be the
of an event
as
it
affair.
all
While
it
the
first
at
the time to
this
group of
photographs signaled the important role that sequential images would play
in
200
news reporting
in the future.
19TH-CENTURY PHOTOJOURNALISM
227.
International
Museum
of Photography
Albumen
carte-de-mite.
19TH-CENTURY PHOTOJOURNALISM
20I
228.
Spangler,
Albumen
a Conspirator^ April,
print. Library
1865.
of Congress,
Washington, D.C.
229.
D.C.
1865.
Albumen
of Congress, Washington,
230.
Alexander Gardner.
Georqe A.
Albumen
Museum of Photography
231.
Alexander Gardner.
Lewis Payne, a
April, 1865.
Albumen
and Manacled,
print. Library
of
232.
John
Alexander Gardner.
F.
Hartranft and
Staff,
General
Respomible for
Georjje
Albumen
print. Library
of
Alexander Gardner.
233.
Execution
and Crowd
in Yard, Seen
from
7, 1865.
Albumen
nn
I
I."
1
i
..
1
-
"
'
^I
Roof
print. Librar\'
^'
the
D.C,
of
234-
235.
Alexander Gardner.
DC,
July
7, 1865.
Albumen
print. Library
DC,
July
7, 1865.
Albumen
print. Library
to the
mth
Officers
and Others
Conspirators on
(^
236.
Alexander Gardner.
July
7, 1865.
Albumen
print. Library
DC,
Alexander Gardner. Hanging at Washington Arsenal; Hooded Bodies of the Four Cotispirators; Crowd Departing,
Washinfton, D.C, July 7, 1865. Albumen print. International Museum of Photography at George Eastman House, Rochester,
237.
>
L-
^ .-
N.Y.
238.
Alexander Gardner.
July
7, 1865.
2-19.
Albumen
Alexander Gardner.
Washington,
DC,
print. Libran'
July
Coffins
7, 1865.
DC,
of Scaffold,
5-
PHOTOGRAPHY
AND ART:
THE FIRST PHASE
1830-1800
.
human
breast,
few are
so intractable
it is
ally
i8s7^
ruin
to
of art, an
have been.
208
1868^
"is
today.
The simplest,
a section
entertained
chemical
spiritual
to
this
phenomena
instead of by
in
common
medium
the mechanical
fit
of
photography,
some
critics,
was
that
tion
And
photography today.
tinue to animate
while some
of "high"
art,
graphic
and
for information
artists
The
ideas.
turned to photographs
profound
effect
have had
taste
number of
fair
individuals
as significant
as
Artists reacted to
portrait painters
photography
miniaturists
ways.
in various
in particular
who
Many
realized
that
wall"
as a serious discipline.
tography;
cul-
painter Paul
is
of the
usefiilness
Francois
Arago
medium
the
in 1839.' Nevertheless,
it is
symptomatic
medium
establishment.
toons by Nadar
It
(pi. nos.
that
was
was
fairly t\'pical
satirized in a
of the
group of
car-
com-
own
medium to improve
its
of photography in
art
was
where the
less
arts
it
also
cre-
was taken up by
a reflection
and achievement
in the arts
were
related.
States,
articles
the
maze of
on the
Still
most prominent among them Ingres, began almost immephotography to make a record of their
diately to use
own
same time
its
While there
influence
is
no
on
their vision or
claims as
art.
its
at the
it
portraits
made by
conflicting statements
subject, three
cally
and
conservative artist
artistically
was outspoken
in
of photographers to
legal protection
when
their
images
was not
lost
on French
and
hides,
about
is
like a mistress
who
whom
ob-
one
frequendy addressed.
From
In central
as in the case
national stature
with painting,
was
it
some incorporated
and heated
The view
artists
that photographs
acceptable
might be worthwhile to
for collecting
facts,
eliminating the
209
drudger)' of study
possibilities
from the
live
of verisimilitude
was enunciated
able detail
gist as well as
an
art
and
literar\' critic,
in consider-
latter, a
who
philolo-
would
lead to greater
artists,
that because
nothing,
the
it is
eventually
made
Charles Blanc
critic
French
but recognized
limitations.
its
took lessons
made
in daguerreotv'ping,
^
cliche verve
heliopiraphique,
the
critic
in
response to an exhibi-
and "un-
the amateur
artist
Eugene Durieu
collaborated
noting that
artist
medium
242)^
with
made by
whom
the
if photographs
might
(pi. no.
on arranging the
collected
were used
as
we do not
yet
endowed"
painters
know."'
by a belief
in art
The question of whether the photograph was document or art aroused interest in England also. A Popular
Treatise on the Art cf Photof/raphy, an 1841 work bv Robert
a medium
and stenography"
symbolists,
and
aesthetes,
of life and
art.
consequences on the
Somewhat
later,
spiri-
aesthetic matters,
more
beautifijl
fact that
than
an\'
which had
human
EA'POSITION
kA^
240-241.
of
Nadar (Gaspard
fine arts."
to photography to
210
whom
it
TouRNACHON). Two
Engraving from
Petit journal
pour
rire, 1855.
is
taste,"
242.
Albumen
print.
6, c.
243.
185?.
Lady
Eastlake,
c.
1845.
unsigned
article by Lady Eastlake (pi. no. 243), "PhotogQjncemed with the relationship of "truth" and "real-
the cultural
raphy."
of
ity" to
the
first
two
camera image,
also.
And
ualit}',
qualities
art expression
was expected to be
genius, or intellect
qualities
taste, spirit-
not found
beautifiil
in
minutely
made by machine.
art,"
elite in
the shop
windows of Regent
London and
London,
in her
(pi.
own
no. S2),
portrait or in
Adamson from
her condemna-
In
portraits,
and stereograph
that
artistic necessity.
Lady
Eastlake
a role to play,
critic Philip
one truth
at the
it
Gilbert
more stringent
Hamerton to dismiss
like
in assertion,
that the
a section
of
though some
critics
recognized
an uplifting
style
display
art.
art at
mid-century,
first
in
both English
welcomed photog-
viewpoint led
were
photography had
Piccadilly in
considered an
common sight in
and
of Hill and
Street
Collodion
like" calotypes
class represented.
it
as trivial.'^
211
Jean Baptiste
244-
1982 Founders
verre.
as
United
photographic
of painting
Frith,
John
Millais,
art,
close
from nature,
enough
in xision to
ated
itself'
e\'en
more
into the
their use
must be made
display a
b\'
hand to
was
a period
of increased
acti\it\'
many,
Italy,
in
by the photographic
as art. Societies
still
Society*')
photog-
and
articles
dift'erences
if
and
still
Summed up
in a piece
by
it
addressed the
hung
in the
Fine
"the question
212
and
La Ltimia-e
larities
States,
and the
respcctiveh',
artistic
publishing
coming
tions, including
Societ)'
and 1854
in
in
individual photographers,
inspiration.
1862,
strictl\'
photography.
and
1851
were painted
various \antage points as stud\' materials. Wliilc the\' insisted that their canxases
in the
as well as
Between
Ford iVIadox
were
States,
P.
Fund.
.\rts
International Exposition.
is
is
se
but whether
in
it
is
capable of
of art. "'"^
artist its
artistic
that claim
expression; whether
graph. These
tribe).
era
photographs
would be improved
tant effect
quality
of human
He obscn'ed
the pencil
life
photography,
b\'
would
that "Until
benefit
now, the
photographic
lens.
The
lens
is
from applied
artist
an instrument
he has the
is
like
the pencil
The
known
peasant scenes
as the
Barbizon group
humble
as well as
mundane
reality,
accepted photo-
number of them,
and Jean
and albumen
prints,
when
their handling
of light and
tonalit)'.
on
ing
is
draw-
cliche verre, a
hybrid form
part
and
all
science.
in addition,
directly,
on
photo-
artists
of
to
more
(pi.
no. 244)
by Corot, or to
bv
a Bucket
(pi.
yield a
Woman Emptying
no. 24s),
verve
working
in
artist,
by
American Artists,
(pi.
no. 24^),
included the
it
Autoiraph Etchings by
work of Asher
Durand
B.
method of reproduction
as
illus-
its
than
an expressive medium.
The effect of photography on the handmade arts became irreversible with the spread of collodion technolog}'.
Besides using camera images as studies of models and draperies
on
and for
portraits that
work
The high
familiarit)'
with
all
sorts
of photo-
croppings visible in
pressionist paintings,
many
which seem to
establish a relation-
cite
Church, G.
P.
(pi.
no. 247),
portrait
daughter Edith
(pi. no.
But
in addi-
shadow
areas,
and the
Institute
S.
Newberr\',
Jr.,
Fund.
all
tographs in this
wav
it is
213
not only emulated the conventional subject matter of paintings but manipulated their photographs to produce "pic-
turesque" images.
Starting in the early 1850s, photographic prints were
shown
in exhibition
inclusion in expositions
sometimes
resulted.
section.
in the
fme
arts sections
of the expositions,
On
at
times included
many
"How
AsHER B. DuRAND.
246.
albumen
print ixo\\\
supervised by John
The
Pool,
No.
I,
i8s9.
late 1880s.
Cliche verve
W. Ehninger,
is it
Artists,
New York
number of court
photographers
their
who
"*
tinued to bedevil photographers up to the present.
how
critics
were
Coming from
tions,
them
class posi-
Sir
among
who
spoken
for
its
documentary
medium was
valuable only
sion, while
214
to
still
and Robinson,
criti-
248.
Unknown
Photographer.
Lon^jfellow
the
and Dauffhter in
in Rome,
Healy Studio
1868-69.
Albumen
print.
Smithsonian Institution,
Washington, D.C.
"for photographs,
whose merit
and minuteness of
Study
piled, tier
photographs.
(pi.
a pitcher,
neuve
no. 240)
Photojraphy
and
the
Nude
would be
useful to artists
typical
Nude
Academy
Krone's
of the conventional
(pi.
to serve the
the
is
Hermann
same clientele
work of French
as
numerous
domestic servants
Ville-
studies
on
designed
photography
it
was judged to be
215
249-
Hermann Krone.
Nude
Study,
c.
1850.
DaguerreoU'pe.
Deutsches Museum,
Munich.
250.
Unknown
Photographer.
Nude,
1870S.
Albumen
print.
Pri\'ate Collection.
216
251.
Woman
with Pitcher^
c. 1855.
21?
253.
218
254-
Eakins's
Museum and
Washington, D.C.
255.
TkoMAS Eakins.
Oil
on
canvas.
Amon
1883.
Museum,
219
art
was
invariably associated.
human
figure
Predictably, photographs of
besides graphic
artists.
Indeed, soon
the invention of
afi:er
the
albumen
prints,
increase
the
made
Photographic
some
Britain
States that
erotic
photographs of nudes
many
More
to the point
is
no clear distinctions
existed between studies of the nude made for artists,
those done for personal expression, and those intended as
titillating commercial images. In a milieu where people
the fact that to
were scandalized by
Victorians
realistic
paintings of unclothed
fig-
where
J. M. W. Turner's erotic
works, it would have been too much to expect that the
even more naturalistic camera depiction of nudity would
256.
Collection
Andre Jamnies,
Paris;
designed to serve.
This was true even
with high
artistic principles in
mind,
as
with Rejlander's
embody
situations
own
which
girls
tional precepts
tographers.
Beatrice
Hatch
(pi.
no. 334),
painted in by a colorist
who
naturalistically
of art into
The demand
truthfijl, beautifiil,
ing of still
gorical costume,
is
instructive.
2S4)
Nevertheless,
the
made by Eakins or
Swimminpj Hole
who made
Photographs
details
with
and
finally,
come
work.^^
220
over-
during processing.
Efforts to transcend the literalness of the lens without
As a consequence of their
Delaroche
art training,
who became
media
To
being too
importance of "effect"
all
as
Artistic Photography
in
art."
some
mak-
in alle-
no. 2ss)
(pi.
apparently concerned
and
lively accu-
to
lifes,
huffi,'
uplifting senti-
in their exhorta-
mth a
Basket
(pi.
no. 2S6),
Negre
(see Profile
below)
France
an
Italian peasant in
among
its
in art as
and Adamson
of Newhaven
(see
in their
photographs of
Chapters z and
on
8)
and Wil-
the Isle of
(pi.
no.
2!!7)
stituted rural
made
less
United
plicit.
real
hunters
or recon-
frequendy
States,
Still
humble
in France
where
was
ex-
pursuits used
more
Game
(pi.
by
no. 2s8)
Jersey.
While a variant of
Humbert de Molard,
Frangaise de Photographie
this
Societe
artists
and
257-
Humbert de
Molard. The
1851.
Hunters.,
Calotype. Societe
Frangaise de Photographic,
Paris.
221
258.
Alois Locherer.
Game, c. 1850.
Chess
Gemsheim
Calotype.
Collection, Humanities
Research Center,
University of Texas,
Austin.
known
artistic intent
traits
of
in ethnic
costume meant
still life
as
an acceptable
col-
artis-
traditional materials
fiaiit,
continued to
attract
as well as to
conven-
photographers on the
made
still life
it
222
(pi.
(pi.
Still Life
no.
of the
because thev
conventional objects.
at first
might seem
to
less
as
Washerwoman
embrace
some
cases
as artistic expressions.
documents
in
Adolphe Braun
Charles Aubry,
among
the\'
artist
tio.
262), Aubr}'
in order to "increase
arts."^'
no. 261)
wrote that
(pi.
still
lifes
by the same
al-
crisp detailing of
259.
Hermann Krone.
Still
Life of the
Washerwoman,
1853.
Albumen
print.
22?
Roger Fenton.
26o.
Still Life
i860.
of Fruit,
Albumen
c.
print.
Royal Photographic
Society, Bath, England.
261.
Adolphe Braun.
Flower Study,
Modem
c. 1855.
gelatin silver
224
262.
Charles Aubry.
Leaves, 1864.
Albumen
print.
J.
Paul Getty
Museum, Los
Angeles.
225
LEFT:
Adolphe Braun.
263.
c.
Still Life
1865.
Museum
of Art,
below
264.
print.
New York;
1947.
left:
Valentin Gottfried.
Hunt Picture,
Oil
with
Carbon
on
canvas.
Musee des
Beaux-Arts,
Strasbourg, France.
below right:
265.
Carey.
Still Life
Albumen
^-^JJW-t-'
5j|g
226
"flji
Paris.
print.
with Waterfowl,
c.
1873.
Bibliotheque Nationale,
format "after-the-hunt"
still lifes
Europe
no. 263),
for
two
painting
Gottfried,
(pi.
common
no. 264)
Convinced that
For
his
prise
(see
in
and generally
Diamond, Fenton
(pi.
no. 260),
International
Museum
of Photography
no. 26s),
Times, i860.
at
specialized
in
instruct,
producing
com-
by
Re
with unfortunate
j
lander, but
Robinson,
who saw
its
results to
high esteem
tireless efforts
wrote numerous
of
and
Albumen
and
uplift
be discussed shordy
complex
Hugh Welch
(pi.
as
266.
less
known
position, photographers
cluttered
and
of delicate tones
many
the
should
visual art
in
Composite Photography
apparent
centuries.
is
por-
group of large(pi.
painting to photography
traying arrangements
art
by Braun
theme from
orig-
articles
He
print.
227
267.
Henry Peach
Robinson.
Preliminary Sketch
with Photo Inserted,
c.
Albumen
i860.
and
collage
pastel
on
paper.
Gemsheim
Collection,
Humanities
Research Center,
Uni\'ersit\'
of Texas,
Austin.
268.
Henry Peach
Robinson. Fading
1858. Albumen
Away,
composite
print.
Royal Photographic
Societ\',
Bath,
England.
228
partially
When
nude
exhibited in Edinburgh in
figures
work was
the
1858,
a discus-
lascivious.
manner
in
which
assign
[critics]
grandiose compositions.
Rcj lander's
less
(pi. no.
with
266)
Though
sentimental at times,
ample
and
more
interesting
its
social
and
Hard Times
surreal overtones
is
one
ex-
painter-turncd-photographer
tist
but had
on
a higher purpose,
adopted
he
first
cannot be
artist
parts
were fitted
(pi.
in the
Away
(pi.
manner of a
no. 268), his
269.
c.
Study,
was praised
will
art,"^*
also
for "exquisite
1890.
the
artificial," as
strict
he described
it,
mix the
"real
with
a public that
esteemed engravings
after the
genre paintings
of
pictorial unity
and concluded
make imaginative
use of combination printing despite what some may consider the flawed judgment that led him in 1857
two years
after his first attempt
to work on a major opus entided
However, Rejlander was the
first
to
(pi.
no. 2^3)
At
(31
x 16 inches) formed
16 pro-
evil (also
idleness)
stylistically
of 1857, and,
Man-
incidentally,
artists.^'
little
termed
it
who
purchased a version,
crit-
works of "high
art,"
Archive.
unsuccessftil as allegory;
229
Narrative, Alle0orical,
The
Among
La Lumiere
humor"
no. 270)
(pi.
for
denounced
rustic
of a popular manual on
besides landscapes
of
and
(pi.
this
artistic
still lifes,
no. 269)
is
photography, produced
literary figure pieces
an example.
kind of photography
of
Though some
inadequate
as
liter-
on
narrative,
pheric effects,
its
its
(pi.
no. 271)
sitter,
.
In
Mrs. Leslie,
its
concentra-
work
272.
Reflection, 1860s.
London.
271.
Lawrence Fund.
230
n-
.'
iT
til-.
K^
If
274-
Carlo Naya.
Albumen
print.
Museum
c.
1870s.
231
275-
Alexander Hesler.
Three
Pets, c. 1851.
from
Crystalot\'pe
original
daguerreou^pe in
Photographic
Museum
Photography
at
of
George
Eastman House,
Rochester, N.Y.
of the English
mimics
effects
Pictorial
in
both Pre-Raphaelite
different
George Frederic
and
through
informed
literary
Cameron
(see Profile,
Watts,
allegorical
images by
Chapter
whose
2),
Julia
Margaret
purposeflilly out-
extensive
knowledge of the
his
Cameron's
canvases,
intuitive
writings,
empathy
and close
friendship.
tableaux with
more
same props,
draperies,
characterizes
Risinjj of the
New
(pi.
232
Tear
no. 82),
large
mementos
for tourists
no. 274).
(pi.
Americans.
less
engaging to most
number of photographers
among
them,
were convinced
that
even tiiough
tiiey
as art,
arts in general in
aft:er
eclipse
its
Civil
War. The
largely
in
as the
On
not
Gabriel Harrison.
276.
Crystalotype. International
F. B.
Morse's judgment of
would supply
feed
at
upon
[and]
new
standard in
art,"'- portrait
tographs soon
afi:er
lucrative
ferent
(pi.
in
an ardent sensuality
Cameron's
narrative works.
made
art.
Most were
Church
also
welcomed
con-
Thomas
the photograph as an
It
ally.
concept
a \isual
Spaghetti Eaters or
2,
The
dif-
pho-
fi-om
turned figures
"rich
Museum of Photography
medium
in their
reflective
New
tant.
Shoeshine
in Italian cities.
back
practices
home both
produced by the
who wished
in Venice,
visiting Italy.
Naya,
well-educated dilettante
who
phy
as a curiosity rather
at first
regarded photogra-
its
aes-
and
Contemporary
illusion
of depth
critics
in the
Bierstadt, the
reduced
scale
much
found
many
others,
information
and,
at
times,
artists
to
paint
over.
Also,
2? 3
277-
William Notman.
AJbumcn print.
Notman Photographic
Archives, McCord Museum,
the Party, 1866.
Rifles, 1870.
Notman Photographic
McCord Museum,
Archives,
234
in
first
interest in
to rescue the
(pi.
no. 27s)
the
1851
as a crystaliotype in
Journal,
is
artistic possibilities
of
(early critics
interest
them-
prominent
compositions
painters.
and
Future
(pi.
of Walt Whitman,
who
hoped to show
embody
human
might
experience that he
by contemporary painters
on metal were
in
New
photography.
eagerly collected
him
in his pursuit
of
'""^
at this
in the
M. Melender and
Brother. The Haunted
279. L.
Lane,
c.
1880.
One-half of
an albumen stereograph.
Library of Congress,
Washington, D.C.
235
trust
of mannerism
in the arts
phia Photoffrapher
may have
realit\'.
The Philadel-
were "detestable
attitudes,
vulgar
gentilit)'
repetitions
and emotion
expressions and
acces-
was scornful of
it
works
after the
Caribou Hunt-
278)
of 1870,
ical
processes.
truly a pastiche
(pi.
love,
as
no.
stiff postures,
or absence of atmosphere.
tive,
of
a taste that
in effect, forerun-
who made
humor
ing:
few
of stereographs
narra-
subjects, publishers
dian William
wind machine
properties and a
painters
and sentimental
tive
for retouching.
when many
1860S,
his pref-
because
format and genre themes were made for each other. By the
was
Europe
in
also,
most
notably by the
German
Made
exaggerated perspec-
in the
was without
it
was
said that
no
parlor
a stereoscope.
Large-scale manufacturers,
of
popular subject
(pi.
no. 279)
as in
published in 1880 by L.
exceptionallv
"spirit" image.
Lane
An
also in regular-format
Dealing
The Haunted
M. Melender and
made bv allowing
the model
,^llue33^^*^J^^5tffc^
the
^^^V
was
\ ..fi^
Damrilk,
1879. Etching.
MetropKilitan
Art,
New
Museum
236
of
York; Harri.son
192?.
pealed to the
b\'
for
seemed to provide
and
a release
from
industrialization.
latter
end of the
i88os, a further
281.
Gravure
print.
the Barley
Royal Photographic
Society',
The most
(see
to
Chapter
6)
the
And toward
Naturalism
submerged photographic
in the theory
develop-
of "naturalism" pro-
Life, 1888.
Bath, England.
237
282.
LiDELL Sawyer.
In the Tnnlight,
Gravure
1888.
print.
Gemsheim
Collection,
Humanities Research
Center, University of
Texas, Austin.
claimed
by the
Emerson
English
Naturalistic Photojjraphy,
Emerson held
images (and
ought to
all
visual art)
only by following
this
nature witli
reflect
.
camera
that
anci decoration,"'"
path would
photographs
handwork on
print or
negative.
and too
felt
was limited
connotation
in
all
photographed)
artists
so
feeling
of the
fiill
of sur-
is
same time,
is
emphasis
his
made
his ideas
compounded
it
was
descriptive, while
For eight
tographed
in
years,
beginning
in
1882,
who
lectuals
vility
carefiil
and quiet
images
artists
and
intel-
of modern
industrial
aesthetic
for
life.
inci-
of painters such
as
who had
earlier.
idealized
cally a
plate
French peasant
Reapers at Damnlle
is
both
(pi.
fw. 280),
visually
from
life
an etching
and ideologi(pi.
no. 281), a
lenged Robinson's
monious dispute
class
and
in the
aesthetics
tiie
chal-
an
acri-
influence
few
artists.
Emerson pho-
decades
sensitive to external
also
prises that,
238
toms and
Lepage,
E^merson
documenting
as his friend
role
word he
poor while
distinctive
Impressionism, a
beyond the
observer, he probed
work of other
edi-
approach began to
Pictoriitlist
medium
who
into schools.
in
at the
as well as in portraiture,
made with
stand camera,
in the
hand camera
work displays
selection
him
life
and
Emerson renounced
photography
in
in 1890,
the
sensitometrv
posure
immediacy of real
published
or
art
1890. This
photography
will
Europe and
"second coming" of
pic-
7.
Art Works
in Photographic Reproduction
a small
group of aesthetically
of
283.
torial
tonality to ex-
scientific relation
in the
movements
North America
minded photographers,
a transcendent lyricism.
(see
art
to find
a sensi-
The conscious
bled
continued
carefiilly
photog-
tive application
along with
at
Whitby,
landscapes,
Sutcliffe's
in
Pictorialist
com-
1886.
Albumen
masterworks of Western
art.
There
is little
of the
question that
259
284-
James Anderson.
1850S.
Collection Centre
Canadien
d' Architecture/
signifi-
verisimilitude
reproducing
iarity
when
was welcomed when used
denounced by
elitists as
because
it
too
real
not only
make
better selections
taste
for
this
and
casts
240
in the Desert in
on Spanish
The
Pencil of Nature,
a publica-
notably by Blanquart-
and
photographing works of
for
wide audience.
views
made
1850s, at the
same
for tourists.
Isaac
first
to
in daguerreot)'pes
make photographic reproductions of paintings and sculpture along with the better-known architectural monuments
and calotypes,
art available to a
With the
tion
famil-
of making graphic
Hofjar
ap-
enable people to
bilit\'
earliest
themes
p<:)ssi-
in Vincoli,
Anderson's achievement
285.
in
Adolphe Braun.
Holbein's
Dead
Christ, 1865.
Albumen
Tomb
of Julius 11
(pi.
no.
During the
number of photog-
printing,
and
solve the
problem of reproducing
Moran
began to photograph
States,
artifacts in
in royal
art objects
in the
ranging
As
antiquarian societies.
a result
critics
The
and
Disderi, Fenton,
from those
tissues.
1850s, a considerable
United
Paris.
his
of the favorable
at the
of
effect
on the
part of
States.
One EngHsh
avail-
Europe
more
and
i860,
1855,
1853
obtainable!
on contact with
and inscribed
For the
oil
photography and
to the photographic
tablets,
in taste
remarkable.
is
de Photographic,
and
sale
from painters
who
first
real
insist
on the
discipline
of art
history.
works
visible
art,
and awakened
photographs made
interest in artifacts
and
tribal societies.
Braun,
who was
prospered.
all
activity,
seum
not
at Basel,
far
from
circles,
the
and
company he
a bit
Rome,
mu-
Dornach; when
of lobbying
and
tactile
of multiflmctional
three-
how the
it is all
photography.
favorin the
established photographed
proper
(pi.
his studio at
As
frescoes, paintings,
and
show itself capable of artistic expression, photography wandered down some uneasy byways,
and its practitioners initiated some enduring arguments
In
its
early struggles to
about camera
art.
in part to
in order to
made
produce permanent
used
in the original
drawings
in the
carbon
among photographers
artistic images. From
medium was
it
at its best
seems
when
241
286.
Charles NfecRE.
Market Scene at
L'Hotel dc
the Port dt
Andre Jammes,
Paris;
National Gallery of
Canada, Ottawa.
first in
when emulating
and Le Secq
A canvas
1843,
under
In
their
presented by a potentially
rival visual
medium found
Of even
depiction.
Tenuous
at
areas
first,
handmade arts as
new ways to
artists
of experience worthy of
these
later
Negre
regularly exhibited
common
art.
variety
and
as classmates,
was accepted
and
emphasis on narrative
and contrasts of
interconnections
num-
actively,
made popular
picturesque tradition
in
city,
he subordinated
The
Negre
(pi. no.
sharpness were
2s6)
all
Profile: Charles
who became
interested in
photography
its
some
for
its
possible
become an
242
artist in
print.
Ne^re
He
enrolled
aspects of passing
life
such
as
activity,
fast
1852.
also
market scenes
mentation
lio
undertook an ambitious
in the
the photogra-
lenses to capture
(pi.
He
applied
no. 286),
one
a small oil in
architectural docu-
ruins,
and landscapes
much
Negre had
images of
Broads
area. Life
this
40
and Landscape on
five years,
the Norfolk
issued in
text,
in this region
that
to publish images in
Negre
that
led
to
book form
as sequential
is,
of the
world on photographic
real
motivated both by
Emerson was
plates,
what he consid-
outlook.
own
One year earlier, his gravure prints had
commended for "subdety of detail, tonal vigor and
Ravenna to Michelangelo's
mosaics
patent in 1856.
Sistine Chapel,
been
Due de Luynes
in
work
scientific
the
and
dis-
1886.
from
at
to
visits
frescoes in the
that one
of Italy" than
fields
"some mid-
to see
him to examine
and on the
physiological factors in
basis
human
vision,
lost interest in
Ludwig Ferdinand von Helmholtz, he argued that during a momentary glance human vision is sharp only at the
on
a gravoire project
medium informed by
and form.
image that
fore,
is
Profile: Peter
Peter
vidual
for
Henry Emerson,
who
a gifted
but
human
contentious indi-
all
his
1885
important contribu-
and
1893.
During
this
documented
aspects of rural
life
in
ftil
pictures. "+^
Born
in
Cuba of
arrived in
England
Ralph
in 1869
in
title,
embarked on
later,
on
gain-
documentation
He
that
there-
to replicate
is
came
soft
communicating
moment when
is,
ignored the
fix itself
as
it
travels
does so
ironic, also,
at
the very
instantaneous perception.
Henry Emerson
fielcH;
renounce
It
also
is
is
photography when
its
Active
Goodall, with
whom
F.
he collaborated on a book of
and the
and beauty
false
in
art,
his
in
theory of Naturalism
in actuality.
243
6.
NEW
TECHNOLOGY,
NEW VISION,
NEW USERS
iS/s-ms
.
photography,
eyes,
we
directly.
and
has effected
it
in the
tell us.
William M. Inns,
244
NEW TECHNOLOGY
making
or
Jr., 1953^
lems created
people involved
as
b\'
scientific
folded
became apparent
ers
it
artistic
began to produce
photographers were
equipment
flash
exposure meters,
all
on
what was
the negative
stable,
standardized products to
Standardization
the
of photo-
rational production
number of
reasons. Basic
Still
ist
who made
and
when
at the
pher.
persistent struggle to
intrinsic part
the
the
cation.
cesses (detailed in
in the kinds
itself to
most
significant pictorial
ciety.
And
public attitudes
as printing
means
in
in
more
rials
industrial so-
of photographic
pressure for
modem
into the
it
had transformed
actually seen
that
craft:
new
be more than a
nomena never
led to competi-
which
industries, especiall}' in
in 1871,
illustration
Chapter
(see
10),
the
increased.
glass plates
and
later
on
it
sensi-
became orthochromatic
corrected
for
was more
Camera design
all
it
colors of the
was oversensi-
a varietv
The expanded
medium would
at
soon
presently
after mid-centur\' as
pho-
from
among
work
were view
reflex cameras.
make
were begun
growing
interest in "flving
machines,"
eflforts
who from
sky,
the
ing a
first
to succeed, produc-
to the
dark curtain in
NEW TECHNOLOGY
245
287-
Nadar (Gaspard
Modem gelatin
silver print
from the
the
own
his
lightcr-than-air creation
Profile),
but his
(see
(pi.
no. 2S7)
Hippodrome.
Aside from the romance associated with the balloon
called the "ultimate engine
Boulevards, Paris,
from a Balloon,
the
i860
parmer
1868.
Goddard brothers.
Grand
Monuments
as
Nadars experiments
in the
(see
Common.
own
make
the
contri\'ance
to
America,
of which are
six
first
extant.
aerial
photographs
Although the
extraordi-
goose saw
when
by
War
(1870-71).
photography
cit\'
of Paris
later
enlarged for reading in a projection enlarger, foreshadowing the V-mail of the second
246
World War.
NEW TECHNOLOGY
in
nary feat of viewing the city "as the eagle and the wild
a
at
that
from the
air, at
b)' se\'-
288.
Albumen
print.
Boston Public
Librar>',
Boston.
NEW TECHNOLOGY
247
Because
batteries initiallv
electric
agents, including
(limelight)
in
costly,
first
lighting.
put to the
England
test in
soon afterward
in 1864;
latter
substance was
made
possible images
Kentucky
no. 290)
(pi.
Browne
it
group
portrait,
one of a
Mammoth
of the Philadelphia
and
its
was no
most
when
its
magnesium emitted
ignited,
of
John C.
common form
series
b\'
Germany
in 1925
intriguing
Nadar (Gaspard
289.
Albumen
power
illuminating
print. Bibliotheque
that exposures of
its
Nationale, Paris.
bv Whipple
Common,
in 1863,
photo-
still
required
medium soon
invention involved
afi:er its
made
image of
and
artificial light
Bunsen
s\vifi:ly
provided
also
batteries'^
and then,
(see below)
possible
it
in 1861,
and
reflectors,
Nadar
first
made
Using
portraits
took
as
long
Some of the
exposures
(//.
no. 289)
humid
corridors,
scenes.
Views of
tomb
cit)'
Commercial portraiture bv
but
248
ceils
it
was not
until the
in
using Bun-
Vienna
in 1864,
NEW TECHNOLOGY
electrification
of
cities
from
to capture
in
Works by
New
images
in the 1890s
tcstif\'ing to
pictorialist
Paul Martin in
York
of
b\'
electric lights
night scenery,
on
and
\'el\'et\'
night
The keen
the
human
interest
eve
increasing need
(see
snow
Chapter
on the
precise information
provements
glistening
\'irgin
sk\'.
/),
in
in the design
tograph\' gained
facts.
electric light
in-
sen
light.
ing, besides
planetar\' bodies;
by 1877
of the fcced
star
it
was
mapping
Austrian and
clear
opaque structures
Wilhelm Roentgen
in
making
(recipient
of a Nobel prize
in 1901) at
more than
in
began to provide
artists, scientists,
terms of popular
and the
lay
person
see,
such
as
flash
(mentioned
earlier)
of
hall
life
movements
the most
agile
all
it
from
usefijlness. Simultaneously,
visually
no way
detracts
experimentation
in stop-
one
pas-
its
until
its
invention, photogra-
was carried on
for
some 20
Marey
United
in the
alliance" with
Eadweard Muybridge
States,
by Etienne Jules
in France,
Germany.
in
of what he called an
result
years by
the animation
also
Mach
information,
"exceptionally
was the
felicitous
owner of the
Prague,
tually
and
streams using
the 1880S,
air
Incidentally,
scientific
among
running
at
Muybridge
by
upon
most renowned cameraman in
prompted Stanford
gallop
fijll
1872 the
to photograph
motion.
to
Occident
his trotter
the
clear,
call
first
the
ground
one point
(pi.
no. 292)
all
satis-
although
shown
not,
it
in
images
rac-
left
should be added,
in painted representations.
in the training
movement
athletes
(pi.
use-
no. 291).
moved
in
News of the
one-thousandth of a
at
sec-
appeared
in
and
in journals in
London,
American
the foUowing
Paris, Berlin,
and Vienna
Muybridge lectured
where
Charles Waldack. Beyond the "Bridge of Sighs"
from Mammoth Cave Kn)5, 1866. Albumen print.
New- York Historical Society; George T. Bagoe Colleaion,
290.
gift
his
in
celebrity,
ologist Marey.
NEW TECHNOLOGY
249
291.
Eadweard Muybridge.
Modem
his
from
boldly
Runnings
1879.
human
subjects
for the
among them
),
Stanford, Cal.
ball,
pirouetting, curtseying,
other
activities.
and laying
among
bricks,
Muv-
and The
Human
Fijjure in Motion.^
in the arts,
hand he photographed
in various positions
in front
and
vertical
Eakins,
(pi.
whose
Museum,
no. 293)
In
of a backdrop
horizontal lines
and
Woman Emptying
as in
on a Seated Companion
no. 294)
(pi.
frontal, rear,
Bv the time
a Bucket
the Pcnns\'l-
Muybridge
collodion,
camera
to use
and to
lens.
more
of
of each
and
at
a year-and-a-half
of
the
commission
the
horse's
oil paint-
no. 29s) , in
which
moving
movement. In
started to
his
own
plate, as
as
of motion, Eakins,
soon
as dr\' plates
who
became
work with
the successive phases of action on
(pi.
one
studies
make photographs
no.
297).,
preferred to
(pi.
no. 298)
tion of
in
which he
pri-
had
250
NEW TECHNOLOGY
initially
La Nature
in
in 1878
(and
later
JIIIENAl,
OF I'liAmi'ALJNKOllMATIllN.AIlT. M^II.M
i:,
lli;(
FAITI'llliS.
as a
random,
inter-
movements than
in
a revolver
duced
accurate
own
for his
gun)
if
more
was more
which Eakins
Marey pro-
if
Marey employed
no. 299)
(pi.
movements appeared on
the sequential
called
the
same
chronophotographs
a rotating
slit
shutter and
on
and
legs,
photographed against
a black
60
skeletal
background. This
a linear graph of
true of other
on concepts and
st\'les in
art as well as
understanding of movement.
by Anschiitz,
who had
292.
Miirir'S
V-
Unknown.
Series
293.
in
of horses
mounted
on the
in
motion
in front
of the
that he
Vienna before
on
plate, Anschiitz
of
a series
a shutter
embarked on
1887.
Collotype.
NEW TECHNOLOGY
251
294Plate
Eadwearx) Muybridge.
408 from Animal
Photograph Collection,
York Public
New
Librar)', Astor,
1879. Oil
on
Philadelphia
gift
252
NEW TECHNOLOGY
canvas.
Museum
of Art;
in the Breslau
among
family of storks
(pi.
no. 300)
By
had adapted
1886 Anschiitz
in
stop-motion
the
re-
movement by viewing
among them
the Phenakisto-
on the
later
Stanford as a means to
test
John
Sir
in 1873," struck
stills;
(pi.
by
first
by Marey
other. This
therefore
Muybridge
equidi-
its
fimction, as stated by
life."'^
designer,
movements
photographed from
its
These
first
analytically
"motion pictures"
two
was
in 1879,
and
and
intellectuals. Anschiitz's
movement employing an
Electro-Tachyscope, a device in
artists
on
(slides),
a disk,
illuminated by a spark,
was limited
in effect be-
realist
Eadweard Muybrjdge.
As
in the
c.
1870.
appear more
naturalistic, as
was
of prestigious
historical
NEW TECHNOLOGY
batde
253
297-
Thomas
Metropolitan
254
1-,arin,s.
NEW TECHNOLOGY
(.'.at,
c.
1891.
Platinum
print.
298.
Thomas
scenes,
some of which he
knowledge. Other
artists
altered to
Museum
of Art;
gift
of George Bregler.
French
situations
theme of their
fluidity
of
photographer, conveyed
lively
artist
Marcel
Duchamp
into
pression of immobility
that proclaims
its
to hallowed tradition.
vitality
(pi.
no. 301)
on
the early-zoth-century
European
painters
of their time
number
no. 302) ,
conventionally an
supremely energetic
Of all those
ex-
state-
in the painted
Staircase
ment
(pi.
most famous of
paintings
Vorticist,
a tie
embody the
Duchamp most
seeking to
image,
photography
in
all its
ramifications
Interest in the
on Mare/s
studies
artists
small
reached a climax
Futurist
NEW TECHNOLOGY
255
299-
Falling
Cat
Sequence,
c.
National
Museum
of American History,
right:
300.
Ottomar Anschutz.
Series of Storks in
Agfa-Gevaert
256
NEW TECHNOLOGY
NEW TECHNOLOGY
257
30I.
canvas. Cleveland
Hanna Fund.
;o2.
#2,
1912.
258
NEW TECHNOLOGY
Instantaneous Photographs
of Everyday Life
Whether
scene,
motion
those investigating
found that
were
they, too,
and,
As noted,
later, film.
this first
became pos-
sible
ograph
By
plate.
1859,
Edward Anthony
no. 189),
among
others
had
in
on the
New
stere-
York
Edinburgh, and
in
in Paris
(pi.
no. 190)
principal streets
and
traffic
in Jouvin's
at festive events.
"all
reveal
between public
while others
ditions
in
at
life
make
glance
in
New
the profound
York and
between
(see
city
ciissimilarities
Paris, for
countries and in
industrialized
Ufe
stereo-
on the
(pi.
example,
social
con-
those being
303.
Chapter 8).
Claude Monet.
That
of urban
life
is
engaged
apparent
on
Museum
F.
Spencer
capture as
if
traffic in
However,
plified in
303)
des Capncines
(pi.
no.
the
this fixed-focus
it
of figure and
advertising
lovers, bicyclists,
industry.
optical distortions
promoted through
campers,
women, sportsmen,
and
large
The
in
last
Part
II).
Of all
(see
this
first
marketed
in 1888
Short Technical
by
its
fiilfill
Kodak camera,
tourists.
travelers,
painting."'"^
by making
mimic the
easy
painters also
it
in
home and
leisure
at recreation, to
images provided
artifacts,
ing
with descriptive
taste
and clothof an
era.
NEW TECHNOLOGY
259
304.
Emile Zola.
Restaurant, Taken from the First Floor or Staircase of the Eiffel Tower, Paris, 1900.
Gelatin silver print. Collection Dr. Francois Emile Zxala, Gif-sur-Yvette, France.
made
less
attention than
visual ambitions.
Untutored
it
in cither art
in
most were
deserves,"'*
by individuals of modest
terms of
or science, they
its
subject rather
how
mosdy ignored
or quality, they
size
assumed
by
their
and
and
artistic
photographs conceived
feelings.
satisf\'ing
life.
:!05.
260
from
Virginia,
c.
Subjea, Roanoke,
Park; courtesy
Edward Leos.
NEW TECHNOLOGY
5o6.
Unknown. "What
Amateur
Photofjrapher,
Gemsheim
Collection,
Humanities Research
Center, University of
Texas, Austin.
its
Eiffel
organization of space
it
tern
owing the
explored
'20s.
figures, foreshad-
more
fijlly
no. 304).
(pi.
by photographers
would be
in the 1910s
made
and
possible
by Horace Engle
(pi.
no. 30s),
an American engineer
who used a Gray Stim Oancealed Vest camera before turning to the Kodak. Because the camera
a
was so easy
window or
to use,
door, as
of both
sexes,
own
life
of cities and
tried to
this
life.
vision that
The
embraced the
which they
place in
special qualities
century
in
one that
tion of propriet}'
raised
to
ture stories
camera has
blessed
the
as
man
with a box-
of
fiends"
the streets
Individuals
refrain
emerge from
their
and at
satire
(pi.
of an
no. 306)
which "hand-camera
from photographing
morning
dip, loving
itself was
in the streets
Amateur Photographer
were admonished to
their
limited in scope.
ques-
and groups
individuals
strident denunciations in
raphers,
ratus
that "the
(?) [sic]
Kodak in
ity it
more
"ladies as they
when
sense, too.
The
discussion today.
in the
in this
became an
still elicits
was
of an event
manner of
a personal
lived.
Viewed
others found
still
of modern
tion, artists
it
of
a better
ists
classes,
it
has been
when
Street
were
less likely
began to
attract
hand-camera enthusiasts
NEW TECHNOLOGY
261
as well) partly
because
He
taught himself
subjects.
guidelines to growing
it
offered an
life
in industrialized societies
They
also
villages as
yet untouched by
advanced, documentarians,
enthusiasts,
cit\''s
in the
cit>'
like
who were
ate
poor and
hand-camera
with large-format
Some,
backgrounds
industrial
As urbanization
Pictorialists,
who worked
asts.
nevertheless, adept at
making composites,
vignetting,
number of his
working-class neighborhoods.
occurred
raphy ever\'\vhere.
as
an engraver, he
When
first
came
in contact with
photography
unknown,
307. Paul Martin. Entrance to Victoria Park, c. 1893. Gelatin silver print.
Gemsheim Colleaion, Humanities Research Center, University of Texas,
NEW TECHNOLOGY
in competitions
and
many
Austin.
cities
and
in
^''-.^^**^'
262
and
3o8.
Giuseppe Primoli.
Procession,
Ariaia,
grew
images for
in popuiarit)'.
this
c. 1895.
this
Among
form of commu-
who
those
supplied
Vasson
in greater
in France, Christina
Broom
and
in
Emmons
in the
United
who took
cameras
Rome.
ulation
individuals
by
typified
elite
of
Italy
his circle
and France,
of his
own
open space
sur-
Mostly amiable
in tone, with
on
into streets
New
York
rural byways.
social
photographers
cities (see
who worked
Chapter
casually
8).
is
in
The
the
However,
lighthearted
no. 308).
away the
composed.
(pi.
distinctive physical
and
it
swept
social characteristics
of
Pictorialist,^'
but in
fact,
life"
cut
ior
Hand-camera
NEW TECHNOLOGY
263
309-
15, 1911.
and
uality
arrest
sonaJization of existence.
tigue
was exceptional
in 1901 at the
out
in that
Lar-
it
through-
work
family
them to
try
the time,
from
chines.
out
all
modernity impelled
electric razors to
The young
for
of
uncommon
stands
in the
Bois de Boulogne in
War,
a quality that
is
visible also in
first
Berlin
264
Still
Hand-
artist
of working-class
others, Stieglitz
who
life
in
among them,
made soon
Germany in
(pi.
no. 312)
city,
New
York from
1890.
urged to open
un-
illustrated press
specifically
to the slums
its
their eyes to
bridges and
where an animated
street life
might be scen.^^
who
his portrayal
graphic
World
around 1900.
that informs
Zille, a
photographers were
at the time.
310)
mood
by Heinrich
evokes
many images by
exhilaration, a
no. 311)
used photography in
made
(pi.
a professional
(pi.
no.
photojoumalist
NEW TECHNOLOGY
cities,
life
and novel-
in the
310.
Teller, 1910.
W"
Photographic
311.
c.
Fortune
Heinrich
Bath, England.
Zille. Handstands,
Munich.
-.
Xrf
d
NEW TECHNOLOGY
26^
312.
No.
36.
Museum
of Modem Art,
New
313.
Robert
New
L.
Bracklow.
Statue of Virtue,
New- York
Historical
266
NEW TECHNOLOGY
dom from
magazine the
after
article
whose
Stieglitz, in
appeared, confessed
1897 that
in
Pictorialist
come
photographers) had
to regard
an
as
it
life.
when everything
way of seeing
in balance"^'
is
became known
as die
"decisive
human
moment
spirit
by
Nor was
this
development limited to
from Germany
it,^+
in 1895, the
"vagabond
his
photograph with
to
streak," as
of San
Over the next ten years, he returned continuto the "Canton of the West" in search of tantalizing
Francisco.
ally
dichotomy
no. 314), a
(pi.
As owner of
New York he
clarity,
but
after relocating
figures.
Ethnic enclaves were not the only source nor was the
314.
of subjects
now
document
tographers began to
them using
life
around
beyond
surface appearances.
That the
aspects of the
city
and
York
at the turn
of the century
(pi.
street activity in
no. 313).
With
New
a flair for
effect
on the
role of
women
For instance, E.
Bellocq,
J.
in
New
in a Storyville brothel.
more
likely,
made
Whether commissioned
for his
own
(pi.
and a voyeuristic
or, as
is
curiosity- satisfied
real
late
a little-known
in photography.^'^
numbers of "genteel"
women
from household
American
Girl in Chinatonm,
could be approached as
c.
routines.
relief
medium was
arts,
photo-
male-dominated acade-
melancholy
compassion
by the camera
lens.^'^
signal
in
medium
usually yielded
more
in the
impressive results.
NEW TECHNOLOGY
267
268
E.
J.
NEW TECHNOLOGY
Portraits,
c.
1913. Silver
original plate.
on
printing-out paper,
Lee Friedlander,
New
Cit\',
N.Y.
3i6.
Chanson ETTA
Stanley Emmons.
Children at Well, 1900.
Gelatin silver print.
Culver Pictures,
New
York.
317.
Alice Austen.
Egg
Hester Street,
Staten
Island Historical
Society, Staten Island,
NEW TECHNOLOGY
269
In addition to those
in
photo-
family
Chapters 8
life
activities.
(see
Chansonetta Stanley
Emmons
by
of Marlborough,
street
life,
New
typified
Hampshire
social
barriers,
life.
views of the
cit\'
might be a
salable
interest individuals
and commercial
as well as
own
commodity began
studios.
to
Using view
in
working on
means of augmenting
(pi.
Tw. 316),
were made
their
artists
number of such
cent
moments of childhood
ness.
family,
was
less
own
some
social milieu,
25
but
New
libraries,
and
for
1910, Joseph
in
Byron (descen-
with
his wife
and
five children,
including the
speculation.
expressive lighting
(pi.
no. 317)
case, as
was
318.
NEW TECHNOLOGY
Monuments
270
in the
Boats,
c.
1905-10.
paper.
Art,
Museum
New
of Modem
York; Ablxjtt-
Levy Collection;
gift
labors
on
(pi.
the
With
actix'ities
of the bourgeoisie
if
sculptors. Aside
from
their value
partial
of Shirley C. Burden.
and use
as descripti\'e rec-
and
theatrical events,
people
The most
extensi\'e
and
at
work
are inter-
and
in
some judgments
the
most
visually expressi\e
of Paris
at pla\'
Using
a simple 18 x 24 centimeter
Rich
sess
mounted on a tripod, this former actor began to document the cit\' and its en\ irons for a varied clientele that
included architects, decorators, painters, publishers, and
all
bodv of work
of old
Paris
and
Other
cam-
era
this great
large-scale
in
modern
growing move-
NEW TECHNOLOGY
in
life.
271
320.
c.
1890.
play,
of city thorough-
were made
in
And in view of the political agitation for independence among groups inhabiting the vast reaches of Russia,
Dublin.
it is
images, mentioned
era,
places
and customs
identit}'.
determined to
and
earlier,
collect evidence
of a
of national
Europe were
distinctive literature
this surge
t}'pical
of nationalism with
environments, and
the
medium
272
NEW TECHNOLOGY
documentan' and
individual
might
artistic
were not
fiilfill all
as codified; the
same
same
photographers
tury.
local
in the
The demand
United States
for portraits
in the early
20th cen-
in
an increase
own
b)'
in the
number of
black entrepreneurs
made by unheralded
enterprises
in addition,
in rural
as
Washington
in
?2i.
Addison N.
ScuRLOCK.
1915.
Waterfront,
Scurlock Studio,
Washington, D.C.
322.
James Van
Der
James Van
Der Zee Estate, New
York; 1969 James
silver print.
NEW TECHNOLOGY
273
I2r
IT) A.
MEMORY OB'
BRAYMAN^
IT \ > J^TtS OI
who was
60
CoDyrigted
323.
c.
Unknown Photographer
(American). Untitled,
324.
Book Mart,
to
document
official
activities at
photographer; Watctfront,
mood and
texture
sug-
when not
Van Der
by O. G. W,
Unocal 14 Rocbciter
N. Y.
of Ida Brayman,
I9J3
1913.
New
Gotham
York.
documentation
Anyone who
antique shops,
5'/2
in 1915,
opening an establishment
living in studio
in
where
social milieu
of commercial photographers
to
make
affecting
e\'er)'-
documents of their
274
NEW TECHNOLOGY
in-
lated since
The
appeared
conjunction of
and
19th centurv'.
inches
is
in
Europe
it
new rural
in the late
approximately
in 1869
was not
accumu-
and shortlv
until
aft:er
postal regulations,
'A x
after in
the happy
hand cameras,
shordv
after the
of irreverent
good humor
in their depictions
pets
(pi.
mer
realities (pi.
no.
,?2?),
of work,
play, children,
and
although they also could deal with grimIn the absence of telephones,
no. 324).
and
television, the
way
photographic
be N'iewed
in a diascope (single)
as the 1920s
commercial
or stereograph viewer; as
portraitists
work out
still
late
to be hand-painted
when
as well.
and studios
especially, individuals
Photographs in Color
involvecl in
Of all
as
how
make images
to
Autochrome
plate,
Lumiere brothers
II).
marketed
(pi.
Though
in
in
the
1907 by
its
positive
if
glass
inventors the
augmenting
Lumieres
ities at
342
(pi. nos.
home,
at play,
fessionals, Jules
of World War
method of turning
pho-
and
(see
Chapter 7).
Tournassoud
in
documenting family
in their professions.
(pi.
no. 344)
activ-
Among pro-
(later director
in
views of military
II;
chrome appealed
efficient
reality,
and 343)
the
time
at the
Gervais-Courtellemont photographed
Army)
Because a simple,
It
recognized
This
much dead-end
Part
in color.
who
to aesthetic photographers
producing
34s)
by Jean
of interest
in this
theme. Auto-
and
elegant
if
Bibi in Nice
no. 3si),
(pi.
and
Not
surprisingly,
flowers were
amateurs
delighted
who
liked to
Henry
photograph
by Autochrome, but
it
also
Irving,
sys-
While employed
less
no. 348).
(pi.
who by
interested in artistic
camera expres-
(pi.
no. 347)
is
one
tiie
its
different color
projected or
(see
made
Part
were
II).
also in progress
Around 1904,
this
life
Gorskii, a well-educated
Technological
project
Societ}'.
made with
it
Unknown Photographer
de
la
(French). Lumiere
La Fondation Nationale
changed
filters
NEW TECHNOLOGY
275
?26.
Berenice Abbott.
of Eugene Atget,
silver print.
New
Portrait
1927. Gelatin
c.
Witkin
Galler)', Inc.,
York.
right:
?27.
EuGfeNE Atget.
Paris, 1920s.
Prostitute,
Gold-toned printing-
one
had to be more or
technical
and
less
throughout Rus-
logistical difficulties
what
surely
must
its
early stages,
it
was hoped
that color
many-hued
rather dian
since
actualit\'
images more
276
real,
its
expressive po-
capacity' to
would
and
ha\'e
publicitx'
in efforts that
By
obviously was
ticed
bv
social
as
NEW TECHNOLOGY
its
The
terms of
would
tential.
in
the missing
monochromatic
had to be considered
that
1890,
whom
artistic,
graphs became
at
craft prac-
informational, and
as a result
of changes
in
NEW TECHNOLOGY
277
medium's
ment on such
broad
scale, a small
and entertain-
group of photographers
artistic potential,
distinct paths"
art
to lend
earlier that
and science
completing
up
images to
(fl.
no. 326),
the photographer
first
whose
quarter
in
J28.
he was employed
EuGfeNE Atget. La
Museum of Modem
278
NEW^
Art,
as cabin
Mame a la
New
1857.
Orphaned
might
yield
Varenne., 1925-27.
at
an
after
historiqties,
He
sale
of camera
Montparnasse.
set
up to preserve
also supplied
architects, decorators,
TECHNOLOGY
was a pro-
commissions
Monuments
limited
it
of
took
he turned to the
born
and
Eugene Atget
early age,
fession that
1880s, Atget
in Paris in
of a stage career
Eugene Atget
During the
permanendy
art training
Profile:
his schooling.
a record
documents to
and publishers
of the history
a clientele
as well
of
as artists.
book on
ject, for a
One
pro-
Andre Dignimont
in
1921,
said to have
is
this
annoyed the
work
(pi.
no. 327)
Paris.
Often
self- motivated
rather than
directly
tradition
in the
Monuments
1850s
historiques project
made
in social
manner of
In the
a film director,
though he
of
vast
storefronts
in
perhaps
doorways, arcades,
no. 319),
(pi.
in
vistas,
street
hi
common
documentation and
art antithetical
He showed no
that already
the
photography movement
medium, seeking
instead to
as defined
make
by the
the expressive
silver salts
in
power
evoke
res-
A voracious
clients,
images
around
(pi.
series
hope of
of
tree
on
and park
Paris suggest a
of the
real.
friends
who
and avant-garde
artists,
all
qualities
city.
visible in the
In the same
Ray,
made
by the death of
especially difficult
longtime
pro-
about
companion
evoke
just
Atget seems to
marked
life
of
many of his
year,
daily activities
death
in
by
as well as
Man
August
who
at
1927,
raise ftinds to
work
when
New
York, which
still
Museum
has since
uncataloged col-
of Modern Art
displayed
in
and published
NEW TECHNOLOGY
279
The Origins
of Color
Camera
in
made
part
inception of the
medium up through
color process.
whose
It
or painting to
works
in
first
viable additive
early discovery
brilliant
selection
of
carbon and
gum
prints that
lifelike
bichromate
or
artistic.
that
permitted photographers working from about the i86os through the turn of
the century to introduce colored pigments into their positive prints. These
are succeeded
by examples of the
by using colored
emulsions.
is
the
The
filters
first
early efforts to
an image of
a tartan ribbon
a theoretical physicist
who
used the
filters
Lumiere
in
Autochrome by
early years
nature,
280
enthusiasts in
Joly,
are
shown,
as are
and made
and
its
examples of work
States
ft-iends,
who
in the
documented
mellow hues.
329.
Anna
Gemsheim
281
LEFT:
i!3o.
1850S.
Blacksmiths,
color. Collection
Leonard
below:
331. W. E. KiLBURN. The Great Chartist Meeting on Kenninpfton
Common, April 10, 1848. Daguerreotype with applied color.
Queen
Elizabeth IL
RIGHT:
332. T. Z.
VoGEL AND
Albumen
C.
Reichardt.
Seated Girl,
c.
i860.
_
,^^^^^^^^^^^^^^^^^^^^^^^^^^^^^HI^^^^^^^
IKiJHIIMHBL.
L
-"
'
'
'
'
jr
'Afmj'^^
i
'*-*^^
-^
^r
Ml
*
282
HL
IH
'
"
28?
ABOVE:
333.
Albumen
now
without
title,
Woman
from
Yokohama, Japan,
Photographs Division,
New York
Usitig Cosmetics,
c. 18
published album
and
F.
Thomas,
192+.
left:
RIGHT:
335. Adolphe Braun. Still Life with Deer and Wildfowl, c
Carbon print. Metropolitan Museum of Art, New York;
David Hunter McAlpin Fund, 1947.
284
1865.
"tr
iii64*-*9r<.*-?.>
'
.<~t>^''-a'*->--^^"J
285
3?6.
286
Edward Steichen.
The
Flatiron, 1905.
New
York.
ii7-
Ribbon,
Museum,
London.
338.
carbon assembly
de Photographie,
Paris.
287
ii9.
Heliochrome (assembly)
Museum of
Photography at George Eastman
House, Rochester, N.Y.
1877.
print. International
Rooster
Heliochrome (assembly)
International
Museum
print.
of
288
HI-
John
Joly.
289
342.
c.
Nationale de
290
la
dc
345-
.SVt'Hf, c.
1914.
Li
1,1
\'illc
dc
Rolicit I.mk'ii
r.u-is.
i<;i
346.
SxfiPHANE PaSSET.
Mongolian Horsewoman,
c. 1915.
Autochrome.
Albert
Kahn
Collection,
Hauts-de-Seine, France.
347.
William Rau.
Produce,
c.
1910.
Autochrome. Library
Company of
Philadelphia,
Pennsylvania.
right:
34*.
Henry
Irving.
Wheat, Corncockle,
c.
1907.
British
Autochrome.
Museum
(Natural
History), Lxindon.
292
293
349-
Gallery,
350.
New
Children on
York.
Tutzin^,
294
York.
3.<;2.
1912.
Laura Gilpin.
Autochrome.
Still Life,
1981
Amon
Carter
Museum,
Fort
Worth, Texas.
295
7.
ART PHOTOGRAPHY:
ANOTHER ASPECT
1800-1020
much a matter of methods and processes as it is an affair of
In the hands of the
temperament, of taste and of sentiment,
Art
is
not so
artist,
is
what
it
an art or a
In a word, photography
trade.
296
ART PHOTOGRAPHY
1900'
of Naturalism
the concept
articulated
initially
first
World War
as a celebration
of the
who
artistic
were
its
They regarded
fact.
medium
as limitations
and therefore
aimed
at fostering
medium on
the part of
specifically
by
by Peter Henry
As
in
a consequence
of greater
in
all
the
with the
familiarity
arts.
arts
of
confront
new
new
emerged, an
"essentially
art
art
a special
during
as
maintained that
artistic
other visual
artists, Pictorialists
as
much of photography's
early existence,
arts.
who
was
chal-
proclaimed
new
or with the
scientific analysis
engaged
by the
dull
establishment.
artistic
art, as
uninspired as the
but a
number have
More
a reaction,
as style Pictorialism
artists
some
1912.
interest in artistic
Chapter
6,
and
art
Pictorialism: Ideas
and
which the
During the
photograph simply
as a
but
it
encouraged
upon
medium
in
made
also
possible by photo-
on
craft
and
in general.
artistry in journals
and
societies
devoted to
this
Pictorialists articulated a
feeling.
public, thc
possible
little artistic
phenomena
made
of masterworks of visual
as a
Practice
millions
medium
medium
in
sive potential.
and beauty
feeling.
medium was being put as industrialization and urbanizaThe dramatic expansion in the number of
fact that
tion proceeded.
as a visual record,
for
camera images in
It
demand
might
sought to redress
Aesthetic photographers
mechanical nature" of
itself so far
beyond the
this perceived
imbalance by
and by
arts,
artistic,
and they
selecting
by emphasizing
insisting
on
the artistic
ART PHOTOGRAPHY
297
35?-
should be regarded
the Return,
artistry
and
ability to
is,
same sense
as "pictures" in the
c. 1895.
as
they should be
hoped
tion,"' Pictorialists
lent attitude
eral that the
thing
among
graphic
artists
prevain gen-
work done bv
hand and eye."*^ They hoped
human, emotional
of visual
... in
art for
whom aesthetic
Individualit)'
manence
cils,
Robert Demachy
when photographers
method of
In 1904 a
Process.
same
ments
if
but in 1907,
called
"ennobling pro-
of creative
provoked
materials
(see
as
photographers
details that
seemed too
descriptive.
Many
of these
in
after 1897
ideas
remove
at the
preferred rare
by many
artistic
artifacts.
who
print, considered
effects
or singular
quality
tory,
still
personal,
to countervail the
as
identical duplicate
of
itself,
terials, in
298
ART PHOTOGRAPHY
print,
a lively controversy
selves as well as
at
led
ing that
tent
some
hands,"*^
During the
held that the
of the
final
had
less
sympathetic
in artistic
critics
pho-
to decry
Pictorialist advcKatcs
fined forms
nalities visible in
tions
in
Steichen, a
many
medium. Again
like
Emerson,
preferred to
gravure process
to a copper plate
fme paper on
a flatbed press to
of nearly identical
aesthetic
array of
stylistic
tendencies,
artistic
ideologies and
of peasant
idealization
life,
first
among which
the
both
and
interest to painters
women
at play in
no. 3S3)
'
on the beach
Alired
at
of intimate family
and
at the
women
With
random arrangement,
tonalities.
curvilinear forms,
portraitist
two intertwined
delicate
Gertrude Kasebier
Few
and
seem-
its
friction.
aesthetic
figure.
Around
century, Pictorialists
(pi.
no. 3S7) ,
States, or the
numerous
studies
(pi.
his
anatomy
no. 2S4)
were
of Japanese
prints.
theme
transforming what
woodblock
life,
Stieglitz selects a
in leisurely
pic-
come
in
embodiments of the
waiting
stressed stylishness
on both sides of the Adantic approached the unclothed body with great diflfidence, picking their way timidly through the "canons of good taste."
Camera studies of the nude by artists, among them those
made by Czechoslovak painter Alphonse Marie Mucha for
(pi.
women
photographers,
artfiil.
turesque and
common
between
expressed with
as a
explored by Barbizon
is
organization,
its
figure,
idealized visions
related in
to both
and Themes
by Edward
no. iS4)
domestic activity or
Pictorialism: Styles
(pi.
related theme,
prints.
mood
The female
work obviously
treatment, and
Pond, No. 2
Woods Interior
that attracted
common
who viewed
females
whose
bodies,
it
no. 3s8)
cal
in
handwork
ing and
details, aesthetic
"synonymous terms.""
in a
commerce
in erotic
moment
pond
strained
to
by the
realistic
medium and by
unclothed human body to
nature of the
ART PHOTOGRAPHY
299
354-
Edward Steichen.
Woods
Interior, 1898.
Platinum
print.
Metropolitan
New
An,
Museum
of
York; Alfred
Henry Ward
Ranger.
Bradbury's Mill
Pond, No.
2, 1903.
Oil on
Museum
Canvas. National
of American Art,
Smithsonian Institution,
Washington, D.C.;
gift
of
William T. Evans.
Gertrude Kasebier.
1903.
Congress, Washington,
DC.
allegorical
Chapter
s)
artists, see
Olympia
as in
itself in
Edouard Manet's
nude
figure
became
Some photographers
still
cast their
nude
felt
figures
the need
While
States
lities
most
tensive manipulation
no. 3S9)
able
300
ART PHOTOGRAPHY
print, t\'pified
ex-
bv the works of
(pi.
(pi.
group
portrait
Pictorialist Alice
Bough-
possible.
aesthetic artifact.
of the
and more
as a strictly
of the photograph
in
role
working
ton
new
aesthetic photographers
to emphasize the
Pictorialists
{pi.
The
direct treatment
arrangement
also
was
nude
ART PHOTOGRAPHY
:?OI
358.
Platinum
302
ART PHOTOGRAPHY
Mucha, Prague.
c.
1909.
359-
Rn6
Gum
Metropolitan
Museum
of Art,
New
bichromate
360.
print.
Frank Eugene.
Study, 1899 or
1933.
Museum
of Art,
New
York; Alfred
setts
sexes.
However,
largely
articles
on nudity
photography (written
in
in
F.
of the period
who
Wilhelm
nude
draperies,
and
pottery' that
abound
who
were
preferred the
Von
Gloeden, a
in fact
others,"" his
athletic
needed
a quasi-
artistically palatable
youthfiil or otherwise
allegorical guise.
dis-
partiality'
camera
play a
proposed
young
in
aesthetic aims,
Sicilians
and
On
Taormina,
Sicily,
and
while
literature,
was
that a
contemporary
critic
pre-
ART PHOTOGRAPHY
?03
Possibly even
lacked any
originality, subdety,
by appropriating
art
Dutch genre
painters.
from
no. 364),
Italy
(pi.
pho-
respectively,
which
in settings in
i"
As one
at a
tion
critic
Pictorialists
plates
when
in 1907. In general,
favored
gum
and
color regarded
effects.
An
'9
oil
European
Autochrome
Museum
of Art,
1902. Platinum
joined with
Kuehn was
Some
Pictorialist
'*
Cameron, with
ful to
of which
results that
The
Secessionists,
the
who
Pictorialist.
The
fact that
prompted the
critic
Charles H. (Baffin to
304
the
American
(later)
ART PHOTOGRAPHY
taste
intolerably
for their
Photo-
leading
Pictorialists,
(pi.
no. 352),
Pictorialist Societies:
Goals
(pi.
call
silly."'"'
and Achievements
By the
among
more
Day's
Among
their
somber harmonies of
but other
below),
organization and
ridiculous.
(see
Autochrome
brief popularit)'
relatively
fact that
349),
Autochrome
members and
static in
fin-de-siecle painting in
a sense
in
Margaret
Julia
Pictorialist Pierre
Works
more mellow
States.
Steichen,
to achieve
in views of family
French
and greens
somewhat more
ficult to exhibit
no. 350),
activities, are
some
sort merely indecent."
(pi.
are free
Americans AJvin
the
several
in
Kuehn
who
as
who
working
for
of spontaneous intimacy
361.
Pictorialists
artistic
Profile),
the dyes
reached the
the material.
print.
some
pigment printing
in
pigment processes
(Z0i^a*^A^::r
market
and
a representa-
Autochrome
(see
it
it is
processes,
.ft
set
up
in
an era
when
photographic
societies,
photography were
objectives in
largely
no longer served the needs of all photogUnconcerned with, and indeed often contemp-
undifferentiated,
raphers.
tuous
of, the
commercial and
societies
scientific aspects
of pho-
accommodated,
partisans
362.
WiLHELM VON
Gloeden.
Taormina,
Study,
Sicily, 1913.
Museum
of
Photography at George
Eastman House,
Rochester, N.Y.
in 1892, the
the
art.
The
Secession
in
Photo-Club de
New York in
amateur photographic
made
movement.
Exhibiting aesthetic photographs in an appropriate con-
Paris in 1894,
was
1902. In the
same
Germany,
Italy,
sponsoring their
societies in
available
in 1891,
text
movement
smaller cities of
New
own
Little Galleries
York (known
as "291"),
most famous of
in
photographers attempted to
interest galleries,
Pictorialists
arts
academies
ART PHOTOGRAPHY
in
.^05
363. F.
Holland Day.
Platinum
306
print. Libran'
Roman
Soldiers),
ART PHOTOGRAPHY
c.
1898.
?64.
1914-
Platinum
print.
ART PHOTOGRAPHY
307
?65.
Alfred Horsley
HiNTON.
Recessional, c. 1895.
Photographic
Societ\',
Bath,
England.
art.
on
They urged
also that
photog-
at several
of the large
fine
and decoratixe
art exhibitions,
An
Turin in 1904.
photography held
number of
prestigious institutions in
Germany and
the
Academy
Hamburg
them
the Royal
halle,
in the
United
308
in Berlin, the
States. Artistic
Kiinst-
galleries
ART PHOTOGRAPHY
and Hamburg
Hague
in the
and
London
in Brussels,
following years.
cals
litcran,',
of the
a discussion
artistic
and
States
merits of
whose
a literature
purpose was to
sole
in the
New
Ital\',
York
by members of the
in 1903
its
Photographische
Kunst
were
as lucidly (if
with
maintained throughout
it
La Rnme
in
not
which
Photographique and
embraced. Magazines
as tastcfijUv)
the
critic
who
on
artistic
and European
articles
who was
artistic
Ameri-
in a variety
Around
Robert dc
la
Photographic
Sizeranne
est-elle
works
To
and Photography
as
um
cite
critic
all artists
same
ex-
images
new
the
first
(also called
or in Davison's
no. 36s)
(pi.
no. 366),
substances
fields,
what
exceptionally
influential
it
work was
stuff, this
all
appear to
photographer of some-
A similar use of
atmospheric haze and broad shapes and tonalities in dealing with city themes can be seen in John Dudley Johnston's
dling of the
gum
(pi.
view with
process.
M.
Sutcliffe represent
straight printing
printer,^'
materials.
produced
artis-
through
feelings
water
\nA
Black Canal
no.
(pi.
relationship of foregroimd to
most esteemed
of fog-enshrouded
background
(pi.
no.
(pi.
tonalities. In
no. 371)
architectural photographer,
summons up
tutionalize the
of American
1900, fiill-length
some 500
La
but two.
is
of photogra-
on photographic
by Emerson or Henr)' Peach Robinson formulated the
theoretical
Salon. British
Liverpool^An Impression
London
as the
eulogized "as
photography
journals.
on
Sadakichi Hartmann,
of
can art
level
Photography, known
rial
members seem
major organization to
insti-
was formed by
aesthetic attitudes
The Photo-Club
after 1893
on
contemporan'
art
group
the
ulterior
.
.""
work of
art
capable."^'
ends with
itself;
invitation
Though Emerson
there should be
no
They
J.
Up
Members
in-
Constant Puyo,
until 1914,
Demachy used
all
when he
his considerable
photography and
English Art
New
it
means and
same year
their organization
Club
in 1897
leisure to
promote
artistic
own
its
artistic
work, he favored
no. 372)
(pi.
gum
were con-
when com-
former commandant
in the
in vitality.
French army,
at
Puyo, a
times favored
ART PHOTOGRAPHY
(pi.
309
?66.
George Davison.
The Onion
Field, 1890.
Kodak
Museum, Harrow, England.
Gra\Tare print.
left:
?67.
Alexander
right:
?68.
John Dudley
Johnston.
Liverpool
Impression, 1906.
An
Gum
310
ART PHOTOGRAPHY
ART PHOTOGRAPHY
311
ABOVE:
369. James Craig Annan. A Black
Canal (Probably Venice), 189+- Gra\'ure
print.
Museum
Metropolitan
New York;
of Art,
1949.
LEFT:
370.
Tilden Foundations.
right:
371.
Frederick H. Evans.
Manor: In
print.
J.
Paul Gett)'
Lx)s Angeles.
312
ART PHOTOGRAPHY
Kelmscott
Platinum
Museum,
i
w^
Mpi
^m
^HPI^H
^^H^^
'f^^H^^^^I
^^k
Vfe
^KB^!\^i^''
^
1
^H
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IP
PN-'..
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>
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W^
IP
K"^^^^
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1^
ART PHOTOGRAPHY
313
372.
Robert Demachy. A
bichromate
New
373.
Museum
E.
J.
::
ART PHOTOGRAPHY
of Art,
1903.
Museum
isggaammmmssam^aasi^Bmmu^
314
Gum
Ballerina, 1900.
Metropolitan
pigment
New
print.
Green
of Art,
1933.
and
no. 373)
at
is,
without feeling.
Misonne,
and Dubreuil,
Lille
who
no. 374)
(pi.
in the
The
in
manner of
adopted modernist
later
of Pictorialist works
Vienna
in
no. 37s)
(pi.
these three
phers in
emerged
as the
(pi.
ideas.
It
was seen
Hugo Henneberg
most prominent
photogra-
art
central
in 1891
as
the
Berlin,
the
by the new
one of the
first
sensibility,
motifs to be affected
1898. Silver
in the
Hamburg
International
discrimination in lighting,
expressive contour,
artis-
than was possible with the unmodulated studio illumination that played evenly over conventionally
new approach by
known
portrait
ter
by
Hugo
Erfiirth in
(pi.
Professor Dorsch
(pi.
suasive portraits
made by
Other
the well-
his
daugh-
Hamburg and
Erfurth's
in
portrait
of
no. 378)
portraitists
ed an interest
no. 377) in
sitters.
1920s.
posed
this
reflect-
in artistic lighting
Madame D'Ora
fi-om 1907
gum,
all
process
who maintained
through
better known
a studio in
Vienna
and
known
as Pinatype, a
forerunner of dye-transfer
(see
Large works in
the
Hamburg
gum
in
were exhibited
and collected by
and
Stieglitz,
The Reaper
quality;
pigment by Perscheid,
no. 380), a
(pi.
is
typical
medal
(pi.
at the
1903
still life,
and
figural
compositions,
many of
gum
print in blue
was awarded
a silver
combined
and Gustav
E.
B.
Trinks, an employee of an
gum
prints at
Otto Scharf,
all
bromide and
silver
in his
colored
gum
scenes typified
gum
materials to evoke
by Rhine
Street,
Artistic
the
silver,
platinum, and
mood and
Krefeld
(pi.
feeling in
no. 382), a
green
print of 1901.
similar in style
official,
Georg Einbeck,
no. 381);
Germany.
in
A Short Technical
Landscapes,
in
Pictorialist activity in
in
from
The work of
ART PHOTOGRAPHY
315
srmsssuMi
375.
Hugo Henneberg.
1902.
Pigment
gum
print.
Italian Landscape
Metropolitan
and
VUla,
Museum
of Art,
376.
Hans Watzek.
Gummidrucke,
c.
Still Life,
1901.
Gravure
England.
LandesbildstcUe,
377.
378.
Hamburg; Museum
316
ART PHOTOGRAPHY
1903.
fiir
above:
379.
1904.
Gum
bichromate
print.
LEFT:
380.
Nicola Perscheid.
Museum
Gum bichromate
Kunst iind
Gewerbe, Hamburg.
print.
fiir
ART PHOTOGRAPHY
317
38i.
Heinrich Beck.
Gum
bichromate
Museum
fiir
print.
Kunst und
Gewerbe, Hamburg.
382.
Otto Scharf.
Rhine
1898.
print.
Street, Krefeld,
Gum
bichromate
Museum
fur
Hamburg.
318
ART PHOTOGRAPHY
383.
384.
carbon
Finnish photographers
artistic
camera
centers of
in the Naturalist
he published in 1896
owner of a
retail
life
as Pictorial Finland^
1903, thereby
a collection
life
of
his
tional pictorial
an
Italian
Stieglitz.
A year
review of interna-
Decorative Art in
Fotofi/rafica Artistica,
work ran
Modem
artistic
gamut from
works
in the
medium. Their
life
to atmospheric landscapes.
no. 383)
(pi.
reproduced
in several
life
in
many
localities
on Spanish
gum,
milieu.
style
publications
posed
while Schohin,
La
his artflilly
International Exposition of
mode, which
later.
late
includes Czechoslovakia,
movement
major
societies in the
cities
of an area that
now
Lvov
established in
in 1891
and followed by
similar
groups
The
including
president of the
observed that
soul,
artistic
and word,"
photographs might
in place
of
"tasteless
own
Steichen.
him
"reflect
thought,
and pedantic
to idealize peasant
ART PHOTOGRAPHY
life
common
319
Moscow
descendant of an esteemed
more cosmopolitan
ration in the
Vienna, where
were
devoted
to art
inspi-
and
fw. 38s)
(pi.
known
as well
itself
sought
platinum landscapes
his
figure compositions
country.
family,
own
as in his
at
the
London Salon
in
strength,
effect" ^7
of
qualities exemplified in
black
Several factors
386).
in
and major
nomic,
cities,
and
attracted people
it
social,
who were
European counterparts,
in the arts,
Americans of
photography,
and
men
of means or
commercial
as housewives, joined
n.d.
tography
Hamburg; Museum
in the
photographic
United
time
much
Paris,
and
Pictorialist
New
York,
artistic
which the
camera work
in
Poland was
tradition, to
added
a sense
of
Chapter
emerged
in
Poland
in the 1920s
who heeded
director
of the
the
call
by Nikolai Petrov,
Pictorialist
journal
later artistic
Vestnik
Fotojjrafi
of nature.
Employing
life.
gum and
exhibited in Dresden,
Russia, also evolved
tation,
320
life,
387)
painter or photographer
Mathilde Weil,
illustrious
(pi.
Hamburg, and
were
Paris as well as in
ART PHOTOGRAPHY
distinctive character
of
more
specializcti
themes, exemplified by
Pre-Raphaelite
Emma
st\'le
Tlje
in
Rose
and refined
portraiture
(pi.
no. 388)
a portrait in
Anne W.
work
TJje
Bubble
treatment accorded
at a
time
accepted
United
peasant
prominent
in
aspects of pho-
among
jects
(pi. no.
pigment
resentation
all
especially
9).
genre,
were
with
active in
States,
societies, giving
cast.
in Pictorialism.
flir
mainly
and democratic
a varied
their
movement
the
this
389)
is
typical
by sophisticated viewers.
early
professional
States; Frances
of the
the
at salons
(pi. no.
just
Women
(see
Chapter
in
in
the
a freelance
8). hi
were
also
who exhibited
becoming
photojournalists
Benjamin Johnston,
idyllic
women
1900,
women
ftir-
386. F.
Metropolitan
them
1933.
less often,
Even when
tions
like
works of graphic
art.
Reflect-
work with
less
prints,
frequendv to
me-
gum-bichromate, sometimes
made
and
availing themselves
oil
in
combina-
pigment
materials.
hand intervention on
relatively
smooth
textured papers.
be seen in the
work of American
Pictorialists.
ART PHOTOGRAPHY
321
387.
Gertrude Kasebier.
Silver print
Robert Henri,
c.
1907.
gum
388.
F.
M.
in
some of
the better-
Toward
is
also visible.
became an
artists
especially
and photog-
of the eminent
lated
its
art teacher
Arthur Wesley
called notan.
tonalities, this
of Art,
print.
New York;
flat
many
Pictorialist images.
Photographic
organized
Societ\'
in 1862
photography
Manv members of
of Philadelphia
and the
first
to actively
promote
Robert
Chapter i)
S. Redfield,
as well as
from the
Naturalistic
among them
artistic
earlier tradi-
The Philadelphia
tonal harmonies
(see
the
a venerable club
Photographer
ART PHOTOGRAPHY
bichromate
322
Gum
Museum
Metropolitan
Hall Collection.
1903 or before.
print.
style
and harmony of
artistic
ef-
purpose
in subth'
no.
In
390).
Buffalo
New
State,
attention to
and shadows,""
their handling
mood
of
light
and amio-
member Wilbur H.
melancholy
reverential attitude
lights
York
(pi.
Porter-
(pi.
Photographers
their
own
in the
in these
same
theme
Jr.,
of art
at Virginia's
Hampton
Institute
in-
around the
well-known
transformed rural
and
nobilit\'
of character through
their choices
Hall Polk,
no. 392)
official
and by
photographer
at
made bv
Prentice
Tuskeegee Institute
Doris Ulmann,
(pi.
who
and
393)-
first-rate
Clarence B. Moore, a
tradition often
among them
many of the
inhabitants of San
the haze of a
men
distinguishes
living
on
389.
Anne
VV.
Brigman. The
in a
life.
gift
of Mrs.
Raymond
images. Genthe
was
statically
member of the
posed
rural genre
California
Camera
Museum,
C. Collins.
ART PHOTOGRAPHY
323
:!9o.
Louise Deshong
WooDBRiDGE.
Lake,
1885.
Outlet on the
Platinum print,
New
1898.
York.
Wilbur H. Porterfield.
;9i.
many
324
ART PHOTOGRAPHY
Chinatmm
this region,
arts
(pi.
no. 394)
of tonal
and
in
Cowles-Media.
areas, seen in
many
of Japan that
afli^ctcd
Armcr's
interest in the
photography everywhere
last
in the
life
undertaken
pictorial
in 1899
by
with regard to
artistic
Organized bv
pression"'^
Sticglitz to
of photography
an additional
as
and of himself
medium of pictorial
prime
as a
grew out
Day and
Sticglitz,
of aesthetic photographv
qualirs'
it
1900 by
figure,
in
ex-
Nc\'crtlieless,
United
in the
States.
London and
Paris,
Eventuallv numbering
an impormovement Edward
and
critic
the
for
publicist
H. White.
work
All
were prominent
in the national
in
and interna-
While constituted
392-
Cotirtesy
J. P.
Morgan) may
uals
elders
active in
as editor
of
over
his portrayal
was most
indi\'id-
and on occasion
e\'en
He composed
its
as a national
New
York
where
Cit\',
Sticglitz served
publication.
291.
The formidable role played by Sticglitz in the establishment of this elite wing of American Pictorialism has recei\'ed
Steichen,
actix'c
participation of
publicity' for
and publicatons,
exhibits
less
is
well
ment,
American photography,
a like
is
of the
centur\',
appealed to Americans
(pi.
no. 196}
cesses as
weU
fiilly
promoted
and
as a tourist activit)'.
However,
to the photographic
remained unknovxTi
alike.
in
no. 336).
Chapter
Because his
had an
c\'cn
after
bodi
his
as a
New
(pi.
The Photo-Secession
it
on
be discussed
(see Profile)
was
a Living
active
Midwest
used
signal effect
wav of making
profound
in
photograph\'
1906 in
more
work
later
10.
to
in aesthetic
had
(pi.
adx'crtising photograph\'
more
to use
distinctive flair
portrayal
as
him
(before
its
of the med-
svmbolism, he
the
work of American
ART PHOTOGRAPHY
325
?9?-
Doris Ulmann.
Museum
326
of
Modem
Untitled,
Art,
New
c.
ART PHOTOGRAPHY
III.
394c.
Chinatown,
395.
San Francisco.
1902.
Gravure
Orchard,
ART PHOTOGRAPHY
327
LEFT:
396.
Tide,
Tokyo
Fuji Art
Museum,
Tokyo.
RIGHT:
397.
Alvin Langdon
CoBURN.
Brooklyn Bridqe,
Royal Photographic
Society, Bath, England.
and
everywhere
themes favored bv
portraits
but
a small
trodden
field" in artistic
cit\'
painters), these
heretofore an "un-
of the
common
of the
vitality
of urban
The
sites
life
seen as a svmbol of
in
power and
thev regarded
Flatiron building, a
with
and construction
thenon"
and Karl
bridges, skvscrapers,
as affirmations
known
that included
Stieglitz,
photography." In
group
in 1902,
"a
culture
new
The
328
ART PHOTOGRAPHY
Q)bum,
Haviland, and
Stieglitz.
still
(pi.
no. 397) ,
who
(pi.
no. 396),
and Coburn
in particular
human
intelligence.
medium, capable of
modern cit\'.'* As a younger Secessionist he was twent\'two when he joined in 1904 his willingness to experiment with a varict\' of themes that included portraitvire,
urban views
Par-
new work-
inspired
Coburn
cit\',
was
Stieglitz.
fairly
(pi.
regular
England.
no. 398),
travels
and
industrial scenes
its
animated
consummate
printer in platinum
and gum.
ART PHOTOGRAPHY
UP
398.
Platinum
1912.
print. International
of Photography
at
Octopus,
Museum
Rochester, N.Y.
;,!*.-
399.
Platinum
New
330
ART PHOTOGRAPHY
1933.
Cobum
in
also
London
worked
in 1909
Autochrome. In
in gravoirc, setting
up
his
own
press
spite
of the
work
made in
he gave up serious
brilliance
of
his early
Chapter
9)
after
medium
\'italit\'
movement
World War
Pic-
less
important role
in
Camera Work,
don;
Sticglitz's
own
"candid" portraits of
New
Camera Work
ing place
on an
1910 a victim
laise,
much of
its
individual
arts
tographers,
by Adolf de Meyer
rapher
(pi.
no. 399) , a
still lifes
German-born photog-
had become
all
however, the
visible in the
and
media
new aes-
other visual
hostilities,
1914,
scattered
had provided
and
World War,
first
1911
of
last
with
the
street
York
isolated,
and
The
by Strand
difficult.
at the
little
last exhibi-
the work of
in
largely as a result
and the
creative
art in 1913;
to
more
of 1910
(pi.
no. 400)
work
in
400.
Heinrich Kuehn.
Gravure
Metropolitan
Art,
New
print.
Museum
of
York; Alfred
ART PHOTOGRAPHY
331
body of
aesthetic
also
st\'le
that
and the
was an instrument
photograph to be regarded
as a persuasive expression
of
many images
that
now seem
efforts
continued to be
vital
concepts that
still
engage photog-
artists alike.
at-
work was
Pictorialism
forceful
in a
+OI.
Alfred Stieglitz.
332
ART PHOTOGRAPHY
Alfred
402.
The
Stieglitz.
Steerage, 1907.
Gra\'ure
print.
Private Collection.
his
work
in 1921:
"I
American. Photography
truth
bom in Hoboken. I am
is my passion. The search
was
my obsession."''' Nevertheless,
as a
an
for
component was
youth
in a
marked. The
German
family that
lin
by
light
as well as
401), a
study
replicative possibilities
an understanding of
how
literature.
made in
Ber-
of photography,
to organize forms to
Germany in
turned to
he enrolled in a
(pi. no.
express feeling.
as a
his education,
Paula, Berlin
complete
although he
1881 to
art,
New
York
Cit\' in
Stieglitz re-
He
soon found
the
ART PHOTOGRAPHY
333
+03.
Alfred Stieglitz.
Art Institute
of Chicago; Alfred
silver print.
Stieglitz Collection.
with the
working
291
at first as editor
and
to
his motifs
ment
ist
and
its
periodical
later,
334
He
was
modem
European movements
in the
ART PHOTOGRAPHY
his return to
in
York
in 1890
(pi.
no. J12)
shordv
after
At the time,
artistic treat-
painters in
for over
New
40
years.
As
became
visibly
(pi. no.
402) currents
moving images
that
turned
many-faceted
portrait
full
attention to his
of
his
reality'
of
and journal
own work
wife-to-be,
the
in
painter
made
(pi.
no. 403)
conveys emotional
of views of
New
series
from
later
in the
Shelton Hotel
(pi.
light
no.
come
city.
Anderson
1925
comprised,
besides
by
opened
Dove, Marsden
Place,
which endured
Stieglitz's career
this
of
torian to the
a circle
Arthur
himself,
the
photography that
in 1925, lasted
An American
at
in painting ancH
Gallery
rooms
used
Stieglitz
Galleries to
American modernists
and
their
until his
own work,
1925
death in
only four of
parochial.
404.
From
New
Alfred
Stieglftz.
the Shelton
Westward-
silver print.
Museum
Philadelphia
of Art;
lent
by
Dorothy Norman.
ART PHOTOGRAPHY
335
405.
3?6
ART PHOTOGRAPHY
Toss, 1899-
Platinum
print. Libran'
ties,
Sargent
was conjoined to
a great sense
no. 406)
(pi.
camera images
the
an
art object,
new
sensibilities
artists.
In both roles
presario
as expressive
on the course of
aesthetic
more profound
photography
in
influence
America than
of
thetic influences
as
painters
photograph
number of the
America
in
art
a variety
of
aes-
^which
contemporary magazine
may
illustration,
ac-
Working
full-time as
still
his
own
in the
Profile:
Clarence
H. White
more than 40
Clarence H. White
Pictorialist
may be
Neither
States.
in
two years
he showed work
lifetime,
critical acclaim.
In 1906,
emerged from
taste,
he
(pi.
among
perceptive appreciation
activi-
his
at the
Brooklyn
own
Clarence White
of
Institute
Among
1914.
Anton Bruehl, Laura Gilpin, Dorothea Lange, Paul Outerbridge, Ralph Steiner, and Doris Ulmann, attesting to the
marked influence of this school on many photographers
of the next generation.
During White's
collaborated
on
first
years in
a series
of nude
by a
studies, exemplified
(pi.
no. 407),
but on the
city, be-
and manage
Pictorialism
assigned
a school.
Although
were recognized by
him
his contributions to
Stieglitz
when
the latter
rela-
two started
to deteriorate as Stieglitz
White with
Pictorialist
themes and
identified
styles
he
now
which to
his
alive the
group
aes-
idea,
the Photo-Secession.
406.
D.
Boston;
and
gift
Julia
on
canvas.
Museum
of Fine Arts,
Overing Boit,
in
memory' of their
father.
new
art,
but
in 1925, before
own
he
refined sensi-
ART PHOTOGRAPHY
337
and
spatial tensions,
and an
[the]
photography."'*
embody
aspects
Kuehn's
of composition,
sensitivity
light,
to
and form,
the
expressive
as well as his
deep
Profile:
Heinrich
processes,
Kuehn
Kuehn may
modem
in
critic, his
"works repre-
bition in
in
1891 exhi-
from science to
aesthetics.
407.
Clarence H.
and Alfred
Wkfte
Stieglitz. Miss
Thompson^ 1907. Gravure
print. Private Collection.
338
ART PHOTOGRAPHY
4o8.
Frank Eugene.
and Edward
bichromate
Steichen.
Gum
Royal
print.
Photographic Society,
Bath, England.
provincial small-town
life
name
Trifolium or Kleeblatt.
printmaking
in 1905,
rived
now
ments by
articles.
Stieglitz,
all
color plates.
(pi.
mann and
Aroimd
1906,
new Autochrome
Kuehn began
also to associate
began to surface
aroimd 1910
(pi.
in
no. 400),
Lieber-
suggestion of the
little,
Stieglitz,
stylistic
and while
in the 1920s
New Objectivity),
approach.
Max
new
easily integrating
as
friend
his personal
of the Germans
as well as in
His contacts
lifes,
no. 349) ,
(pi.
and Steichen
light
still
most mov-
experiments
Eugene,
own
middle-
reflect a tranquil
and
and
aesthetic
'30s
by Die
Kuehn, unlike
his
new
ART PHOTOGRAPHY
il39
8.
DOCUMENTATION
THE SOCIAL SCENE
to lp4S
The true
and
to
common
is
to give
ultimate
lives.
Walt Whitman,
Documentary: Thafs a
clear.
sophisticated
and misleading
document has
use,
whereas art
is
style.
word.
.
And
Tou
see,
not really
really useless.
Walker Evans,
340
i860'
1971^
AS
of visual
fact,
cam-
the campaigns
waged bv reformers
in industrialized nations
during the 19th century to improve inequitable social conditions. Nevertheless, while
this
form
ception, a characteristic
medium's
after the
for social
in-
documentation did
feeling.'
With
social conditions,
art in that
their focus
style
com-
commitment
to
to humanistic values
ideals
of dignity,
social
documentation
(see Profile)
early partisans
explained
its
goals
of
when
tandem phrase,
social
we know
documentary,
is
today.
sometimes
truthful depiction
is
the
1880, nearly
all
unposed and unmanipulated images were considered documentation; since then, millions of such records of people,
places,
social also
subject
some
mercial cartes
com-
and
live
their
it
social
also
commitment
must be empha-
tions, since
all
essential nature
and resonance.
Documentary,
ticular style
as
Evans observed,
or approach. Although
historian
social
began to emerge
in
phy
it
nor an
technically
and highly
artistic"
that
is,
often brilliant
documentary
409.
print.
Albumen
Berkeley.
341
areas
how
crucial aspect
effective-
photographs meant
and
light
work
as part
start,
of campaigns to improve
social
seen.
is
United States
at
times in dis-
and early-20th
in the late-igth
shown
centuries,
and
in the salons
manner of genre,
work
(pi.
no. 330)
Its particularity
surroundings, tools,
characteristics
detail
it
includes
individual facial
pictured, reflects
atti-
in the
Calotypists
who
painters such as
working people
as types rather
such
as
natural poses
rather than
on
(pi.
no. ZST).
Others found
more
daguer-
two men
of
coupled with
as in a
tools
on
in order to
and emblems of a
particular occupa-
is
so closely tied
growth of the
transmute
print (see
social
silver
in
common
with photo-
usually
at social
images
change.
were made
The
Movement
in
England
rallies
in 1848
no. 331)
Of
documentation
visual
change was
nology;
it
is
suit
greater
in
between poverty,
living conditions,
called
its
upon
sway
public opinion.
after portraiture
by the
342
was not
sitters
became
possible. Usually
themselves,
some images
ini-
made soon
commissioned
410. T. G.
Albumen
TrinitA'
DuGDALE.
Pit
carte-de-visite.
Brow
A.
J.
Munby
Collection,
Y/.CiSPilCK,
19.
petite
Mors>c
c. 1859.
Ashbee, London.
life.
in
of the grovi'ing
interest
his
Newhaven by David
may be seen as indica-
among
artists
and
intellectu-
may be
first
in 1845
by Hill and
it
the village of
safety
of the fishermen of
beautiflilly
no. si)
composed
and groups
the documentary
style.
made
individuals.
Adamson made
tackle that
412.
c. 1859.
Ashbee, London.
tion or station in
yy.CASEr[;-
still
appearing on
cartes-de-visite
mementos
travelers, ordinarily
meant
pav
conditions
34?
character.
of
a female
clothed for
is
mine worker
work
who, appropriately
no. 410)
(pi.
in clogs, trousers,
by her
side.
is
the
work of Danish
graphed
all
classes
of people
folk,
carpenters, housemaids,
as well as the
endows
these working-
(pi.
Felix Bonfils,
mentioned
To
cite
as
Scottish photographer
who opened
working
produced
cartes
in
Peru
at
of peddlers,
street traders,
and peasants.
fall
probably
is
owed
Maunouty,
whom
said to have
he devoted special
the
first
1861,
working-class types as
at-
glum and
inert
(pi.
no. 413)
in the
Near and
was
featured.
producer of such
a prolific
socially
informative views,
and
activity
but
no.
(pi.
414).
instances native
his wife,
who worked
1916.
life
of the lower
(pi.
no. 41s).
ments of
field
prints turned
classes
von
Stillfried,
and Kusa-
artfiil
what work
between information
are
worn
and
idealization.
is
Enhanced
further at times by
delicate hand-coloring or
by vignetting
may be
(pi.
lents
fea-
life
parts
1857,
compositions by British
as well
in these
in the
title
(pi. no.
m)
British
Eugenio Maunoury.
Albumen
cartes-de-visite
Collection H. L.
of
+1;.
344
in
earlier,
scenic views
Ottoman Empire
souvenirs.
whose
Benito Panunzi
no. 69)
native customs,
life,
414-
Women,
Semitic
Cambridge, Mass.
415.
Countryside,
Collection
New
H.
L. Hoffenberg,
York.
345
4i6.
Albumen
Army
print.
indications of the
growing
interest
among Westerners
in
no. 416)
a kind
Illustrations of China
With
a lively text
Thomson
no. 138).
In so doing,
Thomson
made on
in
People,
England
in
work
way of life
under-
inter-
no. 192)
monuments
helped create a
Ute
tribes,
and Its
live is a four-
of ethnic and
social
of
or undue
artistry.
after 1879,
emerge
This
and
became
it
style also
began to
style that
informed
in
Chapter 2
style
far
(pi.
no. 417)
were sometimes
ly,
somewhat
emerged
in the
different
On
their
ilar social
firms.
Americans Jack
346
Hillers,
works by the
areas
tion,
later
difficult to
gauge.
is
is
From
of Africa,
up
large
exploita-
as Negretti
and
some known,
to record people
at
work and
their
by the public
as truth that
"cannot
civilized
backward non-white,
Hfe,
such
at the
as
it is
(pi.
nos. 4.18
and
419)
of social
in
inadver-
Toward
3rd volume),
Underwood
and
Underwood
(Publishers). Wretched
Museum
in
c.
1891.
Albumen
print.
American
Institute
of
!**?JSV
Poverty of a
folk
glass plate
418.
areas.
417.
Cuba
419.
Underwood
and
Underwood
(Publishers).
The
Museum
Riverside.
347
420.
Charles UHermitte. On
this role
Douamenez,
was assumed
in
English
manufacturer
who hoped
would provide
of
fijture
that
"record of
remote
linger in
villages,"
and
British cultural
still
Somewhat
social history.^
later,
renowned French
1912.
United States
the earlier
who
unnuanced records by
Hillers
and others of
S.
of com-
itive
in provincial
byways
of lace-makers
in Brittany
made
handwork and
folk
in 1912
in that
(pi.
no. 420),
such
they romanticize
348
American with
life,
is
especially visible in
owing
Chapter
7.
The handsome
portraits
Moon
and
artfully
to
in
arranged
boredom of provincial
life.
and to make
aspects of tribal
embody
(pi.
no. 197)
in the
photographed
a similar desire to
make
b\'
Robert Flaherty,
Unknown
421.
Photographer.
Blind
Albumen
print.
Benjamin
Stone Collection,
Birmingham Central
Library, Birmingham,
England.
documentary
dramatic form to
so
still
film in the
United States
became known
mundane
events,
in the early
dignity,
Southwest, but
Vroman
tographs in
documentary
slide lectures
and publications
American.
project of
more
The
interest in
successful California
work,
no. 19s),
were
carefiilly
is
an example
at
home, and
in
order to
plight of the
making images of
society in
Native
a social nature
of photographs of people
at play that
were
initiated
at
toward the
photographed vanish-
349
422.
+23.
350
^ V,
on
canvas.
424
Work,
Oil
1852.
on
canvas. City
England.
ern
unknown photographer
(pi.
Petersburg by an
in St.
no. 421).
He
advocated the
museums and
that actually
throughout
libraries
Britain, a
concept
Greenwood Peabody,
and
artists
intellectuals.
alization
French
realist Gusta\'e
the
the world.
categorize
many images
diat at
first
is
difficult to
of
less
(pi.
and
no. 423)
of
literature.
1851/52
(pi.
by
no. 424),
it
portrayals
in graphic art
composition begun
Raphaelite Ford
realistic
a grandiose
It
part of West-
Museum"
From
on the
social existence
alization
and
ethical
documentary photograph
in
campaigns for
social
change.
estate at
Lacock or of peasants
owned by
the
in
Portuguese vineyards
family of photographer
James Joseph
Forrester
(pi.
no. 422) as
relationships? Children on
a Fish Weir
{pi.
no. 274)
by the
is
difficult if not
in
hard work or
derivative in style
umentation
also.'
uments or
life
Can one
in the
really decide
United States
whether Curtis's
Pictorialist fictions.'
Perhaps
all
Rej-
views of tribal
lander.
class faces a
sinfi.1l
is
successftil.
and moralistic
photographs embody
more
ease.
less
in concept,
complex
social
is
other of his
Times
{pi.
social class.
3.S1
E.E.J.M.
Home for Working &
E. E.
Destitute
Lo'}!-
27.0N(
No.
J.
-NOW
No. 28.
Jb.
( '/'Ae
M.
Destitute Lads.
A LITTLE
WORKMAN.
No. 27.
425-26.
AJbumen
prints.
liford,
Tounjj Boy,
c. 1875.
England.
prints
were kept
as records
Documentation
and sold to
raise funds.
but they
social conditions
to
sinflil
behavior.
nificant
problems
in social
the result of a
wash and
little
new ward-
fictitious,
more
a quasi-sociological tool
by Dr. Thomas
John Barnardo,
who opened
in 1871
his first
home
for destitute
charitable institutions.
To
illustrate
document
in
London
network of so-called
photographic department
352
boys
obedient slaveys
(pi. nos.
42s
made by
side
of the world
of Hyderabad to
the starving
show
(pi. nos.
Deen
tracts
in the
of the 1890s
photographs
427-28. Raja
Before
Types of Emaciation,
Auravgabad),
1899-1900. Gelatin
silver prints.
Private collection.
it
as evidence in
mentioned
became appar-
British industrial
counted on to convey
specific
meanings
that
how
carte
they
social
commission
as
introduced before a
evidence that
women were
them
to
wear
trousers, the
health
in
?53
4?o.
1867.
appeal to
artists, writers,
Washington, D.C.
and photographers
in the late-i9th
its difficulties
fearlessness.
(pi.
as
and dan-
one
One of the
1850 daguerreotype
who
earliest
of Califor-
occupation as an
were made
in
England
first
in 1864;
some
three years
later,
Horace W. Nicholls.
silver print.
Delivering Coal,
Royal Photographic
Societ\',
c. 1916.
Gelatin
Bath, England.
van documented
as
miners
the
images can be
silver
cartes
work (pi.
centurv,
at
work
in
difficulty
of
of the 19th
at international expositions.
provide visual
facts,
(pi.
Horace Nicholls
no. 429},
as part
taken
some
young woman
50 years later by
leaves
a social theme,
mining became
a subject
who
clusively
on mining
George
United
1895,
(pi.
no. 432)
was one of a
after-
As
354
I,
Bretz,
of special
4?i.
Unknown Photograther.
Daguerreotype. International
Photography
Museum
of
at
Rochester, N.Y.
4?2.
George Bretz.
Hill Colliery,
Edward
c.
Photography
O. Kuhn Library and
University' of Maryland,
L. Baftbrd
Collection, Albin
Gallery,
Baltimore.
355
left:
433.
GusTAV Marrissiaux.
Breaker
de
Musee
la
BELOW
left:
W. Roberts.
4J4.
Nests,
c.
1850.
Street-Seller of Birds'
Wood
engraving
after a
Library,
below right:
435.
from
Street Life in
Crawlers
Woodburyt}'pe.
Art,
h-^
^^'^
^^
^
356
New York;
Museum
gift
of Modem
of Edward Steichen.
other operations)
from
ing coal
images of
slag
young boys
no. 433)-
(pi.
around 1910
of children
strained use
as part
in
emerged around
no. 474)
(pi.
1850, the
documen-
consequence of expanded
modem
structures
on
Commissioned
lines,
lishers,
strated an earnest
and pub-
work demon-
One
events.
may be
while actuality
made
aesthetic
suggestive;
depicted without
(pi.
artifice, it
no. 436)
this
can be
by Charles
photographer
his
436.
Linen Room,
Jammes,
Photography in Publication
Social
Paris;
Ottawa.
useftil in
for the
it
took a while
MayheWs
Poor.,
One
early
which
first
life,
more than
became
litde
wo. 4?4J.
extracted
from
their
stiffly
home
albumen
reality
of working-class
ditions even
same
lack
of
prints
(pi.
access to
so, the
format that
was established
authentic language supposedly from firsthand interviews and accurate visual illustration from photo-
graphs
tion
sociological
that
later
documenta-
is still
serial that
began
it
Thomson,
illustrate
Smith seemed to accord with the canons of the documentary style even
though the
tionalist reporting
text
was
mixture of sensa-
class
system or of poverty as
357
Thomas Annan.
4?7.
7S
Hiqh
Street
Close No.
from Old
Edward
print.
and
Closes
Albumen
L. Bafford
O. Kuhn
Librar\'
and
Galler\',
University of Mar\'land,
Baltimore.
ing-class
Londoners
in
an agreeable
light,
on the whole
ar-
one image
The Crawlers
(pi.
no. 43S)
must
woman
While
no
ha\'e left
depicts with
self-consciousness an enfeebled
seated in a scabrous
Street Life
it
at
doorway holding an
in terms
infant.
of purpose,
one of
its
goals that
though
its
358
Annan,
and works of
results, originally
printed in albumen
"record
prints in 1878
and
in
portraits,
many
art to
The
landmarks.""
in 1868,
photographer of architecture,
a Scottish
two
Closes
images added
later
as
carbon
and
Because
Streets of Glas;ow.
in a reformist spirit,
no
by the inhabitants
were
images
might be seen
included.
Nevertheless, Annan's
slum
drunkenness
images
excelled in "filth
incidentall}' in the
in this case
e\'il
come
one that
smell and
all
that
makes
The vantage
poverty disgusting."'^
city
selected by the
that
points
of life
in
document
such an environment
(pi.
no. 437)-
Whatever the
initial
America
first in
documentary
that the
Germany
itself is
activist
not
specific
to
work of
in the
in
style
the photographer
Titzenthaler,
one of the
first
in
scene.
enterprises,
workers
no. 438),
(pi.
Titzenthaler's images
all
to pictorial structure
and
the
stylistic
similarities
army
cadets, or street
same
display the
industrial
carefial
life,
attention
tlie
made
on the
make
Social
Documentation
in the
United States
was the
link in the
Reform
attitudes
toward
era, mil-
and southern
jobs to
come
sections,
Needed
as
As
cheap labor
uplift.
lived.
Boiler
c.
message understood.
its
Riis
and context to
Maker
called
a densely
who
as a
way
to produce incon-
first
victims of the
the post-Civil
War
ments or actually
cities,
with
New
economic
col-
in
York by
far
the
of major American
for their
own
officials,
while private
and books,
successfi.1l
pestilential shanties in
The
first
and most
influential publication
by
Riis,
of reportage based on
359
*.'-**ttiii^aLii^^
4?9-
Jacob A.
Riis. Fiiv
Gelatin
silver print.
Jacob A. Riis
Collection,
Museum
the City of
New
440.
of
York.
Kenyon Cox.
Lodgers in a Crowded
Bayard
Tenement,
Woocl engraving
from
How
Lives.
360
Street
1890.
the
Other Half
and was
illustrated
by 40
plates, 17
of which were
reproductions of photographs."
halftone
Despite the
Lodflinfj,
Bayard
Street
direct
as Five
(pi.
withstanding the
no. 440)
Neither their social intent nor the fact that Riis thought
As
values,"'" largely
spanned 40
objectives
Involvement
title
slum
at
the deep
from across
life
lower-class
life.
While he may not have entered very deeply into the space
occupied by the "other," his was not a casual view.
pare for example, the Jersey Street sheds
which the
no. 441) in
of sunlight,
surrounding
in the
(pi.
Com-
details,
with
(pi.
no. 442)
figures,
em
ism
may
random arrangement of
seem more authentically real to mod-
its
slice-of-life natural-
it
felt it
communicate
necessary to
a belief that
slum
The Pittsburgh
in
Hine
(pi.
By
result,
photographs used
in
truthfiol
vidual's expression
able to transform a
social
had been
States
on
social
illustrated
edged
"condemned."'^
social conditions,
Riis
and Hine.
press that
sinfiil."'+
herself as
"making
a business
of photographic
articles for
and newspapers'"*
(at the
illustration
magazines,
illus-
time an unusual
career for
the
growing popular
include a
at
at
times acknowl-
artistic
Hampton
the
Institute
Reform
ideal
and
overall clarity
of illumination
documentary images
perate
among
in a
program deand
rural blacks
Indi-
came the
Work on
of industrial training
still
use of photographs to
its
the point
result
in
monotony,
documentary concept.
be.
its
exists into a
what might
of the
inter-
netherworld of
trated weeklies
no. 474)
social
by the previously
by their surroundings. As a
foremost
in
somber
pioneering study
Survey., a
in
Riis's
campaigns for
charity, social
years,
of working and
contemporaneous image
of religiously motivated
se-
fact that
using photographs."
artists
more
(pi.
the Stairway
(pi.
no. 443)
seen
and
in Students at
now so unexpected in
sized.
who
supplied imagery
on
social
themes to
body's
all
pho-
361
441-
Jacob
Tenement^
c.
1888.
A. Riis Collection,
of
New
442.
Museum
of the City
York.
Slum,
362
443-
Institute: Students at
Work on
life
merged
into the
1915,
first
less
1913,
crisis
occasioned
demand
and
by the
at the
same time
Armory Show of
ments
styles
and Dadaism
eclipse
1920s.
of the
social
as Social
Document
The Portrait
Com-
documentary
sensibility
a brief
during the
as
Chapter 10)
an energetic
.
titan ruled
by rational
Few photographers
other
boredom to
made by individual
In his "Work Portraits," which
through
facial
human component
365
picture space
(pi.
attempt to create
pations,
Alltajjs
which he published
Germany
in
through portraiture
is
Sander.
From
lighted
clarit}'
connect
1920s. Individually
with
an
Germany of his
and groups
(pi.
no. 447).
New
and
as
in
19th-cen-
Objectivit}'
German
an aggregate
\'isual art in
his
images are
stratified
social
hierarchies
book was
later
Germans
to be greatly
banned
in part
more
tlie official
mythology' decreed.
in 1930
first
and
Europe on
to the emphasis in
ing the
an endeavor
Owing
no. 44('),
1931.
political action
ment of an
in
was
would
London
in
Of the
three,
classes
and
commercial photographer of
taste
acttial-
and discern-
of contexts
Lerski,
born
many
in publication
United
States,
photography about
in
effects
and
yeais in the
ested
364
in
where he became
1911.
Theatrical
lighting
inter-
fill
the
445.
the
a small
E.
(pi.
in
the
which only
(Neue
in the publication
444-
Germany
beautifully
his
emerged
ironic
entrenched role of
initially
made
infi.iscd
documentation
indi\'iduals
all
social portraiture
The
AsKopfedes
The
in 1931
of occu-
(Ordinary Faces)
The towering
ft-om
\'ariet)'
1930.
trait
photographers
in the
people
among whom
they lived.
One
document of the
Van
thinks of James
Der Zee, whose images of Harlem's middle- and upperclass citizens (pi. no. 322) are
aspirations.
similar
social structure
portraitist
card in his
own
made
in a studio in
and group
his individual
Cuzco or
in
Social Photq0raphy
(pi.
no. 448).
Durin0
the Depression
in the 1930s.
his study
as the
afresh in the
"invisible nature"
known
portraits
sitters'
446.
of a
social catastrophe
1925.
No
of
society.
faces,
Of the
few
who were
attracted to "everyday"
portraits
of skilled
to
document
industrial
New
York
(pi.
no. 393).
Inspired by the
and handicraft
as a
way of
made
in natural light
soft-focus lens,
that simplicity
moment
embody
soil
were of greater
than progress.
The Boss
(pi.
no. 392),
an image by
on being an
document of social
reality.
447.
August Sander.
silver print.
Sander Galler\%
New
York; Estate of
August Sander.
365
Martin Chambi.
+48.
Festival in Ayaviri,
Puno,
New
from
1931 until
unrest,
was characterized
the period
and
agricultural
b}'
disaster caused
resulted in
were
influential in
rural po\'ert\'
in the
as families
from
by persistent
the heartland
arable land.
on
offered those
realist st\'le
modes of ex-
formall\' concei\'ed
Section Director,
Roy
particular exerted
style
because the
E. Str\'ker, a brilliant if
somewhat
New
sented the
who
life
pression,
and were
in the process
faced by farmers
of being
dri\'en
justifv'
Congressional displeasure
at the
tive aspects
be seen
endeavors
in that all
more
posi-
of relief and
re-
366
of this
artistic
project,
\'ariet\'
35mm
camera, directed
element
as a source
of
human
E\'ans, using
effects
depiction of unrelieved
and
perma-
in relation to
Another
no. 449)
Federal
(pi.
an
8 x 10
In
common
on the
and periodical
press. In that
own
their ncgatixes,^'
from
and had no
and captioned,
their position
was
similar to that
of photo-
449-
Unknown Photographer.
Stryker,
New
450.
York.
367
451-
Niponw, California,
368
i9?6.
452.
Lansdak,
453.
George Arents
that
working
both Evans
for the
commercial press
Lange found
anci
a situation
particularly distastefiil.
Museum
first
tographs
made
conditions were
document
to
social
time, pho-
The
socialistic
who
propaganda by others
mis-
itself,
but
Americans were nonetheless affected by them. Furthermore, the impact of the Great Depression on
rural
com-
Cimarron County
(pi.
Nipomo, California
the time
the
no. 450)
(pi.
latter selected
but
ers
Few
it is
the
other
the
by Stryker
officially
government
but bodi
this
and other
Inc.
New Deal
efforts
opened opportu-
The best
known of this group, Gordon Parks (pi. no. 692), went on to
fame in photojournalism and film; others, among them
nities for
Women,
in
New
by some and
rural
Street,
journaJists
sym-
^'
employed
An
effort
industrial-photographer-turned-photojournalist
Bourke-Wliite resulted
amalgam of
influential
in
text
and image.
It
TJjeir Faces,
were
offset
by a
an
contained dra-
(pi.
no. 4S2)
based on
inter-
by
earlier
the
way
social-reform
tracts
and
helped
of post-World War
prepare
II
photo-
social
issues.
369
454-
York at
Ntpflit, 1933.
Museum
Modern
of
Art,
New
York;
Berenice Abbott/Commerce
Graphics Limited, Inc.
455.
Schirmer/Mosel, Munich.
Rolf Ballhause.
370
The urban
With
series
of related
pictures supported
who formed
the Film and Photo League, from which the Photo League
group of
(to
socially
committed photographers
realized project
initiated
was
documentation of
by Berenice Abbott.
On
The most
New
York City
Chan0inff
New
intuition
flill}'
theme
that
work
might
In Abbott's vision,
came to be
called,
was
by
texts.
its
nings of the
city, is typical
of the resonant
clarity
of the
moved
political left
became an
when photographers
to deal with
of the working
in
issue
Europe
especiallv felt
class.
456.
Roman
to the Ghetto,
Vishniac. Entrance
Cracow, 1937.
Center of Photography,
Purchase. Courtesy
New
York;
Mara Vishniac
Kohn.
371
+57-
Roman Vishniac.
Granddaiiqbter and
Photography,
New York;
International
Fund
for
Concerned Photography,
Purchase. Courtesy
in
movement
of
social
worker-photographer
as the
documentarians
like Riis
evi-
worker-photographer organizations
and
photographers of the
stylistic
European
developments
left
Union
in the Soviet
(see
social
and
Chapter 9)
For
as a
'Sveapon" in an ideologi-
for capturing a
world
invisible to the
interfere
privileged.
more
"^^
made by Walter
who used
a Leica
Ball-
camera
in
Hannover
(pi.
no. 4ss)
In the
most
372
With
active in Eastern
politically oriented
Europe, the
style
photographers
of leftist imagery
was
varied; indeed a
Socialni
and
leftist political
two large
and
shown
1934, in
Motivated
less
by
political
impending catastrophe,
as a refugee
from the
Roman
So\'ict
Vishniac,
li\'ing in
Berlin
on
in
Poland on the
\'itality
to this docu-
Craww
(pi.
no. 4s6)
is
made
to
the
especially
people,
has x'anished
where concern
for the
problems of the
in 1937-38 par-
458.
Humphrey Spender.
Street
(From
Mass-Observation published as
Worktmvn
Wall Press,
England.
Humphrey
Bristol,
Spender.
459.
Bill
1936.
Brandt/
Photo Researchers.
373
which
Brandt,
manner of an anthropological
towns of the
initially attracted
homeland
British
social classes in
mining
villages.
structures that
(pi. no.
that
4S9)
(pi.
study, of
life
between
London as
The long,
all
north
industrial
well as working-class
life
in
in
Halifax
spirit
is all
During
this
same period,
(to be discussed in
in the
Horino Masao,
in
photographer of great
montage and
no. 460),
"new photography"
for a humane
versatility
industrial imagery,
and
in
documentations of life
in the
occupied
had put
their
cameras
at the service
of the government
1944
images made by
for
Hamaya
Snow Country
(pi.
life,
The
no. 462).
conflict that
461.
Kltwabara Kineo.
1971
Japan Professional
Photographers Society.
374
as
had
462.
Hamaya Hiroshi.
Untitled,
from Snow
1940-44.
'?'
1971
Japan Professional
Photographers Society.
46.^ Sid
Grossman.
Courtesy
Gallery,
Howard Greenberg
New York.
on the
ended
a brief but
making that
Adamson,
politically
committed to the
as initially
conscious photogra-
traced
no. 463)
this
concept, the
broad range of
conceived by
(pi.
in the
members
its
Stieglitz,
formed
its
styles
photographer-
its
groups"
life,
which they
felt
pic-
less
were being
Pictorialists. Projects
most
frilly
a three-year effort
(all later
sympathetic look at
neighborhood.
478)
life
in
An image
of a
woman and
children
(pi.
no.
same community
reveal
in
members adopted
the late 1940s, but despite this subtie shift away from pure
commitment
their
demise
in 1952.''
Former League
of
it."'
series
the arts
Harlem,
self- motivated
in Haiti,
and
projects to
in the
document
South Bronx
(pi.
life
in East
no. 46s);
W.
375
465.
Bronx,
376
ideals in
Minamata; while
others,
treat
photojournalism
(see
field
of postwar
Notwithstand-
municate
verbally,
camera and
Chapter 10).
in
activities
flash
and
his
cumbersome
5x7
com-
inch view
in
tlie
more common
distanced view.
feeling
made
for a social
who
indivitlual
social
crecHit
photographer
and
anci
times with-
at
artist
Joseph
Stella)
in
in the nations's
most
documentary photographers
work was used in a specific context. The outstanding quality of the work done under tlie
aegis of the F.S.A. and by Abbott for Cbanjjinjj Nerv York
were factors that helped transform this situation, demontheir
graphic
between
art
GOOD MATERIAL
and
the
feeling
that purposefiil
inspire
essential goal
of ail
visual art.
AT FIRST
Recognizing
compassion even
problems they
War
sion that
imbue
their
Pictorialist
movement.
in social
documentation
Profile:
at its best.
Lewis W. Hine
in
When the
1900 from
in
his
touch with
his birthplace in
Oshkosh, Wisconsin, to
good
was to spend
part of his
serious photographs
were made
life
documenting. His
camera
as
first
in response to a desire
Movement,
Culture School in
an educational
tool.
New York to
prin-
use the
No
"Junk"
future
means of
+66.
Librar)'
c.
1915.
Poster.
377
and
aware of the
social
stratification
of real
and
set
From then
he was the
until 1917,
photographer for
staff
more
and working
slide lectures,
first
no. 466),
(pi.
designed.
relief
as a
embarked on
return, he
which he
felt
On
his
of "positive documenta-
"human
of the system,"
side
of individual portraits
series
were
Portraits"
and culminated
for
Hine
in his 1930
Building.
which
critically
financially,
"Work
commis-
Empire State
Our Time),
this
and
as present-
official
race,
Born
in
class
it.
Cologne to
employed
make
as a
as a
worker
He
soon began
families; this
later apprenticeship
of his mature
opened
Linz displayed
in
his train-
his
in a
commercial studio he
mastery of
Pictorialist tech-
another of
sponding to
found
few years
his studios a
portraits that
show
their
later,
"simple, natural
own
soon
fruition in the
its
end of the
first
in
World War.
progress floor by
its
life.
to
Sander drew
ature,
swung out
in a
pictures.
At the con-
number of
the
his ideas
series
book
and expression,
environment on creating
probing and
that featured
document of social
the
Administration
had
littie
last
was
years
offset to a
The
frustration
of
work from
League to rescue
his
tive exhibition in
New York
no. 447).
trades, occupations,
society as a permanent,
and
carefiil
of
truthfiil representation
natural world
German
classes.
the
is
of the
New
work of these
artists,
Realism or
artists
New
may have
outiines,
in 1939.
(pi.
effect
universal
Hine's
Works Progress
individuals
Objectivity.
While
it
visible in paint-
Profile:
August Sander
"Man
through a
in
20th-century Germany."
series
of portraits, sequenced
document
He hoped
that
in a "sociological
378
The
is
evident.
many of his
who were
either in exile or
and
industrial scenes,
his
sought
camera
in land-
467-
human
abiding
He
as
symbols of
survived the
and the
loss
republished
of
work
treasure," this
The Historical
Farm
Section of the
the
be accomplished
when
is
sensitive
photographers working
make
visual statements
When Roy
Washington
at
New
first
through
photographer hired,
set
up
tlie fries
their
drought-stricken regions in
1936,
(pi.
was an experiment
in the
was
Guy
raised questions
^+
In
concerning the
its
veracity,
in
wake, some
of the government
it
he also
former teacher
University,
tw. 4So),
v\'ho
and dark-
social
Columbia
in 1935 to
in their
was the
about compelling
E. Stryker, a
Economics Department
called to
(listed in the
Rothstein, a former
conditions.
Theo
and
as a "nation-
All
nities
Now regarded
efforts to
demon-
John Collier
Profile:
New
sit-
on absolute
379
468.
Hand
Tires,
San Marcos,
of Congress,
Washington, D.C.
469.
Marion Post
WoLCOTT. Family
of'
Migrant
Packinpfhottse Workers,
of Congress, Washington,
DC.
380
470. Jack
Deiano. In
the Convict
Georjfia, 1941.
1
\
i" "^
471-
Ben Shahn.
Cotton Pickers,
Bemarda
B. Shahn.
.If
,A
381
472.
Walker
Evans.
Window Display,
Bethlehem,
Pennsyhania, No\'.,
1935.
of Congress,
Washington, D.C.
medium and
enacted.
The
painter Shahn,
Skills
interesting
clarify the
need for
visual records
in
in that
by Evans
382
in the use
in
He displayed
a vivid understanding
in
of the
Although quite
craft standards
(pi.
no. 471)
maintained by Evans,
and
Stryker's
its
(as well as
photographed extensively
South, engrossed by
camera
"atmosphere
in the
traits,
craft,
and popular
Of all
photographers, he was
least in
the section
complete
a visual
individuality
sional
when
1938,
leg
mining operation
restrictions
of the
project. Therefore
Agee on an
tion, Let
Us
this
Now
writer James
article
azine. Following
Praise
fre-
The compassionate
activities
tion of Stryker
in
for a
replacement for
make
he was
among
the
camps, resulted
loneliness
(pi.
first
in
no. 470).
Vachon, hired
originally as a
supreme
Taught to handle
Vachon saw
file,
aesthetic,
former
darkroom technicians
at
relief project,
first
on
mes-
work
his pictures
in
had time to
was
trans-
The
a California rural
and
file.
the F.S.A.
positive
do
of the F.S.A.
in
no. 469).
no.
(pi.
social
file
wry humor
468).
ment
interrelationship
owes much to
this
distill
moment
(pi.
no. 4Si),
to the individuals
crisis
On
stand.
ities
migrant farm
producing a memorable
Japanese -Americans
the federal
among
series
in the
same
New
and
social factors.
bow
accompa-
press,
achievement.
small
United
when
States.
for superficial
positive
effec-
and
tradi-
tive buffer
to
demands
willingness to
unjustiy interned by
Stryker's
Of
it
1940,
of photographs of
hysteria that
for an exceptional
number of images
in this extensive
entities.
bolize the
when
established Life,
longest.
to amassing as
383
Illuminating
The
Injustice:
Camera and
Social Issues
In the late 19th centun^ the camera became a tool for pro\'iding authentic visual
At the
commissioned or
time, a small
felt
number of photographers
self-impelled to
campaigns undertaken by
working
class.
a sector
From
this
useflil in
of the middle
to insure regulation
were
either
for the
the United
class
immigrant
as well.
two
of a
work of Jacob
Riis,
working
The
in the
Photo League.
who
Album
through
still
retains
compassionate
384
its
this
ILLUMINATING INJUSTICE
includes die
in
473-
Magubane.
-Ct'
'V-^cl
474.
in
OPPOSITE ABOVE:
475.
in
1972.
Foundation.
OPPOSITE below:
476.
386
ILLUMINATING INJUSTICE
^v*
477.
Inge Morath.
Buckingham Palace
Mall, London,
1954. Courtesy and
Inge Morath/
Magnum.
478.
Morris Engel.
Rebecca,
silver
Man
Museum
of the
Cit\'
of
New
Years,
c.
1890.
York.
ILLUMINATING INJUSTICE
389
ff'^
\-i^r
480.
Wendy
courtesy
+81.
Wendv
Watriss
Woodfin Camp.
Dorothea Lange.
San Joaquin
Grayson,
82.
482. Sebastiao
Courtesy and
in
Mali, 1985.
Sebastiao
Salgado/Magnum.
9.
ART, PHOTOGRAPHY,
AND MODERNISM
IQ20-I04S
The new camera counts
earth, it peers
camera
the stars
and
discovers
a new planet
sister to
discovers microcosms.
our
The
as well as
a^irh
cheek
and
392
IF
ANY PERIOD
potential
of photography
it
would have
to be the era
medium
after the
first
imbued
Deutsches
it
was nourished
graphic
arts.
In
fact, it
might with
all
justice
in the
be claimed that
later directions
were foretold
move-
means of producing
also
these
expression as con-
them with exceptional inventiveness and immediacy. Phojournalism, advertising, and publicity, but
artistic
way
elite class.
With
art activity
conceived
emerged
as
an individual
number of artists,
the various
The extraordinary vitality of the medium was apparent in many different localities in England,
during
this period.
yet photographs
North America
nology led to
camera
as the
most
of the age.
"new vision,"
as
it is
art
of
of the medium
in journalism,
advertising,
and book
publication.
1920s
styles,
and approaches,
all
variety
of techniques,
um
and involved
in the
effects
especially
Cubism
the
and
art
medi-
of tech-
on camera
of prewar avant-garde
Experimentation in Europe:
Light Graphics
The developments that followed the end of the first
World War had been heralded earlier in the breakdown of
conventional modes of artistic expression. As the 191418 conflict
bund
art
society.
experimentation,
visual
including
"photogenic drawing"
^Talbot's
exposing
real objects
It will
name
placed directly
kinds of
production
the
of
be recalled that
for prints
on
made by
light-sensitive
paper
common
artists,
earliest
related
German
In Europe the
artistic
and
social tendencies
that
War. Embodied
Bauhaus
in
a school
emerged following
World
Russian Constructivism, the German
end of the
first
and the
a variety
actually
artist
1918
of substances and
The
by Christian Schad,
New Objectivity in painting, who exposed chance arrangements of found objects and waste materials
receipts, rags
sults,
on photographic
film
torn
(pi. no.
Dada
tickets,
leader Tristan
making
art
from
(born
Em-
junk materials.
Man Ray
393
manuel Rudnitsky),
Francis
undertook
called
both
a close associate
his
(pi.
name and
Made soon
after
Duchamp and
similar
Rayographs
New
of
no. 484), a
designation incorporating
Man
immersed
actually
to
moving or
in the developer
times
at
effects,
Man Ray
oudets for
intuitive states
of being and
sought commercial
output
as well as
that, besides
and constructions.
(pi. no.
48s),
the
Bauhaus
in
respectively,
but active
artists
held
484.
Man
Ray
Smoke)., 192?.
New
York,
Man
Estate/A.D.A.G.P.
that, like
graphic images
deal
concerned with
light
and form.
It is ironic
that
form
for the
photograms
are
for duplication.
Other Europeans
or
cameraless imagery
photography came to be
who
exists
experimented with
called
of
artist
Jaromir
assistant to
Man
United States
Chicago
in 1938 as the
Institute
Bauhaus relocated
in
of Design.
483.
of Maryland,
Baltimore. Courtesy Mrs. Christian Schad. G. A.
Richter Rottach-Egem.
394
Collate
and Montagie
Galler>', Universit)'
In Europe, an even
tation involved collage
485-
?95
486.
Hannah Hoch.
The Cut of
Montage.
Nationalgaleric, Staatlichc
Muscen
487.
Toys, 1957.
Schirmer/Moscl, Munich.
396
488.
Idiocies, 1932.
George Grosz.
489.
and halftone.
Museum
New York;
of Modern Art,
Gift of
A. Conger Goodyear.
colter,
The former
on
photographing the
result
(pi.
no. 486)
Montage
refers to the
garde
(pi.
creation of a
new
artists in part
because
it
was
and
The
no. 4S7)
in part
because
it
a folkcraft, so-to-speak
technique employed
elitist activity.
These
of unlikely materials
tremely malleable
political
amenable
who
arts as a
means
means to embody
social
and
political
artists
montage
messages
an
in
Still
other individuals,
nuanced formal
Although
effects.
number of
artists
have claimed to be
in-
painter,
it is
summer of
1918,
as
it
earliest
he
later
of cut-up
Hoch,
selected
photomontage
as a
To
these origi-
397
nators,
revolution,"* visible in
generated fantasies.
socially
characterizes the
work of Heartfield
(pi.
who was
no. 488),
initially a
as the quintessential
of the era
fw. 489).
(pi.
Photographers in
Italy
found montage
a versatile
energy, and
movement
that
had emerged
wake of
in the
Anton
(among others) had incorporated the scientific experiments of Marey into what they
called "Photodynamics," making multiple exposures on a
Giulio and Arturo Bragaglia
single plate
(pi.
World War
I,
no. 490)
Italian
modernists,
among them
Paladini
Vincio
com-
in this vein,
1913.
Weston
Gallery, Inc.,
Smoker^
Montage found
Carmel, Gal.
Union during
the
by
socialist existence
(pi.
photographs and
utilizing
no. 491).
which
and
called
they
straight
Toward
realities.'
tage, effected
on
mon-
by
Owing to its
flexibility,
in
stylistic
To
montage
and
the-
cite oiily a
Germany, explored
(pi.
492)
embraced
journal
few
a similar
(pi. no.
theme
493);
and
in a 1937
Man
{pi.
is
seen in
491.
398
c. 192?.
no. 49s)
and work
visible in several
ABOVE:
492.
Anton Stankowski.
Prakapas Gallery,
Bronxville, N.Y.
FAR LEFT:
493.
Karel Teige.
Untitled,
LEFT:
494.
Man
N.J.
Man Ray
Estate.
399
495-
Alice Lex-Nerlinger.
Julien
montage or
a concept
straight images.
embodied
in the theories
ments
and close-ups.
in seeing
The
New
Straiiht
time, saved
Vision:
The new
known world
in uncharacteristic ways.
in
least
photography from
Even
difficult
means
itself"
Reflections,
presenting the
400
which
Photography in Europe
still
unusual
reflections,
now
in
compos-
offered
them
produced
rcfractixe surfaces
such
as plate glass
and polished
(pi.
of modernist photographers
this
Frau G.
Edmund
lessness
Kestinpf., 1930,
To
(pi.
body
this
in spherical
mimic the
realities. First
496.
no. 497)
a series
seen in 1888,
of experimental
was reintroduced
Edmund
San Francisco
Museum of Modem
interest
initially as
he
in a pcx)l.
of the human
The potential of
comment was explored
whose work
with old-fashioned
in the
modernist vein
(pi.
combined
is
whose
German photographer
rest-
select
(pi.
tw. 498)
tw. 496)
portraits
(pi.
(pi.
headlamp of a car
in
by American neo-
no. soo),
life
as
signify the
inhumane.
intuitive perceptions
(pi.
repetitive
401
reflections in a
ABOVE
497.
LEFT:
Self-Portrait, c. 1888.
above RIGHT:
498.
Andre Kertesz.
New
York.
LEFT:
499.
Gum
print.
National
Study A, 1926.
Museum, Wroclaw,
402
New York.
500.
Clarence John
Laughlin. The
Fierce-Eyed Building, 1938.
New York.
New Orleans
Historic
Collection.
st\de,
indi-
ings.
culture,
found
ideals
of the
Mexican revolution.
their
work of virtually
some
the
allowing them
theories
The
as
all
Cubism,
are visible in
photographers of the
new
vision.
as well as that
with painter
403
50I.
Optic
of
Modem
Art,
New
York;
gift
Museum
of N.
502.
404
(pi. no.
in
still
In the
vistas,
peared in photographs bv
portraitist
Man
lifes.
endless
ap-
(see
Chapter lo)
is
the
work done
in the
second decade of
this centur)'
American photographers
Stieglitz,
The Armory Show, and the Modern GalIndeed, the downward view and the rigorous organi-
exhibited at 291,
lery.
The Steerage
(pi.
structure that
is
no. 402)
resulted in a
complex formal
spirit.
artists
were working
in the
same
Coburn,
in
by
Octopus
(pi.
no. 398)
of
1913
is
503.
a flattened arrangement
Alvin Langdon
Coburn. Vortq^raphNo.
Gelatin silver print.
Modem
Alvin
Art,
New
/,
1917.
Museum of
York; gift of
Langdon Coburn.
405
The
Platinum
Lakeville,
505.
print.
1981
Conn.
Herbert Bayer.
Pont
of planes and
from
arcs achieved
Madison Square
Parle in
New
Q)bum's involvement
English variant of Cubism, led him
by photographing downward
later,
in
to
Around
1916,
Orancfe
atiti
Bowls
(pi.
images concentrated on
tonalitx' rather
than on naturalistic
dubbed Vortographs
British leader
406
(pi.
no. 503)
by
Wyndham
of the movement.
Lewis, the
5o6. Jan
Lauschmann.
York
streets
street
people
and of machine and organic forms with which he was preoccupied until the end of the 1920s.
No Americans besides
bridge looking
down on
Lauschmann.
the
Estate of Jan
in
flat
which the
pattern
visual field
one
is
that retains
just
litz,
Charles Sheeler,
Struss,
Morton
L.
tionally sensitive to
in reality
The
fact that
mundane
made
the unconventional
of
tration
that
is
in his
a photochemist
lated
gum
(pi.
no.
jojr),
in
new
ways.
first
more
Pont Transbordeur
work
by
spatially baflling
texture to be ambig-
mann,
in their images.
Europe
407
507.
Andre Kertesz.
New
York.
Estate of
Andre Kertesz.
Carrefour, Blois
Kertesz
from above
lines
(pi.
no. so8)
by
and shapes of
street level.
jective
lance journalist
Hungary
(see
new
soon
in 1925;
after
moving
free-
vision as a
means
to extract lyrical
moments from
the
408
reflections, close-ups.
no. S07),
his
poetry rather
(pi.
possible the
(pi.
visual interplay
ambiguous
work of 1929
no. soq)
by Vilho
photographer whose
a typically
At times the
in
relationship
comprehension. As a
this
viewpoint
is
so tenuous
result
5o8.
Andre Kertesz.
Carrefour
Blois, 1930.
509.
ViLHO Setala.
Little
1929.
Photographic
Museum
of
Finland, Helsinki.
409
5IO. T.
Lux Feininger.
Clemens
Roseler, c. 1920s.
Karl Blossfeldt.
511.
Impatiens Glandulifera,
angle, a portrait
Feininger,
program
interest
of Clemens Roseler
who was
at the
no. sio)
(pi.
Bauhaus,
is
view
in
fresh
is
an enlarging device to
call
in scientific
means
also
format camera on
illuminations,
his
more
mended
itself
Objective',
strongly to
among them
his
German
close-up recom-
partisans
of the
New
a link
between form
fixed
410
The
complex
in a natural
(pi.
no. sn)-
and
all
as
Sempenmmm Percumcum^
work seemed
1922,
(pi.
no. S12)
At times
art's
sake."
A similar attentive-
and
'30s,
while
a teacher
make
Hans
Finsler,
and professional
in
(pi.
New
of mass-produced ma-
tw. S13)
as
chined objects
in art
large-
Focusing his
their products.
such
on
and
bridges, factories
tion
ral
the close-up, a
The
by T. Lux
Objecti\'it\',
as
it
"a model
typical
the
latter
things.""
The
style
and
its
Piet
Zwart
Emmanuel
(pi.
no. sis),
no. SI4).
a fresh
it
way of viewing
the
human
face
that
and
ducing personal
feelings,
My
no. si6),
Mother
(pi.
and
asymmetrical placement in
Florena Henri
(pi.
Eye ofLotte
(pi.
no. si7),
512.
by the
influential
Albert Renger-
Patzsch. Sempervivum
Percameum, c. 1922.
Gelatin silver print.
Folkwang Museum,
Essen, Germany.
411
513.
412
Hans
c.
Sander
Galler\',
New
York.
514-
Ladislav Berka.
515.
Ladislav Berka.
German
teacher
Max
Burchartz, a
work
the
geometrical design
devices
of the era
undoubtedly
it
stylistic
at the
that
modem photography
As seen
in Child's
Hands
(pi.
by
Italian
pho-
in
documentation
classes
still life
the
Chapter
see
8)
new approaches
to
entire vocabulary
of
or in exploring
in the
tion,
by Surrealism
The
New
Vision in
Japan
no. S2i)
and the
(pi.
clearly influenced
New Objectivitv.
no. S22)
a portrait
Images
by Kozo
(pi.
solariza-
new
in
earlier,
in
era.
ductions of camera images from Europe led to the expansion of photographic activity
areas
invigorating diversit)'
While
directions.
continued to evoke a
The
New
Precisionism
Within
limits, the
new
vision attracted
all
significant
many of
4n
516.
Alexander Rodchenko.
414
Portrait of
CoUeaion Alexander
My Mother,
Lavrientiev,
1924.
Moscow.
517.
Max Burchartz.
Eye ofLotte,
c.
1928.
Museum,
Essen, Germany.
518.
Lucia Moholy.
415
519-
Aenne Biermann.
Child's
Hands,
1929.
Kunstbibliothek,
Staatliche
Museen
Preussischer
Kulturbesitz, Berlin.
Museum
Art,
New
of Modern
York;
anonymous
416
gift.
521.
GiNGO Hanawa.
1971
Japan Professional
Photographers Society.
522.
silver print.
Society.
417
who
began
with
of simple geometric
in 1920
about
relationships.
New
He
collaborated
photography, landed
coveted commission
in
the Ford
Motor Works
at
River Rouge.
Though
Sheeler
growing am-
studies, as in the
523.
Station, 1933.
nels
(pi.
Deck
Photographers Society.
(pi.
oil
fiin-
Upper
no. S26)
to
ma-
sought to embrace
artifact,
of the
real
world even
it
needed to
stress
new
vision into a
as they
in Pictorialism,
vocabulary of the
is
com-
World War In
1923, a
first
extensive experience
and
imderlay the
stylistic
10.
As
primacy of subjec-
of the
late
As
the
New
first
was discussed
York scenes
and the
all
assertive geometrv'
affirm.
role
first
Ameri-
urban Iindscapes
death in
418
1918.
(pi.
no.
524.)
524.
silver print.
util-
Charles Sheeler.
525.
c.
Untitled,
Paper Company,
526.
New
Gilman
York.
1929. Oil
ity is visible in
the
Bourke-White (the
latter
two
will
be discussed in Chapter
10).
photography
and documentary
Typewriter Keys
(pi.
no. s8o), a
in professional
produced
he
film,
close-up that in
its
angled
approach
tising
the
in
campaign
facility
idiom
in
bridge's
for a paper
later
company
used
was
in
an adver-
a harbinger of
machined objects
is
treatment of
exemplified in
city
architecture
Marmon
and
Crankshaft (pi.
San Lorenzo,
Picuris,
design of the
New Mexico
(pi.
much
later
Church of
no. S29).
That the
the early
in
no. 528).
(see
in
Europe during
Abbott's portrait of
spatial
Lincoln Square
(pi. ru).
S3o)
is
image
itself
New
York.
work
made by Strand
no. 527), a
at
the
machine images
native
Similarly, Evans,
before his
419
527.
Platinum
Collection. G.
528.
Crankshaft, 1923.
Ray Hawkins
Los Angeles.
Gallery,
silver print.
Abbott/Commerce Graphics
Limited, Inc.
Precisionist Photographers:
concentrated in the
late
intense concentration
on form
At times, such
Sifter
into a
its
Profile),
(see
Adams became
new photographic
horticulturist
vision.
Margrethe
Hagemeyer,
a former
first
to
rary
his
newfound preference
national
contempo-
no. S32), a
his imagery.
dreamy
Weston's
style that
had gained
successful.
In a 1922
him
{pi.
for
made
industrial
dvit\' to
in die course
of a
trip east,
definition
(pi. no.
he handled the
and singular
sensi-
420
no. S33)-
Mather,
sis
on
st)'le
until 1922
Weston's associate
Cunningham
(pi.
no. S34),
which
penchant for
slopes
plant forms
stark views
(pi.
fto.
flair.
After
was replaced by an
S3S)
of industrial structures
(pi.
no. S83)
of the
clean,
can be conPrecisionist
cerneci with
on
interest in close-ups of
work
pattern
wooded
in his California
in
in
images of nature.
active
promotion of
renown to
Atisel
529.
Picuris,
1981
Museum,
Amon
Carter
/
530. Berenice Abbott. El at Columbus
and Broadway, New York, 1929. Gelatin
silver print.
421
Ironically,
which
is
the
in
crisp
forms of Alma
(pi.
no. s8i),
(pi.
no. S38)
of industrialism.
Photofraphy
and
Industrialism
1918
for-
the
emergence of
pictorial
advertising,
made
531.
Walker Evans.
c.
possible
industrial sub-
1929.
his
that
is
large-scale nature in
similar in
its
all
its
embodies
a scientific control
Adams's
translation
of scale,
pristine
printing.
1920s,
transcendental
chosen theme
purity
its
work
also
and
Cliffs,
Sierra
Nevada
(pi
its
advo-
422
its
of Chicago.
53^
Edward Weston.
Barley
Sifter, 1931.
1981 Arizona
for Creative
Photography, University of
Arizona, Tucson.
534-
in
Mj\rgrethe Mather.
c.
Billy Justema
1923.
+23
535-
Cunningham
536.
Ansel Adams.
Sierm Nej^ada,
'p
Trust,
Calks, 1929.
1970 Imogen
Bcri<.eley, Cal.
Cliffs,
Adams
424
537-
reserved.
425
538.
Alma Lavenson.
Calverns
Dam II,
Alma
trial
jects
and
sites.
(pi.
tw. 540)
is
at
more compre-
peans,
Many
Euro-
no. S4i)
(pi.
without suggesting
the utilitarian
compo-
size,
426
mills
in part
made
b\'
Strand
(pi.
no. S78)^
ume
in Sheeler's
The emphasis on
However,
Rouge
plant
line
and
it
vol-
no. sSs)
were
initially
new American
re-
by Bourke- White,
and energy
(pi.
in these structural
little
about the
Not
ments
ele-
Boris Ignatowich
embodied
land
steel
(pi.
no. S43)
of America's leading
industrial
illustrious career as
photographers
one
539-
Hans
Finsler.
Bridcje at Halle,
Kunstgewerbemuseum der
c.
427
540.
428
Sheriul
V.
left:
Eiffel
Tower
Gelatin silver
print.
Art Institute
of Chicago; Julien
Levy Collection.
BELOW
left:
BORJS
Ignatowich. On
542
Magazine
BELOW right:
54?.
Margaret
Bourke-White.
Hi^h
Level Bridge,
Cleveland, 1929.
George Arents
Research
Librar}',
Syracuse University,
Syracuse, N.Y.
429
no. 582).
qualit\' industrial
advertisements and
motivated by
And
images
beneficial to
ments
no. 446)
(pi.
on
publications
artists
and
for advertise-
of
flesh,
and evoke
still
Weston,
ment
new
an
in
instru-
vision
and
his
own
sexuality.
Nude
(pi.
in
itself^'
otiier.
While
less
common,
be gauged
them Lynes, whose study (pi. no. 548) turns realit}' into
fantasy. Through his handling of the shadows that suggest
suffice:
of the
of Photographic
Exhibition
the
die largest
Bodine, Rotan, and Steichen entered works depicting skyscraper construction, smelting fiirnaces, and bridge struc-
began to appear
and
als,
in
one
article called
occurred almost a
it,'?
Coburn had
justly
pointed out
of the modern
The
in Ugliness," as
New
era.
Vision:
The nude
The Nude
also appealed to
vision.
variety
of visual experiments
tages,
solarizations,
Feininger,
(pi.
lent itself to a
in
Man
among
Ray, Moholy-Nag\',
others.
The work of
t\'pical
artfiilness
mon-
Kesting,
no. 544),
it
Europe, figuring
in
oblique
Hausmann,
and Tabard
of the
it
was
mannered and
creating
typified
As
who were
straight
(pi.
among
deco" arrangements
no. S4S)
male
whose
belief in the
it
of 1927.
as well
as
female
American photographers
photography than
Stieglit/,
st\'lized "art
by an untided image
a
more
acceptable in
nude
as a
symbol of life-giv-
430
the
articles in general
intellectuals can
theme
this
early '30s.'*
and views
theme among
this
mankind.
Industrial images
included
articles.
vitality
also
with
this subject
Rittase,
who
544.
Acquisition
Fund
Drive.
means
FrANTISEK
Drtikol. Untitled,
545-
or bromoil print.
Private collection.
Imogen
Cunningham.
546
Triangles, 1928.
1970 Imogen
Cunningham Trust,
Berkelev, Cal.
movements
in
graphic
this period,
it is
earlier
provided an obvi-
nate objects
realities.
and
of sexualit)',
as in the
metaphors
as
of the German
{pi.
no. S49)-,
artist
Hans
who made
and
settings
photographers, including
(pi.
no. $so).
in
number of
Germany but
born
in
Paris
and
realist
later the
(pi.
no. ssi)
Erwin Blumenfeld,
active in fashion
United
photography
in
the results
(pi.
no. SS2)
rapturous animation.
suggest
classical sculpture
given
successfiilly
adapted Surrealism to fashion photography, his contribution will be discussed in the next chapter, along witli oth-
431
who made
ers
whose
interest in
late 1930s
and
'40s, will
be treated in subse-
quent chapters.
Until the 1930s, light graphics, montages, solarizations,
lived in Paris)
member of the
as
New
work with
what he
any case
gained renown
Around
theatrical photographer.
Bruguiere began to
in
former California
who had
Photo-Secession
York
1926,
(pi.
no. S53)
made by
At times
these
mystery. Following a
ued to "create
own
his
and
photographs
move
drama and
abstract
films,
among them
Light
Rhythms.
After the Bauhaus was reincarnated in the Institute of
Design
in 1938,
Edward Weston.
1981
Nutk,
(pi.
New
York,
term she
who
started to regard
light rather
of light graphics
of Design prompted
in
several generations
ideas. In a
who embarked on a
whose tenure
full
as a
photography
at the Institute
of students to
in-
range of experimentalist
(pi.
no. ss6)
less
discerned in
New
York City
[see also
her photographs of
as "the greatest
of
weapons
against
effective
decade
earlier
year, this
grand
1940.
Germany, and
New
York.
rapher Franz
432
organized
::
b\'
the Deutsches
in the publication
Roh and
Werbbund
based on
it
at Stuttgart,
by photog-
ABOVE
LEFT;
549-
HoRACio Coppola.
Doll
1932-
Francisco
Grandmother's
Museum of Modern
Art;
New
York.
ABOVE right:
550.
Hans Bellmer.
(Doll's
silver print
Miller Gallery,
New
York.
left:
551.
Untitled
Levy Collection.
433
552.
434
New
New
York.
553-
Paul Gctt)'
Museum, Los
Angeles.
LoTTE Jacobi.
Photopenic,
c.
The Lotte
Jacobi Collection.
554.
" Univcrsit)' of
New
1940S-50S.
Hampshire, Durham.
435
555c.
Gras,
GaJlery,
556.
New
York.
Carlotta Corpron.
Barbara Morgan.
Sprimj on Madison
Barbara and
Dobbs
436
VVillard
Ferry, N.Y.
Morgan
Archi\cs,
557-
world
(pi.
no. ss8) ,
Americans, the
The
exhibit,
its
latter,
selected
in print journalism
significant factors
and
stills,
and
straight
images
made
as
personal
will
on
movie
begun to
became increasingly
chapter.
expression.
This
show
it)
summed up
Profile: Lazslo
Moholy-Na0y
the extraordi-
was
active in a
technical era,
medium up
would,
in
common
an ardent belief
graphic design.
life
creative
work
utility,
creatively in
all
and between
practice
self-
and theory
437
After
INTERNATIONALE AUSSTELLUNG
WERKBUNDS
OES DEUTSCHEN
^1
the
leaving
worked on
Bauhaus
1928,
Moholy-Nagy
and
films in Berlin
Germany
to emigrate to
in
Amsterdam
in 1935.
ments
in
was
Bauhaus being
up
set
was established
later
London, and
on commercial
of Design)
in
in the
as the
Chicago.
illustrate
to head a reactivated
inx'ited
United
States,
School of Design
He
assign-
died in that
cit\'
which
a year
(later Institute
in 1946.
the
entire range
cameraless images
various
devices.
form, and the urban street scene. His work does not
exclusively within any
one of the
of the photographer's
ness, reflective
BERLIN 1929
FOTO-AUSSTELLUNG V OM
IN
19.
OKT. B IS
17.
NOV.
Architektur,
Musccn
of the
mit
Museum
a device for
were embodied
among
them, abstract
film,
shows, con-
light
Born
in
Moholy-Nagy
and
provincial section of
Hungary
literary activities in
army
moved
in
Berlin
his
native land
service during
1920,
1895,
and
later
I.
He
in
and
avant-garde
articles
based
his wife,
Lucia
Moholy
As "manipulators
medium of photography
arrive at individualized
438
and
of
publications,
Plastic
it is
which
teacher,
and
in 1947.
Vision
Though
as theorist
Vienna
in
light," they
numerous other
concepts
World War
known
of
in Motion,
in
A Medium
Fotografie
1925, these
Profile:
on
book Malerei
lished in die
artists
alike "^
fur
a writer
fijture will
include "Light
As
life
Germany,
liveli-
interest in actual
graphic tool
558.
of the
extraordinary
FILM-SONDERVORFOHRUNGEN
distinctive styles
is its
fall
artists in
nonmechanical expression.
Paul Strand
stirrings
Born
in
New
of modernism
York
in 1890,
\isit
Hine
America.
class
and
at the Ethical
until tlien
he had consid-
first
from
the circle around Stieglitz and then from the group that
Modem
Gallcn,' in
1915,
including
which was
ex-
photographed urban
tumed
begun
S78)
using
sites,
continued
earlier,
5x7 and
and
8 x 10 inch
of the
New
acknowledged
Objectivit}',
as
form and
lens.
he
as a
when
Coast.
in
social ideas
being tested
still
photographs and to
New
God,"
559.
intrinsic capa-
in
on the
bilities
Modem Gallery,
on
439
56o.
Edward Weston.
Gelatin silver
Shells, 1927.
print.
New
Witkin Gallen',
York. 1981 Arizona
Photographw
of Arizona,
Tucson.
Union
in 1935,
cinema. Time in
New Enpfland,
a collaboration
with Nanc\'
tations
Pare Lxjrentz
was
at
released in 1941
which time
its
on
Europe
(A
in 1950, eventually
Profile of France)
Villofje)
World War
moved
producing La France de
with Claude
Roy
(1955),
among
to
profit
(1952),
Un
Paese (A
and Tir
a'
Mhurain
II,
and decorum
440
after
in nature
was
a factor in
sient effects
to concentrate
on
its
order
in
"deepest
moment of perception."
Following a four-year period in Mexico, during which
he opened a portrait studio with Tina Modotti and became
period,
California. In 1927, he
removed from
artifacts
and illuminated
a series
their
well-known nautilus
he arranged
no. s6i),
(pi.
essence of what
lies
before the
an "image more
real
object."^*
work, representing,
as
it
actual
more than
convenient
the
between
561.
Edward Weston.
Witkin Gallery,
New
1918
of Arizona, Tucson.
photographer
Profile:
a period
of
Edward Weston
ing the late 1920s with his intense feeling for the California
Piaorialist persuasion,
quintessential
Bom
American artist/photographer of
in Illinois in 1886,
his time.
the
igiiArmco images
the
life
(pi.
photographs appeared
in 1940,
folio.
My Camera
richest
his career.
in California
later in
and the
of these
West, published
Weston embarked on
no. S84),
of an impecunious but
nuanced imagery of
landscape,
ally
literal
record-
methods
edited by
existence
Nancy Newhall,
and
detail the
problems of daily
unique document,
it
life.
and
441
MATERIALS, EQUIPMENT,
The unwieldy
on
glass led to
the
many variables
quality,
that char-
Dr.
J.
England
in
in i860,
new
papers
Consisting
initially
of a
bromide emulsion on
new
in
in 1878
Europe and
era in photography.
a silver
ground
glass
was replaced by
glass
it
fragile
had become
Two
t\^pes
in
of printing papers
available
Solio),
this
silver
even
as early as 1873.
by gas
light
(known
of about
.01
paper
inch thickness.
roll film (first
in 1854
see below)
was commerci-
ally
New York,
in 1888.
At
first,
as
in Rochester,
transferred
came
it is
known today
into being.
added dyes to
silver
produced the
and
to blue light)
when
it
all
was applied to
in the
colors but
still
sensitivity to
all
requiring a yellow
difficult
filter
in 1903, resulted
sensitive to
to cut
down
all
the
blue light.
442
ortho-
were
first
problems to solve
TECHNICAL HISTORY
II
because of
down
S63),
sitivity'
in 1895
(pi-
no.
sen-
ment of th.';
mirror to redirect the light rays to a horizontal groundglass focusing surface, an early
patented in 1861 by
Thomas
model of
Sutton.
this t\'pc
The most
was
influential
Schwing
in 1898;
it
assumed
its
563.
slotted stays
on
either side
of the
around 1900
two
field,
on John
Herschel's
in
teurs
who
ama-
required a printing
image
news and
portrait photographers,
and individuals
was produced
lens panel.
no. 564).
(pi.
in
make
scale.
and
made
it
Photographs of
Berlin
was capable,
size pictures a
on the new
as
Automatic
for example,
fast-acting
first
bromide paper.'
were made
sizes that
in large
ranged from
cartes
de
visite (pi.
plate
By
in
During the
sign
New
no. 226)
and stereographs
(pi.
make
no. 22s).
the drv
plate
and
celluloid film.
in
manufactured
562}
(pi.
no.
capacit}' to
564. Graflex
was
a single-lens reflex
TECHNICAL HISTORY
II
443
565.
PhotO'Rnvher de
Poche.
E. Enjalbert's Photo-Revolver
compartment
chamber (c). When
catch (d) was slid, a plate
plates (a) in a
(b) in the
moved
When
position (e).
the
movement
shutter (g),
which was
The
was mounted
lens (l)
in the barrel.
The hammer
(j)
chamber
(c).
-D
566.
Stim
Secret
P.
and Rudolph
1886
567. Walking-Stick
The
was placed
underneath the front of the handle. (D) Lens panel,
Winding-on key.
444
circular plate
on
a string (c).
TECHNICAL HISTORY
II
provided.
shutter release
knob
was
(c)
(e)
568.
(2) roll-holder as
569.
Schmid Camera. In
1883,
the
first
popular hand-held
external view.
in
end of which
film
carried
window
(d)
the
No.
differed
from the
string (m)
were
1888 version in
in 1889. It
of the shutter
also altered.
exposures to be made.
TECHNICAL HISTORY
II
445
571.
Some
early lenses
were
fitted
N.
P.
Lerebours and
is
a close
570.
in the 1870s,
lens cap
seconds
tory,
and replacing
or minutes.
it was possible to
some street action using small cameras with a single
capture
(pi.
no. $66}
a waistcoat
these instruments,
revolvers
little
(pi.
1%
and walking
novelties.
began to appear
they became
made
no. 565)
more than
Cam-
The
known
dr\f-plate
as detective
were
hand cameras
were
that
a different ston';
were incon-
An early,
Camera
(pi.
no. $69)
1883,
invented by the
but the
Kodak
(pi.
572.
1883
had two
no.
raised to
S68),
announced
both
easier to operate
completely
446
in 1888
and revolutionary
in that
it
created a
TECHNICAL HISTORY
II
pi\'oted flaps,
on
in turn.
the string,
screw-
was used to
flaps.
its
up the processing
ga\'e
aspects.
as
it
growing market.
for a
been used
by moving
no.
(pi.
earlier,
m)
times
at
became
a necessity.
They could be
tion, they
a string or a
pneumatic
In the late
1880S, sets
(pi.
no. S73),
1904, the
compound
sets
of blades
Comtotally
improvements
Goerz Sector Shutter. In the improved Goerz sector
573-
cameras
functions of an
diaphragm and
iris
a shutter
The
shutter
by
set
became standard on
it
The
no. S74)
all
after
hand
better
dials (a).
remained open;
the camera behind the lens but in fi-ont of the plate or film,
were
on
(pi.
it
on
the principle of a
this type
window
'80s,
but the
in 1888
roll film, a
string to
diate success
film,
and
roll
in
1875
Leon
accommodated
Molard
itself was
not
sensitive
enough
Improvements
was an imme-
made
(pi.
no. S7S)
after 1880
made
in glass
possible
manufacture
in Jena,
view cameras
Zeiss
initially
fitted,
ture anastigmats
vertical
up to
were
manufac-
both
f/4.5.
Lomb
the
Germany,
Besides the
in the
United States
in
also contributed
German
new
&
designs,
firms preempted
Goerz Dagor
lenses.
lens,
H. Walker, which
Undoubtedly
it
also
had to be attached to
was the
simplicity
dom from
of a camera with
inte-
the Kodak.
1891
Detective
first
cameras"*
a plate camera.
era,
differ-
TECHNICAL HISTORY
II
447
Henry Emerson
development prompted
this
Measuring the
light reflected
actinometers
employed
that
and optical or
visual devices.
The
latter,
made
first
in
number visible
gave the exposure time. Design changes on this kind of
meter continued to be made until 1940, but none produced
seen through an eyepiece in which the
produced by
meter.
cell
last
a photoelectric
light-sensitive characteristics
of selenium, discovered
meter was
in 1932
1940s
first
marketed
(pi.
no. 577),
it
1938,
Developments in Color
From
color
was almost
daguerreotypes were tinted with dry pigments and calotypes were painted with watercolors. In the
wake of
Compound
1911
medium,
hope
the
a train
However, soon
Edmond
of
that
photographv
in color
would soon be
by Herschel
silver
compounds without
silver
bromide
it
plates in the
light reflected
from
first
device to effectively
was
this relationship
a slide-rule-
(pi.
no. S76)
conclusive
results.
1851 a
bv
In
late 1870S,
pos-
1840,
in
lever
manufacture of standardized
of the
In these experiments,
sible.
released.
Deckel's
sectional view.
efforts
Work-
1891
a result that
it is
in color,
Hill, also
of the interference
non one
results
was
basis
theor\'
of
light wa\'es
colors
equations
on which
448
ex-
TECHNICAL HISTORY H
in
difficulties in
elaborated bv
human
which were
in
Germanv.
all
The
full
red, blue,
and
subtracting
them by using
filters
of complementary
produced
a color
337) \
col-
of
a striped tartan
ribbon
(plate no.
through liquid
filters.
Louis Ducos du
Hauron attempted
in France,
to perform similar
experiments; in 1869, he and Charles Cros, working independently, published proposals for color processes based
used
in these
Ottomar Anschiitz's
was adjusted from the back
of the camera. A catch (a) could be set in one of several
notches (b) on the lower edge of the upper blind (c).
A cord linkage, which was attached to the catch, adjusted
Anschiitz Focal Plane Shutter.
of
1888
spectral hues to
575.
in the early
make
all
(Photography in Color),
lines in
their
complements, would
when
yield
all
576.
Hurter and
Actinograph.
Driffield
The Actinograph,
different latitudes.
TECHNICAL HISTORY
11
449
577-
meter of
by tu'o
was used
potential de\'eloped
photoelearic
cells
of
to
meter
experiment with
but
in
and blue
When
plate
and
on
aniline dyes
used
in
filter,
in accuracy'
a yellow
was limited
ed
this idea,
sensitivity
of the
first
\\'ith
in
a fine black
powder
to
fill
result
was
silver
a posi-
and
sensitivity'
successftil in
fact that
Autochrome was
plates
ta,
and placed
yellow
in register,
together
Company
beginning
the
light
is
stock
and
aniline dyes
were
all
the
this process
complementary
methods of superimposing
who had
in 1895
invented a
and produced
rolled
in
light to
materials
The
called a heliochrome.
on
these
its
all
since
sheets
in 1916, for
three
spite
commercially feasible
this idea.
relative ease
When
on dichromated-gelatin
own complement;
tive
spec-
all
which
on
tral
a process invented in
An Autochrome
which involved
by the lack of
Autochrome,
Ducos du Hauron's
To produce
in
hcliochromes on
tissues
1914 as
first
Ducos du Hauron's
to
early
nearlv
4.^0
TECHNICAL HISTORY
II
all
and the
Jos-
Pe process
Germany
in
the best
Photomechanical Processes
when
the 1930s
after the
announced
later
second
a lithographic
and yellow
ical
ink. Additional
Hermann W. Vogel
and
advertising
in
States
during the
Much of the
last
had exhibited
a process for
century.
who by
line screens to
photographer
New
in
albeit
crudely,
make
York
who had
City,
turned his
whose color
authentic
ers
and
zines
Ives's
he reproduced
enough
three
a still-life
single-line
camera image
quality
as
fruits. Just
and per-
the
as
of reproducing
make
to
who
light-generated images.
1820s,
in part
and metal
plates
in ink
on
a press.
This aim
sepa-
successfijlly
on the
with
five
and printed on a
press.
and
such prints,
the
is
first
work entirely
book-
illustrated
illustrated
by
Noel Marie
in
Notwith-
handwork, making
it
slow and
costly.
fected by others.
early
as
possibility
how
documentation
was demonstrated
in printer's ink
had discovered
Indeed,
The
advertising.
later,
photographs
for
social
and then
demand
1885
ly
and,
United
late 19th
onto
from which
in
England produced
made on
prints could be
sensitized
means of reproducing
less
urgent.
However,
been
of the
intrinsic nature
of the
amount of handwork
required.
19th century, photolithography
which a
leys
plate
is
it
has employed
and black
Another discovery
era.
inks to
produce
a full-color iniage.
prepared by graining
it
val-
depends on
how
light
consequence, Talbot
which
prints
two
press.
traditional
methods by
surfaces,
plate surface,
utilize the
areas.
photographic image
which
Those
in relief and
TECHNICAL HISTORY
II
451
original print
would
fool the
The
it
received
developed
more
thinnest
the
transferring
but solving
system,
first
is
thick, thus
particles
mated
on
demonstrated
in 1839)
dichloride
an etchant.
as
aspect of the
significant
image
on which
a glass plate
fine
fine particles
Because the
tonalities.
up the continuous
known
is
resin
tonalities
as grain
ity
delicate values
it
soft:
qual-
images
one another or
The
method
intersecting
producing varying
on
short-lived,
of black gauze"
plate
copper
the
photography
light in contact
in
was
quickly
around
1850.
to which adhered
is
for
photographers
who
wished to produce
artistic
Emerson, a number of
Pictorialist
gravures,
reproductions.
The
photographers
their
installed
own
photo-
instead of
Based on
earlier
textile
designs,
of
line
ous handwork by
initial
skilled
engravers.
second patent,
photoglyphic engraving
by
now
introducing the
called
use
Both improve-
ments
in
it
was an
intaglio
money
method of making permaexperimentation increased on the Continent.
in the
same direction
results
as Talbot,
on
steel plates.
undertook
a systematic
Viennese
it
in
plates. Basic to
ulates into a
discrete
which
on
a great deal
flat
surface,
of experimenta-
glass,
flat
metal
when
light-sensitive gelatin
network of small
segments
in
it
hardens
it
is
retic-
original
gelatin,
London,
settling in
mold of
tion
quality.
thicker
and darker
areas,
and thinner
452
(piano-
who
flat
Felix
He
a rotating
and water repel each other; where the surface had been
good
in 1854
Claude
relatively
aquatint techniques
made
image on stone,
a crossline
Working
flat
and
tonalities
nent prints,
was offered
for a practicable
potential.
artistic
rather than
screen as a
of
mercial
TECHNICAL HISTORY
II
in
Poitevin, the
The technology
lith-
made
that
contact with a
this surface in
and reticulated
in
untouched by
areas
light
generally as zincography,
efforts in the 1850s
in
it
grew out of
early tentative
France and by a
Kjiown
in
Vienna,
significant
The introduction
made possible large
prints
of photolithographs, which
in
addition
to
name used
to
irreg-
embrace
all
in collotype (the
these efforts),
it
became the
books and
Planographic print-
art reproductions.
in relief (rather
breakthrough came
in
1877,
The most
when
the Jaffe
practicable
Petit,
all
of whom substituted
The
on two
glass plates,
(at
tive
The
which a
gelatin relief,
produced by expos-
was imbedded
gelatin,
in a lead
mold,
filled
with a mixture of
fine definition
of photographic
most authentic
tonalities in reproduction.
and the
translation
Though
finished print
wicHely
difficult to
had to be
translation
The
considered to be
this
among
and journals
recommended
superimposed
print.
at right angles to
American printer
Max
clear definition.
surface of which
in the
until the
method of etching
image to produce
would
same manner
Not
worked out
onto a
wood
less
This block
which
in
lines that
in the
photograph.
men and
type.
then reassembled
However, the
tographic tonalities
act,
more
could
crafts-
way of translating phowas both time consuming and inexfact that this
are printed
the
translate
each
size
technology. In 1886, he
parallel-ruled screens,
periodical.
a print-
mated glue
inventive
producing
However
layer,
of the dots; the smaller they were, the more accurate the
method
method, both
text
and
letter-
way
to
illustrations
is
used in
relief printing,
is
offset
and the
onto a rubber
plates,
each
plates.
TECHNICAL HISTORY
II
453
The Machine:
Icons of the
Industrial Ethos
This album presents a selection of images by eight leading American
photographers
During
this period,
harmony with
tools,
who worked
assembly
societies) attracted
come
photographers
'30s.
as the visual
medium most
modern
Factories,
life.
to dominate existence in
who
and
textures. In the
was predominant,
all
in
machine
United
reverential attitudes
industrialized
was emincndy
States,
where
toward machinery
its
and
and
and
Modernist
in the
industrial installations
made
it
consumer goods
Edward
Steichen and Ralph Steiner to photograph cudery and typewriters, and for
who may
also
and smoke
Strand, Willard
drawn
stacks.
have been
among them
454
::
THE MACHINE
and for
precise geometrical
volumes
7-
''5'
rt'..'
THE MACHINE
::
455
LEFT:
579-
Edward Steichen.
Gorlmm
Sterling Advertisement,
1930. Published
March
i,
1930,
RIGHT:
580.
Ralph Steiner.
''
Estate of
Ralph Steiner.
456
THE MACHINE
^
<$>
58i.
Funnels, 1932.
to
Divert a Section of
Dam,
Alontana, 1936.
'
1936
Time
Service,
New
York.
RIGHT:
Imogen
Cunningham.
583.
Wheat Water
Shredded
Tower, 1928.
1979
Imogen Cunningham
584-
Steel,
460
THE MACHINE
585.
Charles Sheeler.
lO.
WORDS AND
PICTURES
PHOTOGRAPHS IN
PRINT MEDIA
1920-1080
Every propagandist knows the value of a tendentious photqpfraph: from
advertising to political posters, a photoiraph ifproperly chosen, punches,
boxes, whistles, [rips the heart
and
and
only
new
truth.
462
::
terization
mons), were
the
it
printing techniques
for
As
halftone
tising. Fast
(see
Short Technical
History,
which
turn changed
in
attitudes
displaying photographs.
discussed in Chapter
8,
was
affected
by the spread of
The
carefully
tion, attitudes,
enterprises
and
effects that,
role
manner
in
tion,
illus-
literate
urbanized
with infor-
means of illustration."'
lithographs based
since the
It is
of the camera
and
redrawn or restructured by an
artist
Short Tech-
no longer had
to be
to be usable in news-
and Berliner
cals that
Illustrierte
The
layouts.
more
pictures
after
attention to page
sometimes
deliberately arranged,
in
overlapping patterns
and
articles consisting
of just photographs
as Roll
C.
J.
indistinct
less
text
as
of
in the 1930s.
the
news
dai-
wholeheartedly as the
handmade drawing to an
camera image. However, even when improved
becoming
than
sketch.
artist's
plexion,
efficient
trated
ideas.
first
lies
It is difficult
the
among
soon
One
exception
is
in undis-
the series by
camera while
not the
his
field-
were somewhat lighter than those used during the Crimean and American Civil wars were dispatched to battlefields around the world to capture, as the Illustrated American put
it,
history."'
Continuing
463
586.
Arnold Genthe.
Fire,
Museum
New
of
Modem
Art,
photographer.
ner,
(see
photographed
conflicts in the
War
United States
were
later
of these
arti-
War
also
tic
art
464
in-
to
in 1889,
was sent
who
in 1898
emigrated to the
by
Collier's
Weekly
mediaa' seen
Ftghtinff at
in
im-
San Juan
by Hare of the
real-life
later
(pi.
no. S87)
Russo-Japanese
and
War
enabled
advertising,
which
Collier's
in turn
587.
the
at
print.
prompted other magazines to use photographs more genImages of the Mexican revolution by Casasola,
erously.
probably the
first
photographer
in his
country consciously
modem
in feeling
even though
seem
made with
surprisingly
as
advantage of this photographer's keen eye for dramatic expression and gesture
(pi.
no. sSS)
as
from
aside
Album
difficult to
it
France in 1914 by
as
make
means
Hare who,
Collier's,
strict
England and
sent to
snapshot without
arrest."'
Qjmpelling
with
its
nine million
the setback
portorial
in
users to
a powerful sense
of being a
slice-of-life
35mm cameras
promoted
Owing
photoreportage.
from
that appeared in
somewhat
this
excised
kind of naturalism in
size
fatalities
in professional laboratories,
more
photographer or
likely
selecting
The freedom
fi-om
conception of
had
little
attitudes
in part
in
toward
re-
from advances
combat pho-
the
ele-
photojournalistic reportage.
As a consequence,
engaged in
a
new ideo-
its
embodiments of the
as well as all
and permitted
permission in writing
tography
fast lens
visual
with a
official
cameramen, includ-
civilian
in
a poorly re-
manner
self-expressive
Grafico Hist&rico^
view camera
small-
1930s
in
465
substantially
from the
earlier
differed
as
new
illustrated weeklies
the dynamic
ries
Photojournalism in Europe:
the 1920s
and
With other
tional luster in
Republic,
it
^30s
aspects
that
Weimar
and layouts
(pi.
about social
lands.
Germany during
on the
among them
(MIP) The quest
after 1918,
appeared
activities,
life
in foreign
to shoot sequences
rative in pictures
with only a
a nar-
it
The
surfaced almost
40
years earlier
when Nadar
staged an
588.
AGUSTIn VfCTOR
Casasola. Mexican
Revolution,
c. 1912.
Gelatin
collection.
466
tures
lull
\<}-i9
,..,
29
3\.
Berliner
tions. In
suitable illustra-
it Idbrgang
was known,
it
in
in 1928 in
emerged
available light
the
points of
at
Ermanox
(a plate
camera of ex-
Berlin,
busi-
Salomon,
known
who was in
made
his exposures
instant
i/25th
Martin Munkacsi.
589.
(BIZ), July
21, 1929.
were reproduced
in pictorial weeklies in
where
their naturalness
politicos
colJection.
began to be
called,
pictures, as they
and
Germany,
posed portraits of
celebrities.
193 1 as
ous Contemporaries in
his
which appeared
nos. S90-S93)-,
in
Le Journal
reveal a degree
would
later
lenses,
and the
be avoided with
easier
The
illustre in
of posturing;
faster film,
handling of
1886
(pi.
this stiffness
more
sensitive
35mm equipment.
new
became
crucial.
spacing,
In Germany, the
vitality in selection,
of pictorial material for MIP was guided by a keen awareness that readers
wished to be entertained
world of the
as well as in-
rich
and powerfial
(pi.
27 images,
no. S94)
Tim
Gidal, himself a
H.
Man
Umbo
(Otto
Umbehrs) as among those who had imposed a distinctive style on their materials. For instance, Munkacsi, initialpainter and sportswriter in
ly a
split-second reportage, as
1931.
ally sensitive
(pi.
is
apparent
no. 59$),
in the silhouetted
made on assignment in
ciated Press in
Germany
until 1935,
formed.
to a
nary
graphs, to
now
rich
life
(pi.
no. S08)
in pictures
concerned them-
fees in addition to
maintaining
files
of
pic-
the
for
Umbo
German and
exemplifies the
and collecting
made
than by pictorial
still
467
n
590-93.
of Living a
Hundred
468
illustre,
September
5,
1886.
Bibliotheque Nationale,
Paris.
594
Erich Salomon.
in Berlin, Reception in
Presidential Palace
Kunstbibliothek, Staatlichc
Preu-S.si.scher
595.
1931.
Musccn
Kuiturbcsitz, Berlin.
Youths,
Center of Photography,
New
York, and
m-r
-j-
469
596.
Alfred Eisenstaedt.
of Ethiopian Soldier,
silver print. Life
offhand
quality'
of contcmporan'
life
in Berlin,
helped pro-
"street slang"
press
The
lished
between
Czcchoslo\'akia,
photoreportage,
Heartfield
ity
(see
1925
and 1932
Germany and
in
later in
in addition to
Chapter 9)
Russian Constructivist
lage
artists
470
elitist
used photographic
col-
who
this
at
Magazine 1944
New
York.
and
and
Feet
Gelatin
Time
class audience.
1935.
working-
in
which he and
his
purposes
Photography
(pi.
made
in the Soviet
responsive
governed the
role
camera image
statement.
traits
as a utilitarian rather
From
es-
no. S97)
on
the
of all
leaders
and
when
por-
activities
by
in
mass communication,
of national
life in
books, magazines, and posters. This socially oriented concept gave the formal Constructivist ideas of Alexander
means of creating
as a
a fresh vision
of a society building
itself.
The
artists
adaptability of
to consider
ing the
mammoth
montage
it
way of achiev-
task
including
poem Pro
Eto ("About
series for
This")
Vladimir Mayakovsky^s
and
magazine of the
arts
LEF
(pi no.spS)
art.
A compatriot,
the painter El
fresh vision
of
reality
that
had
a significant influence
1920s.
on
Hitler's
Museum
31, 1935.
George Eastman
House, Rochester, N.Y.; courtesy Mrs. Gertrud Heartfield.
International
of Photography
at
also
John Heartfield.
597-
in-
An
opposing trend
598.
in
Alexander Rodchenko.
Novyi LEF,
cover.
::
471
LEFT:
599-
Umbo
(Otto Umbehrs).
Room,
Gallery,
New
York. Galerie
right above:
600.
Max Alpert.
Grand Canal,
1939. Gelatin
Magazine
RIGHT below:
601.
Yevgeny Khaldey.
Hammer and
Raisinpi of the
May 2,
was
embodied
in
less
formalistic
visual
cite
first
for
The
Soon
in
aft:er
magazine
as "at
More
than BIZ,
it
to
the
and communal
vastness
activity
in Paris in 1928
action."""
project
once
who
stylish
and more
departed ft^om
means of
German magazine
practice by
element. In
Dmitri Balter-
no. 600).
committed
Grand Canal
(pi.
by Lucien
politically
Uzbekistan
to and
regarded the
up
vitality
in the provinces,
no. 493). In
shot
(pi.
Schickler
New York.
Fine Art,
also
Gelatin silver
I94S-
Howard
print.
tiiis
at
humorous
War
II,
as well as
and
afi:er
of the Nuremberg
(pi.
no. 601),
life
before
documentation
a signifi-
Kemal Pasha
and
City,
(pi.
who
no. 603),
by foremost
Mill ofLife
(pi.
no. 604),
by the
+72
by Vu
(as well as
strictiy reportorial
trials.
in
long tradition of
fairly
Kertesz
(pi.
whose
visual
commissioned
illustration
nor
as in the case
content and
of
for-
Under
(later
with
tive
the
artistic
Vojfue),
use of montage
Vu
also
on
its
many of its
feature
articles.
Germany during the 1930s inadverspread of the new journalism and popu-
Political events in
35mm camera
as
an expressive instrument. As
473
6o2.
474
Fort Peck
Dam, Montana,
New
York.
23, 1936.
KEMAL PASHA
KEMAL'S CONSTRUCTIVE PROGRAM
M. SzcKuka.
603.
Construaive Program^
c.
Pasha: Kemal's
1928. Photocollage.
Museum of
Photography,
illustrated
New
their
Europe
States.
Museum
to England,
of
Kazimierz Podsadecki.
Photomontage.
New
York.
York.
who had
604.
of
cite
reflected a variety
upon
of influences
as
photographers drew
and the
London during
came
to the United
and compelling
became one of
States
exile
and
Bill
ally
and sent to
his
was
Picture journalism in
early 1930s
a soci-
who began
his
475
Chim (David
Seymour). May Day,
6o5.
Barcelona, 1936.
Photojournalism
War Reporta0e
the
came
in
tensive use
of photographic
American industrialism an
ex-
its
attractive gloss
also
were
on
fac-
Ameri-
it
was
itself quintessentially
political
dustrial
of cinema newsrecls,
it
in particular
476
cryptically writ-
associated.
The
and
social issues
Following
Peck
Life's
debut
in 1936,
with a handsome
in-
6o6.
Robert Capa.
Death of a
Loyalist
Soldier, 1936.
Gelatin
Robert
silver print.
Capa/Magnum.
6o7-
Robert Capa.
'Normandy Invasion,
June
6, 1944.
Gelatin
Robert
silver print.
Capa/Magnum.
"^^ftL.
".a*.
477
Wilson Hicks,
mounted
a readership that
to
first
a similar approach,
among them
in
and Der
Spiegel in
Europe.
The
first
and Europe
surprisingly,
between 1936
first
demand
for dra-
own
particu-
a definite style,
The
evils
number of
feeling evident in a
on the
photojournalists
In
style,
in the intense
battlefields.
New
1943.
and
on an unusual
of the unpre-
and poignant
(pi.
no. S96)
May
army.
608.
Day, Barcelona
(pi.
a ruthless,
well-equipped
by
Chim (David
no. 60s)
woman
expression of the
facial
on D-Day
(pi.
he died in 1954 on
a battle-
field in
of
photographed war
Silk,
Miller,
Carl
War
Mydans, George
during World
who
action.
II,
on various
and photographers
in the
fronts
Armed
show
on the
An even more
a Loyalist Soldier
(pi.
no. 606)
conflict
by Robert Capa,
is
Death of
Hungarian-
Civil
War
appeared
book
enti-
tled
in
Death in
the Makin^.'^
civilians, soldiers,
shocking
irrationality
also estab-
that "if
Capa
as a
he
478
the
full
Smith
(see Profile)
no. 608)
made during
(pi.
combatants or
civilians,
who
are caught
up
in
incompre-
its
after-
in
It is visible in
the
(pi.
no. 611), to
name only
tories, as in
601).
aspects of
a scene,
snow
(pi.
rw. 609}, in
Ottoman miniauires
radier dian
which small
fig-
contemporary warfare.
Yevgeny Khaldey's
Jean Seeberger
and
raising
fear.
(pi.
no.
In general,
Paris
German and
ent. First
(pi.
no. 612)
(pi.
no. 613)
609.
by Albert and
in
corpses
no.
(pi.
Japanese photographs of
the
flag
of the
brought to
light
some 40
years
afi:er
the event,
efface
humanity everywhere.
479
Romano Cagnoni.
610.
East Pakistan:
Villa^jers
Welcoming Liberation
Forces^ 1971.
print.
Gelatin silver
Romano
Cagnoni/Magnum.
611.
Donald McCullin.
Cotiqolese Soldiers
Ill-Treating Prisoners
Awaiting Death in
Stanleyville, 1964.
silver print.
Gelatin
Donald
McCullin/Magnum.
Postwar Photojournalism
Photographs reproduced
journals
in Life^ Look,
(pi.
no. 616),
concerned
Through photographs,
of the
480
roamed widely
\'aried
forms of
social
conduct
in
became
resources and
remote places of
mal and
by
by photographs of the
terrestrial life.
Roman
of ani-
scientific aspects
as
to the
views
monochrome
in
photography.
glimpse of a largely
mysteries of existence in
unknown
more remote
places
were revealed
journalists
(pi.
no. 6is),
and
life
all
The
best
{pi.
expanding
significant than
of new enterprises
number of photographers'
in
collaborain 1947
by
612.
Galina Sanko.
Fallen
German
Moscow.
613.
the
Dmitri Baltermants.
Identifying;
silver print.
Council,
New
York.
481
6i4-
Exchanjje
615.
Zabriskie Galler\',
Ren^ Burrj.
Tieti
An Men
Rene Burri/
Magnum.
.fs*:i^;^fi^
m-)
482
::
New
''rnkM^S'-'^M^^
York.
6i6.
Photojoumalist,
print. Life
Time
New
Gathering
bits
(pi.
no.
in
618)
(pi.
The
stability
of tra-
no. 617)
and the
vil-
startling contrast
Steel
are but
1955.
Gelatin silver
Magazine
1955
York.
phy
Edward Steichen
in 1955, shortly
Museum
of Modern Art
in
New
York, the
if in a
Wayne
"essential oneness
human
relations
and "explain
man
to
is
to record
which ignored
political
to
and
fronts.
Miller
size, quality
of print
(all
were
483
x,-^f2t-.
->
''SiSiSsIs?^-
tl
617.
Constantine Manos/
Magnum.
618.
Werner Bischof.
India: Jamshedpur
Werner Bischof/Magnum.
484
::
which
their
An
that Steichen
practice. ^^
overlooked
atti-
still
Brassai'
in
of assignments for Vu
summed up
(Gyula Halasz)
Cartier-Bresson
and other
9)
their choices
made
and
elements
Chapter
photographer, the
photojournal-
in
and
artistic attitudes
in his
and captioning.
way of working
tralized or perverted
less accessible facets
of the situation or by
numerous
(pi. nos.
in 1950
editorial interis
picture essays
6s4-sS),
19, 1951,
by
illustrated
take
I'Europe, Paris
(pi.
no. 619)
an example
is
and
way
his
Toward
continual,
went out of
became apparent
it
that
pictures
by
In
television.
Concerned Photography
1967,
the
Fund
for
Center of
Capa
ist
tographers"
initially
to
Dan Weiner
tradition established
Farm
Bischof,
by Jacob
social
link
photo-
documentary
exhibitions, publications,
whose humanism
artifacts
and nature.
to include photog-
its activities
through images of
reveals itself
and
its
Hungary
city at
nuance
in
devoted to conveying
news
European photographers
as
fact
and psychological
an instrument of perceptive
made
it is
assigned
his
it
work
in
as art
photography
What
is
from
work exhibited
France.^
self- motivated
more,
at the
in periodicals in
his
unusual
same time
that
Germany and
moments
sensitivity to
night and,
camera
(a 6.5 x
nocturnal
piquant,
life
on
cm
at bars, brothels,
satiric,
and on the
and enigmatic,
streets.
Brassai's
no. 623),
(pi.
By
turns
images for
this
(pi.
and they
or
reveal the
moment when
gesture
is
Nuit (Paris
stories
life
and of violence
who
everyday
Initially
the simultaneous
621.)
Brassai', a
(Arthur
in the 1930s
is
proper expression."^'
paper photographer,
Small-Camera Photography
as well as
Riis,
it
life
(though
art. It illustrates
an event
in 1954.^'
trying
photographed
in Place de
moment when
work transcends
and death
with
(pi.
imcomno. 624),
most
daily
photoreportage.
Virtually
all
subsequent
influ-
moment."
Boubat
later,
all
whose
bilities.
Izis
and
Doisneau,
who
485
left:
619.
Henri Cartier-Bresson.
Place
Henri Cartier-Bresson/Magnum.
RIGHT ABOVE:
620.
Henri Cartier-Bresson/Magnum.
RIGHT BELOW:
621.
Henri Cartier-Bresson/
Magnum.
depicting
life
humane humor
havior
(pi.
is lyrical
no. 62s)
the course of
for Realites
numerous assignments
and
in foreign countries
and touching
(pi.
Many photographers, Brandt, Brassai, and Cartieramong them, refused to consider the photographs
Bresson
486
promoted by
Edward Weston,
in
photographer s dark-
in expressive
no. 627).
so
and make
prints.
With
new aesthetic
scale,
as qualities intrinsic to
487
622. Brassa'i.
Avenue de
I'Observatoire (Paris
Warner Communications,
1980. Gilberte Brassai.
Inc.,
Purchase Fund,
488
::
Marlborough
Gilberte Brassai.
c.
1933. Gelatin
Gallery,
New
York.
624.
Weegee (Arthur
Fellig).
ITjc Critic
New
625.
Yorlc.
Robert Doisneau.
Three Children in
Robert
Doisneau/Rapho.
489
Andre
des
New
York.
right:
627.
Edouard Boubat.
Edouard Boubat.
hanging on
in periodicals
on the
tradition
of illustrating
texts
on both
sides
of
in collections, publishers
books
tion.
in
(1928),
Images a
la sauvette
thetic ideas
on
arts
and monuments
image and
490
text in a
illustrated
manner
as the several
volumes
similar to that
foimd
in the
77?^
and
willing to issue
their
own
World
justifica-
Is Beautiful
somewhat
separate
walls
plates to
25
years
museum
seemed more
Almost
and halftone
when
walls, or collecting.
pictures. Aside
different attitudes
earlier
work
utilizes the
photograph
refers to the
eye to reveal
world of
Decisive
what
real things."
Moment
The commercial
and
this
helped encourage
many more
1960s on,
in the
rhythm
success of The
tides in
photography appeared,
Delpire,
several
and
later,
in
the
Creatis
United
States,
photogit
improvement
in papers, presses
the prestigious
German
and
"astounding
printing-arts
magazine Gebrauchs-
and Teriade,
in
Europe,
aesthetics
in 1923 that
and
David R. Godine
of the medium.
extraordinarily
fruitfiil field
whether distorted or
in reality
and
truthfiil,
camera images
are
grounded
1929, advertising
By
tising
would be
difficult
camera images
in this context
The
young
goods and
services.
The new
Nor were
transforming factual camera records into images of seductive suggestibility clearly foreseen.
The
early
British journal
attitudes
tors.
As indicated
after
World War
were the
in the
I
result
of a number of fac-
tended toward
styles that
suggested
in advertising.
Most important,
still
tlie realiza-
and persuasive
491
Hans
including
Victor
Finsler,
Keppler,
^worked
almost
making
photography
a creative contribution to
were
in addition
style,
employ-
no. 628), a
(pi.
winner
third-place
the
in
Annual
First
Adx'ertisin^
This
cial
artists,
Renaissance
and philosophy,
religion
as
Outerbridge
taste
some
also, to
all
628.
i9i(o.
difficult to sort
Halftone
start
Americans and
Society.
on
this side
for
inspiration, with
However,
manliness,
femininity, luxury
make
Utopian effort to
and competitive
excellence available to
between
and the
art
utilitarian
As
divisions.
as a
object,
a desir-
In a
field.
by wiping
art
and
Bauhaus and
means of transcending
these traditional
many photographers
a result,
all
it
and applied
fine
camera image
made
in the
1920s
visually
One
States
curriculum
is
now
only
its
Its
significant
who became
'30s.
establish
Pictorialists
had been
at pains to
countries embraced
industry in
advanced
all
capitalist
these concepts from the art world and also predicted that
advertising
aesthetic taste
modern
During the
duced images
Thompson Agency
Walter
J.
New
Objectivity, with
was of paramount
1930s,
for
the
of the pop-
communication.
pro-
Laure Albin-Guillot,
Man
Outerbridge,
Sheeler,
Charles
Ray,
Moholy-Nagy, Paul
Steichen,
and Maurice
in the
attention
on
as
noted,
492
creative
individuals
by
critics.
number
Finsler in
all
with the
itself,"
Germany, Tabard
as
style associated
same time
no. 629).
interest.
United States
extraneous matters.
tiiat
its
(pi.
honored
in
an
article
is
on
and to eliminate
emphasis,
it
actually
is
629.
Margaret Watkins.
Thompson),
print.
Light Gallery,
Watkins
New
York.
Estate, Glasgow.
Nor were
Walter
J.
still
lifes
or the products
found
their
way
into
European advertising
in
works by
of threading a needle
duced for an
as part
(pi.
no. 630),
photographed by Bruehl
it
desire."'" Startling
and
a radio
electrical
sell
Finsler
of automobile
tires
acceptable. Americans,
on
Muray
(pi.
no. 631) ,
Ralph Steiner
(pi.
pictures
Outerbridge, Steichen
(pi.
by Bruehl,
no. S79}
and
still lifes
493
American
industrial
War
II for
Most
more
prosaic
after
World
HiUer
(see
Chapter
8)
of sets
(pi.
company,
consumer goods.
advertising images in
some very competent work was done by individuals working in an old-fashioned vein. The highly acclaimed arrange-
of a campaign
on
While
Through
for a pharmaceutical
of contemporary video
theatrical
and dramatic
across.
illustra-
by Sears, Roe-
silly
ftill
of ordi-
World War,
journalists continued to
made
its initial
6;o.
Heilbroner Advertising
Campaign),
c.
Photography
at
House, Rochester,
494
Museum
of
Eastman
George
print. International
New
York.
631.
NiCKOLAS MuRAY.
International
Museum
in the 1930s.
of Photography
articles illustrated
print.
at
stylish
photo-
An
advertising images
is
By 1925, according to
public had
and photographer
felt
this
as
that
emerged
after the
war made
business activities.
As
reporting has
catalogues, booklets
Even
mercial advertising.""
rials
and
all
posters
forms of com-
such mate-
sive color
it
was not
until
as
image
of photojour-
one of the
legacies
come down
showcards
tions [in]
it
come
contemporary photographs.
of
diffi-
ors in natural
and
Short Technical
by their impermanence
as they
still
are
media
satisfied the
495
A method
commonly used
advertisements
during the
chrome/carbro
print,
produced
made from
in a repeating- back
camera such
as the Ives
bon
gelatin car-
many
required,
it
as
important
as the aesthetic
favored.
facilities
of color were
lishers
com-
80 different
as
steps;
tri-
separation negatives
or technical
the
first
publishers to
work
for a range
like a veritable
who's
of
who
H.
I.
(pi.
and
632.
Series,
(d. izsi)
from
the
(PharmaceuticaJ
Studies
633.
1982.
WORX)S
AND PICTURES
and
House Beautiful
similar magazines.
There can be
societies the
little
argument that
in
modern
capitalist
indis-
Gordon Bowman/Christine Rothenberg. Courtesy and 1982 United Technologies, Hartford, Conn.
496
in
634-
Richard Avedon.
1978.
Advertisement. Courtesy
and
services.
all
who
sell
able to
ideas
make
gets
sophisticated materials
facilities,
and the
The
availability
of
but
and greater
it
level
(pi. nos.
embraced
allocated
of excellence
633
in con-
and 634). As
in the arts as a
in the
reflect cur-
whole and
in
Fashion
and
Celebrities
facility in
and
in personal
is
raphy.
goods, the
tent
fact
industrial
is
equipment or luxury
style
and con-
is littie
tiiat
compass
for
photographers
were permitted a
areas.
Designed to
opportunities
creative
both
Whether picturing
the
more
less
in
number of prominent
force
neither
is
enlarged
as
was more
Pictures in Print:
The imagination
life,
figures
American
past, the
in
number
of viewers, there
fanciful
their goal
was to create an
prime ingredient.
Made
illusion, in
which
artifice
was
in
much indications of
of attire. And it can be argued
changing
formations in
indicative
imagery
is
as
significant as an index
social, cultural,
women
Paris
(pi.
and Seeberger
among
Freres,
where
is
in society.
erable emulation.
of trans-
its
start in
Taponnier,
497
New
York;
Edward C. Blum
Design Laboratory.
Parisian magazines.
late in
But
it
photography
tions in
Vq0ue
marked the
as a genre.
London,
New
at first featured
real
beginning of fashion
Condc
Nast,
by the work of
Pictorialist
(pi.
Adolf de
498
in
1923,
outmoded style
United
States,
was the
Conde Nast
catalyst
publications in the
in
composed
and
flair
ities
636.
Dress,
nized as
stylistically
modernism
the
skyscraper,
emblems of 1920s
as die
st)'ie
and
And
Wong (pi.
jazz.
Anna May
New
York.
epitomizes the
New
st)'le
When
Objectivity'.
and stage
images
ciesigner
in 1929,
fantasies with a
moderne
the
Mariene Dietrich
such
United
(born
1935,
States. In
in
its
telt in
Europe
Vogue)
combined
classical
his
by
for a
his 1930
somewhat
New
bizarre
Madame D'Ora
ajid
Egidio
number of
among
manner
tlie
style typified
638).
as well as in the
as
is
were
ity.
fashion and
changes
celebrity
images
in aesthetic sensibil-
499
637-
Collection George
silver print.
Vanity Fair,
New
Conde Nast
Publications, Inc.,
New
the
Objectivity
New
638.
George Hoyningen-Huene.
The
New
Untitled, (Fashion
Publications, Inc.,
New
York.
York.
was challenged
United States
in the
mind and
movement began
sis
fashion
tages
Foeil settings.
in
who
first
as
noted
earlier,
applied candid
and the
Surrealist art
work during
and mirror
painted
especially
model running on
Surrealist paintings.
doors
two
a beach
athletic
(pi.
no. 640).
These unstilted
approach
as
one of the
fashion photographers
Frissell
who combined
natural settings
and
with trompe
reality
for
Lanchester
active,
confound
mon-
images of
tricks to
Others
to appear in
(pi.
no.
642)
of the
portrait
were
actress
inspired
directly
by
Tanguy influenced
Elsa
fashion
painter-photographer
Peter
images
and Yves
by the
Rose-Pulham
Piatt
English
and
the
Lynes, for
Man
Ray, in
and
own
(pi.
no. 641).
500
Time
desire
The Lovers
came to
this
(pi.
no.
languid
irrational pre-
639-
print.
J.
Paul Getty
Museum, Los
Martin Munkacsi.
640.
Angeles.
Harper's Bazaar,
December
Untitled, 1934.
Reproduced
in
Joan
cincts
of Dadaism. Continued
spatial confiisions
interest in the
temporal and
ship eager to
bility
austerity
and place
(pi.
of
from
Nazi internment
wartime
austerity, the
new sensi-
and
in the
still lifes
number of those
of Leslie
Gill, to
name only
a small
who
rose to
combined with
color sense
naturalistic
no. 64^)
made
decor
skill in
now desired
(originally a painter),
in fashion
photography
easier
by the increase
in the field,
(pi.
was
enabled pho-
one usually
New
Objectivity,
for
is
make up
the
Less
elitist
fasJiion
images were
aces in
North
Africa, India,
(also a
make
well-
known
paintings, as in an
Morocco
(pi.
no.
501
641-
Reproduced
print.
Toni
in Vopjue,
August
i,
Beavers, 1939.
642.
Frissell
Angus McBean.
Reproduced
in
The
Sketch,
Estate of Angus
McBean.
Washington, D.C.
than
live
whose
(pi.
stated desire
no. 6so)
From
twice"'* probably
photography. The
style
own work
veered between
Munkacsi, and
tinctive
his
was to "never
of his
working
in the
own
aesthetic heritage
aplomb
at the
Vogue
De-
in
changes
in sexual
and
social
as a
Both naturalism
fash-
its
tasies depict
in
no. 647)
Rabanne
which appeared
(pi.
(by
no. 6si),
achieved a dis-
Vopfue,
visions,
photographed
Moon
still
(pi.
(pi. no.
64S)
women
and sexual
style
502
in Shanghai),
as social
favor.
1980s
is
the attention
it
is
new
thrust will
643-
John Rawlings.
cover, January
i,
New
New
Conde Nast
644.
Man
Publications, Inc.,
Ray. Untitled,
Harper's Bazaar,
Af!uiri-I 1.1. -iHipnli.l (xiinlinp
a Iwitrh
('I'liii
liy
"Oh^rriiiloii
Ti.ii.-
Tl..-
l!iili-
I,i.Kt>
hmvtn
'
Man Rus
foxpf..
|,h<.t..prn].l.>
llHllii- Carni-iiio.
reproduction.
1936.
November,
New
New
York;
Vogue,
The
York.
Published in
1936.
York Public
Halftone
Librar}', Astor,
503
645-
1947.
Reproduced
504
::
New
in Vqtjue,
York.
March
15,
1947-
Color (chromogenic
646.
Look, 1949.
of Technolog)',
New
Reproduced
York;
in Harper's
Edward
C.
Blum Design
Laborator)-.
505
647-
HiRO.
Fabric, Harper's
Bazaar, February,
648.
in
Sarah Moon.
Faces, 1973.
197?.
Reproduced
Color
506
artist.
,'^<t3^S*^^
649-
in
Moroccan Palace
Vogue,
New
Conde Nast
650.
York.
1951
Publications, Inc.,
New
York.
7, 1950.
New
McLaughlin GiU,
York.
507
651.
in Dress by Paco
Rabanne,
New
508
York Studio,
652.
Deborah Turbeville.
1975 b\'
Publications, Inc.,
forestall the
problems faced by
arbiters
elitist
Europe
States.
United
York.
New
York.
as the
interest continued in
of fashion
New
With
broad range
how
to look,
be used
styles,
their
work
in
as
photographers in
this field
and museum
and
walls
noted
Camera
in
Lucida}'^
may not
conflicts
but there
is
no question
pain, suffering,
of
human
intensely
that
and pleasure
experience seem
felt,
and
particular has
less
it
in real
life,
making these
facets
somehow commonplace,
less
promoted
end
author suggests,
this
may be of
had
Roland Barthes
as
value in selling
it is
open to ques-
The
fact that
Country^
509
casual
way
in
also
it
is
more
their guises
all
for
said to
beginning as a
photographer through
Pictorialist
activ-
ities
of
projects,
of exhibitions and
he
left
peri-
an unmistakable
Eduard Steichen,
Luxembourg
in
artistic ability
he was
as
1890S. Clarence
ment, by the
qualit)'
commentary.
during the
for
initial publicit\'.
first
War
Expressionism, and
litz's
paintings (nearly
made
sensitive
all
of which he
photographs
and perceptive
in Paris
active
and
New
and
portraits
New
York
Symbolist
Steichen
Museum of Modem
Art.
what he
sure that
II,
directorship of the
His purpose, he
was to
said,
phers"'*
During
would be represented
promoted
and
which
his tenure,
in the
restless seekings,
museum
collection.
numerous
wrote
exhibitions,
articles,
He
photography
had
their
own
it
mu-
in a
proved that
aesthetic forms.
journalistic
Long
promoted
photographs
before he died in
1973,
viduals
whose
photography
ideas, energ\',
in the
20th century.
of land-
st)'le
York cityscapes
no. 336)
(pi.
Profile:
W. Etujene Smith
York during
art scene
photographing Marcel
to direct Stieg-
movements. Besides
later destroyed),
in the
New
Combat
seum
Still
photojournalism, or as social
he
Pictorialist salons
as personal expression, as
first
tal in
b\'
When
gallery 291
he
an infant.
in
late 1930s
of work produced
Farm
the
whom
after
in 1879,
photographed, submitting to
a relatively
still
make
Bom
what was
field.
New
in
fresh
him
Edward Stcichen
cial
Profile:
as a free-lance advertis-
this period.
As
part of the
in the
(pi.
no. 6s3).
World War
a legend in his
settings
own
of his assignments
he thought of
his
camera
as
I,
photography
followed
b\' a
assign-
an exten-
ter as a
came to
a semes-
Dame, Smith
time when photore-
New
York
Citv' in 1937 at a
510
such
sldllfvilness that
work showed
League
He
1949.
World War
after
and to accept
II,
its
presidency in
an effort
wide an audience
as possible.
Life magazine.
size, layout,
Demanding of himself as
triyial,
and
the
war
Life,
first
later Collier's
and Parade. As
felt
where he went
zine.
in 1943
on an assignment
on the
Pacific islands.
images
as if
(pi.
no. 608).
Okinawa
was
seriously
wounded
in 1945.
1952,
(pi. nos.
his essays
among them
6s4-6s8)
were used
memorable
the
when he
in
1954
photographer
Involvement on the
in
maga-
for Flyintj
essay.
on a variety of
him freedom to de-
meant that
income was
his
him
period enabled
work of this
photo essay form more
irregular, his
to explore the
mode."" Works
on Pittsburgh published
under the
ips9,
"A
tide
in Pop-
Labyrin-
OS nft OUTSKlK-l.-.
lanim
1. Ill
tbr -Utuntr
Wr.) ./ [MniM ..
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IT
AND
hittfi.
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okm
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hliifli
il
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liphioj
of
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taifi"
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<an
wen
M*.
FAITH
nJ )>i(^.
Tlirrt 1 f*w ipi "f i]i miTnehmii nf thr
2O1I1 Cji.uin in Drldtim- In tbu Trty hall. ohK-li
Miirli
l-y
in
"KM*!*
rmm
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tli<-
marl"
-.nr'" niif.
W. Eugene Smffh. Spanish Villcuie, April 9, i95i issue of Life Mcufazine. From halftone
Designer: Bemard Quint. Life Maiazine 1951 Time Inc.; Courtesy Life Picture Service.
654-658.
reproductions.
sn
S,....l, Vill,,,,
f
-OBWaw^Sfc'-..
512
::
M 4. HM
l;i
::
513
thine
Walk"
mentioned
of this work
(part
earlier
on
from
that city
also
by Lorant), and
a lyrical
life
as
it is
affected by
from
1971 to 1975 in
human
ing
image that
price
recalls
Minamata,
his
Michelangelo's Pieta
(pi.
It
what
is
of some
35 years,
he consis-
second wife
includes an
no. 47S)
moment of mean-
and rep-
to "right
in
a career
of industrial pollution.
moments
humor. Throughout
A pro-
that invest
in 1932
Convinced of
wrong."
Profile:
nificance
Henri Cartier-Bresson
New
when
York
in
work of French photographer Henri CartierBresson has come to be regarded as one of the seminal
1933, the
visions
number of
Andre Lhote,
and
Umbo,
all
of whom shared a
(pi.
no. 660),
%.
514
::
way of working
on
is
his
disparities
irrational juxtapositions
Brussels, 1932.
his
sig-
organization.
Spain
Henrj Cartier-Bresson.
visual
659.
precise
,y'
for
and an eye
1933,
of scale
of forms
in
Valencia,
66o.
Henri Cartier-Bresson.
tually
erupted into
civil
the
in
During the
momentan'
19??.
Henri Cartier-Bresson/Magnum.
graphed
1930s, he photo-
States, seeking
not only
it
in the
many
in the
whom
he photo-
of captivity
produced Return
to
as a
German
prisoner-of-war, he
36
made
months
th<"
film
zine articles
at the
a year later
of the collaborative
He
of'
(1972).
Moscow)
in Transition) (1954),
(1955),
and Visage
ested in
and
in 1946,
photographs.
essential truth
photographs
which
Lxjyalists,
still
some
Life, a film
of his
era but
sions of the
tion
documenting
Moscou {The
insists that
particular peoples
he
is
not
inter-
in
political
and
social contingencies
life
of
younger photographers,
formed
their
his
own
number of
whom
have trans-
expressive goals.
515
II.
PHOTOGRAPHY
SINCE
1950:
THE STRAIGHT
IMAGE
There
is
It
is
and
is
realism.
But realism
is
not enough
Robert Frank,
516
::
begins.
1962^
IN 1850 IT
camera or looked
photograph;
at a
The
layers
in the
century, the
artists as well as
as the para-
fulfill
marketplace as a
established roles in
methods and
throughout
this
many
alter
them by computer
aspects of conventional
social or
its
all
ers
words) an unmistakable
of society, and
parts
in actual
message.
By
sophisticated person.
all
inscribed
silver, in
(sometimes
political
basic tech-
its
on which might be
same time
that
it
photography to
raised still-unresolved
{see
all
scientific
in large part
and
pictorial
World War
vitality
up through the
in
of life
of
of
1930s,
II
undamaged by
omies. Physically
needed to
and, indeed,
and
peripatetic photographers
especially, careftilly
As
due to the
diverse
stabilit)'
own
cultures.
tographs
television.
With
advertising,
and
their
by new techniques in
aerial
photography
made
(pi.
possible
no. 661)
and
made
Europe featured
ally
ideas
and modes
medium
way
and
visual
and
manipulations of var-
'70s,
photographs earned
more
oft:en in galleries
more enthusiasm by
prises.
As
subjects
effect
in
began to be
private individuals
speculation.
recently adopted a
more
detail,
society,
have
seems
what greater
own
logical to dis-
first,
and
in
some-
straight reportage
became the
stuff
of intellectual
simplistic,
ity
made
as
but there
its
may seem
new sensibil-
appearance
question that a
in the
United States
after
World
517
States
stemmed
in part
go\ernment expense.
to photog-
expression.
Instiuite
One
of the Bauhaus
anci
first
lation
of Design
Chicago
in
which proposed
that photographers be
of light,
from
"ft-ee
and Utopian
Bauhaus programs
Institute advocated a
"new
in
vision" that
the
commonplace.
Of the
its
early days,
most
influential in
both
35mm and
white and
tages,
and
661.
Detroit
collages.
War
II.
worked
in black
subject in a
Weed
Affainst Sky,
he had photo-
was character-
a period that
many
the
in
perceptions of social
significant
realities.
new
realities,"-
of sources
American
Bauhaus
soil
by
refijgees
as well as
who
implanted
on
line
Chapter
12).
to
(see
image-maldng
still
sensibilities, traditional
medium
vitality.
518
approaches to
new
made
and
work. Reflecting
Vesuvius, Italy,
Imperial
own
8 x 10 inch formats,
in color,
to find a visual
way to
in
662.
the United
Harry Callahan.
Detroit, 1948.
New
York.
:%^.?^H.
^W*4^;-ij*Jf
"
%
Harry Callahan.
663.
and publishing
as the
photog-
influence
and
alive.
"'^
Acknowledging the
activities.
Through
else
Harrv Callahan.
extensive teaching
camera
'
medium
in
from
Much
mapped out by
Stieglitz
and Weston
to approach nature
of the exper-
street
environments
(pi.
no. 664).
number of graduates
Winningham
straight
photog-
size
and geographic
locale,
Utah
(pi.
no. 66s), a
work
that
is
a depic-
and an
reality.
meanings
in the
appearances of
it
desires.
intensity
of
519
responded to
The
ial
first
in a subjective fashion.
for the
issues,
but
social realities
most
social scene
continued,
life,
popularity of the
in straight street
about pho-
new
style
The
fresh ideas
first in
director-
ironic.
images made
in the early
1940s by Callahan,
Europeans working
on
also
Gutmann
on
in the
(a
German
who
artist
earliest,
John
medium
use of the
some
but Gutmann's
respects,
earlier
exposure to
in
German
Expressionism gave
United States
Aaron
664-
Siskind.
Courtesy Robert
made
she
teacher in
in 1938)
in
New
the streets of
New
among young
York,
Model found
An
York.
influential
a receptive
audience
natural
phenomena of
all
Eroded
the
Awarded
money
Guggenheim
working with
35mm
As an
United
(pi.
no. 666) as a
means of
in
nature.
secrets
Wynn
Bullock
(pi.
no. 667), a
Californian
ideologically.
who was
close to
similar attitude
v\'ith
States,
formed
situations into
facial
outsider,
Leica.
Nen' Orleans
(pi.
no. 671),
society.
For example,
structural organization
of the image
itself,
convey without
falls,
taken in
many
parts
trees, rocks,
and water-
tionships in the South. (See also pi. no. 672.) Frank's images,
view
xiduallv,
were published
France and
it
(pi.
no.
in
first in
air,
emblem of some
groups
universal truth
truth ultimately
S20
this
is
light.
as
was challenged by
that "the interior
as a
book format
668)
soil,
as
later, in
as Tlie
i959, in the
erratically
indi-
Americans
United
States.
American
Americans
critics as
their
fill
American
665.
Minor White. Moencopi Strata, Capitol Reef, Utah, 1962. Gelatin silver print.
of Modern Art, New York; Purchase. Courtesy and The Minor Wliite Archive,
Museum
521
666.
Internationa!
522
Museum
Point,
of Photography
.silver
print.
667.
Wynn
Bullock.
Abrams,
New Yorlc.
Wynn
and Edna
Bulioci<^
Trust.
m<i:'''*k'';-.
668.
Trees on
New York.
William A.
Garnett.
523
bbg.
/-
19:59.
<
670. LiSETTE
Model.
Estate of
Gallerx-,
524
Lisette
New
York.
6/1.
Robert Frank.
c. 1955.
Frank/Zebra Corporation.
societ\'.
Klein
and filmmaker
also ignored
traditional precepts
Garment Center
(pi.
modern urban
no. 673)
critical
resonates
Images by
existence.
in addition to
is
of the American
normal individuals
misseti as bizarre
by conventional
societ\'
transvestites,
no. 624),
in
the
st\'ie
direct,
head-on
Child, N.J.
(pi.
no. 674}
one of
in the history
of
visual art.
The
reflected in the
a taste also
art.
emblems of contemporary
automobiles, billboards,
graffiti,
and
culture
storefronts.
They
672.
Robert Frank.
'^'
::
525
67?.
William Klein.
Gannent
Center, 1954.
Courtesy and
Klein.
674.
526
'^'
William
675-
Garry WiNOGRAND.
Untitled,
c.
recorded these
artifacts, as well as
plified
graph of a young
it
felt
The
"social landscape"
to photographers
junctive
and
desire to
dis-
make
late
from
as a significant
interest
impulse,
New
integrates
woman
(pi.
rw. 67s)
arresting in the
is
reflections
way
and geometric
it is
an ambiguous statement
its
meaning
freely.
documentary
who no
beautifially printed,
The
avoided the
larly
equivocal
(pi.
no. 676)
Meyerowitz
to
cite
York. In theory,
photographers
who were
of uninflected
street
image
at
the
Museum of Modern
political
Art
interference
in
of the photographer's
mode of working
is
exem-
is
derisive or
social or political
initially attracted
to this style
photography
amusing, whether
comment,
as
it is
interesting as
527
6^6.
Lee Friedlander.
problems of picture-making,
photographs,
just
of
momentarily eye-catching.
This vernacular
it
prepared the
and modernists
tography;
528
\\itt\'
alike
or
had been
fairly
relegated to
cr print.
Courtesy and
Lee Friedlander.
Within
emerged
the
diversity'
in the 1960s,
mate element.
humor came
Elliott hrwitt
animals, and
Although
artifacts
this vein
still
to be seen as a legiti-
who
regard people,
{pi.
no.
677).
mined
in
among them
Owens, gently
Geoffrey
Winningham and
ob\'iousl\'
selling strategies
art,
in
dog images
antic
(pi.
art inspire
no. 67S).
humor can be
realiU'
William
Still
full
of ani-
to
The
Although humor-
like
satirize
Wegman's
ous
Bill
show "what
it's
odier approaches
(pi.
no. 742).
artifacts
the
among
others,
photographed
tract
housing, factory
and urban
streets,
comment. Adams,
with Ansel
Adams (no
for example,
relation) a
may
have shared
of the land from the Missouri River westward, but for his
show
its
on
Mazda Motors
industrial parks
(pi.
no. 679),
by Baltz,
is
one of
1974
meant to provide
677.
Elliott
678.
Erwitt/Magnum.
WiLLLAM WeGMAN.
1978.
Museum Ludwig,
Cologne, Germany. Courtesy
Holly Solomon Gallery,
New York. William Wegman.
applied.
529
679-
Lewis Baltz.
Mazda
South Wall,
New
Graphics,
"sterile
all
more
factual
images that
reflect
and
lack
fact that
"topo-
of emotional expres-
emblems of
more
and
a style
are
no
of view.
no. 784)
(pi.
informational, propagandistic.
damning
them
indistinguishable
whedier
ofi:en
makes
traditional
of "topographical" views
a ftirther
landscape.
quality
human
\'iew
Work
b\'
lived in greater
of
was "re-photography"
working
in
selected the
O'Sullivan
California
projects;
groups of photographers
was to produce
comparison of the
terrain's
appearance
530
he'li-
opposing forces
water
less
earth
that
for a
on rocks and
feelings
fielcJ,
the natural
ancient markings
seem to have
to make
solution
alters
ple.
At
documentary mode,
presence always
One
a ribbon, a stake
illustrate
pho-
as
of indus-
management of
a motif, the
on
effects
trialization
York.
Lewis Baltz.
ojjraphiqites,
1975
not only
in
nature
life
fire
and
but also
culture in Asia
worlds
as
(pi.
forming
each other.
prominent
as in
in 19th-century
documentation, emphasizing,
Davis
(pi.
monuments
become an
artifacts
attractive light
of structures and
integral part
can be seen
in
docu-
historical
artfi.il
in
its
680. Lois
Platinum
New
Conner. Halon^Bay,
print.
1993.
York.
most
and
classical statuary
no. 682).
stillness
in
of light on forms.
Walter Rosenblum
ued to work on
central subject
and
begun
no. 683),
contin-
a \ariet)'
tended for
galleries
Max Yavno
and
no. 465),
(pi.
fact that
681.
Lynn Davis.
Statue V, 1989.
Selenium-toned gelatin
Friedman Gallery,
silver.
Houk
New York.
museums
Le\'itt's lyrical
in the
19+os
views of youngsters
in black
growing up
DeCarava's
in
New
Pepsi,
Nav
York
on the
incorporate
style
consumer
but the
physical
figure, leaving
sympathies
may
no. 684)
(pi.
no doubt
as to
central
lie.
form
is
apparent
in the
Home,
St.
Paul, Minnesota
(pi.
no. 68s),
but
A somewhat
5.^1
images
tions,
in
and publications.
Another
documentation
in
increasingh'
among
the photojournalists
struggles
(^f
who
co\ered the
rights
civil
ward to confront
social issues
on
their
own, de\eloping
their
working on deadline.
When
on the
and
in
Harlem
(pi.
no. 687),
Central Park, he
ecjui\ocal tone
of his
moxed
\'er\' earl\'
work
who
682.
lliCHARD Pare.
who
1991.
careful control
of tonalin' and
I'are.
imbues
pictorial structure
in
d(K-umentaries, the
a significant
factors
still
element
forms of
no. 6S6).
in socially useful
were responsible
traditional
(/;/.
social
Many
of interest
in the
documentation.
in
as
programs.
One was
the
state arts
endow-
as the venerable
a range
of photographic pro-
rural
installations,
.-[nd
532
multiplicity
68;.
Helen
Levtit. NewTorlc,
1981
Helen
Levitt.
c.
1945. Ciclatin
ll
TES GREAT.
68+.
Roy DeCarava.
Pepn,
Nnv
533
685.
Home,
St.
Jerome Liebling.
686.
George A.
Tic^.
Joe's
.^?4
George A.
Tice.
Bruce Davidson.
687.
In the
movement
wake of
in the
his experiences
depicted
in
life
with the
Texas
on
civil
rights
work had
initial
vi\'idly
'
Bruce Davidson/Magnum.
number of black
social climate
of the
late 1960s.
Roland
Freeman, for
L.
The desire to illuminate the psychological consequences of inhumane circumstances has inspired
many photographers to depict not only, or even primarily,
first
ment
(pi.
no. 688).
sum up
no. 689); in
tographed
dignity
moments
in
life
who
has pho-
in
(pi.
no. 690).
African-American com-
Black Photojjraphers
Annual
subsequent volumes, black photographers showed themaware of the range of contemporary trends
selves to
be
even
as
American
692),
those
at this
fijUy
life is
who
lived.
In addition to
on
way Aincan-
the
Gordon
Parks
(pi.
no.
st>'les.
More
all
(pi.
no.
693),
recently, several
black
women
535
Danny Lyon.
688.
photographers
ha\'e
siKci- print.
Danny Lyon/Magnum.
''-'
life
and history
have
do more than
common
felt
who sometimes
it
with sympathy.
social
as
of a
distorted.
While postmodern
texts to
Mohawk
Marmon
Greg
Staats
and Maggie
means
to explore
icientities.
as their
own
per-
fire
'70s continued
(pi.
in
iw. 694),
and explosion
its
in this
can stand on
forcefijlness
is
disas-
its
own
increased by
mining communit)'.
commissioning picture
who
enduring
all
remain interested
of supporting
number of magazines
photographers
their work.
other means
Deborah Fleming
C^affery
of
Howard
it
The
West Virginia
seeing
(of the
ter in Scotia,
of
just
738, 739).
In
to
Shames of the
on
now reach
effects
of
com-
intended to make
In the
536
visible
manner of Jacob
793)
and El Salvador
in the 1970s
and
'80s;
Donna
(pi. no.
Ferrato,
689.
Mary
Ellen
Mark
Library,
"'Tim'' hi
New
Her Halloivecii
York.
537
690.
Eugene
Richards.
Gimidiiiorha; Bniokhn,
from
Aiiicvkaiis
\\'t\
Magnum.
691.
Roland
L.
Freeman. Amber's
Helper, June, 1969.
Roland
L.
Freeman/
Mau;num.
in
all
(/;/.
in Haiti in
as well as exhibited
photographers with
a shrinking
and published
social
number of
in
books. Howe\'er,
no.
onl\'
One was
the observation
that street
photography
more dangerous. A
538
(see
THE STRAIGHT
IIVIAGE
III).
the
difficult
human
might be
among
in
(pi.
no. 696)
had become
among
them, Thomas
socialh' oriented,
the
inner-city areas
neighborhoods
Frederick Arndt
on the
moti-
into
In addi-
.socially
own
\isuall\'
impaired
(/'/.
no.
6q-),
or personally
692.
Gordon
Parks.
69;.
C^al.
Marilyn Nance.
First Annual
Community
Nnv
silver print.
Associates,
Marie Brown
New York.
::
539
694-
Harl DoTTER.
695.
Donna Ferrato.
Project,
540
::
New
York.
696.
Thomas
Frederick
Arndt. Men
Riding Bus, Las
Vejjas, 1981.
Gelatin
silver print.
Stuart
B.
Baum
Gallery,
Chicago.
697.
Nicholas
Nixon. Joel
Geiger Perkins
School for the Blind,
Gallery,
New York.
541
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6pp)
more
explicit
behavior
by Larry
C^lark
tol-
se.\
(who went on
to direct a
seen
is
(pi.
motion
no.
pic-
For example,
works
in
pornographic magazines.
including one
.'542
in later
tographer
done
the pho-
k;-^!.
('ourtcsx' Larr\'
States, continues to
Untitled,
698).
in the
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699.
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698.
C'i.irk.
at
q,
700.
Lynne Cohen.
Courtesy
Motel Fine Arts, New
silver print.
York.
actualities
psychological pairings.
Like
many
other photograpliic
Straight Photography in
Canada and
Latin America
Like
their
counterparts
what kind
initiated
Sharing
emergence
rights
in the 1970s
and
societ)'
raise
(see
Chapter
12),
body
in
women
733),
die
nude
maldng
as well as
of other
(pi.
no.
portraits
erotic experience.
all
t}'pes
a backlash,
parents
of sexual behavior
explicit sexualit)' in
in the
who
portray their
own
Szilasi are
no. 700),
(pi.
among
Charles
who
those
have
tliis
as
Lynne Cohen
of the 1960s.
about the
mode to picture their own gender more perceptively. Anne Noggle depicted herself after cosmetic
surgery and as she aged, Judy Dater photographed her own
employ
ironic approach
this sensibility,
more
social landscapists
consciousness
specifically
the cooler,
biting
common
elements of the
perplexing space
St.
is
style
automobiles,
reflections,
(pi.
no. 701)
by
is
Szilasi, a
Hun-
to allow people
live in."'^
on the
at times
theme
Along
Gallery of
Canada
in
Ottawa
543
70I.
Gabor Szilasi.
St.
Joseph de
tion
in
for Architecture
still
denying photography
when
quality' as art,"'^
its
in
Mexico
Cit\'
hemi-
revealed the
The
exemplified by the
Panamanian photographer
Bisilliat fi-om
routine anthropologi-
photography
in
tions
of rapid
of
social anci
their societies.
realities,
now found
recent
fertile
its
tradi-
initially less
ground.
portrayals of urban
and
pro\'incial
life,
which
for the
most
544
as well as for
in
Sao Paulo,
One
docu-
medium
museum
for
photography
programs.
Brazil
own sake or
work suggests
in
late
expanded to include
1980s, as
photographers
relationships.
Szilasi.
is
Roberto Fontana
(pi.
no. 703)
in
work
702.
from
Sandra Eleta.
silver print.
Sandra
703.
Loi'ers
Courtesy and
Eleta.
Roberto Fontana.
545
1
^
|H^^f 1
5i^^_^
s^
^^^^^1
n
^^Hfehjj^Hl^^^
^-
^^^^^1
->;-.
70+. Jose
Gimeno
1979-80. Gelatin
705.
546
::
and
"
Casals. Piinichuco,
silver print.
Casals.
->
Pedro Meyer.
-iV
Courtesy
<^
^Sn
706.
Graciela
Iturbide. Smorde
Pdjoros, 1984. Gelatin
silver print.
'f:..
societ)'.
the region
is
the
human
Alckmin Mascaro of
Christian
Casals of Peru
(pi. no.
work of
life
of foreign
been made by
number of photographers
Venezuela
^was intended
in
capital
to personalize the
regarded
Bravo, found
One might
would
also be
espoused by the
tographers working in
Instead, they
Cuba
first
tual activities
of
1959.
photography, which
Raiil Corrales,
^working
With
is
its
is
generally
use of
more
serial
earnest in dealing
United
and
rituals
characterizes the
and
United
culture
work of
his
former wife,
Lola Alvarez Bravo, whose portraits of distinguished individuals have only recendy
artistic
and documentary
been acknowledged
active in
Mexico
for their
value.
after
in
Spain but
the Square
(pi.
no. 70s).
Meyer has
personal autobiography
folk culture
Graciela Iturbide
Jose
(pi.
Angel Rodriguez
and
ritual
no. 706),
(pi.
are
no. 707),
States.
tlie
colorization,
reality.
with
possible to
no. soi).
most highly
generation of pho-
(pi.
nation's
it
own
as Surrealism,
States
medium. The
native-born
tions of his
such
intrusion
also
to social documentation,
a small
Brazil
704).
An opposing approach
inspired the
throughout
interest
still lifes,
Courtesy
Graciela Iturbide.
'30s
in
arts
during
Mexico of Tina
disrupted cultural
documentation and
at the
same time
life
in
lasting
from 1939 to
activity' there.
1945,
entirely
August Sander,
for
547
find
expensive.
by the
actuality,
1970s
late
United
States.
ism practiced by a previous generation of European photographers and elected to work with collage, montage,
their
documented and
between
effects
distinctions
in
straight depiction
print processes,
exhibited.
they sought to
infrise
images
(see
Chapter
12)
and reproduced
interest in
in
Angel Rodriguez.
Campesina
(Peasant), 1977.
New York.
W.
photographic print
Europe than
Kelly,
such remains
United
in the
States,
the high-quali-
less
esteemed
in
photography theory
the
medium an
of German
life (pi.
no. 447)
and
rich treasuries
private archives
and by
the leading
tabletop
to produce lyrical
neo-Romantic garden
of archives
Otto
European
in their countries
Steinert,
who
consequent atten-
who
Among
German photographs
scenes.
figures
and preserxation.
in the
Folkwang Museum
in Essen;
medium,
suffi-
tographers
who were
initially
The numerous
German
critical
and
as
financial
modity was
still
insignificant
an
indi-
acclaim
art
com-
in
548
Fritz
vakia,
Italy,
and Spain. To give but one example, the Swedish photographer Rune Hassner encouraged interest
in the history'
documentation through
and publishing
activities.
social
7o8. Josef
Window
Sudek.
in the
Rain, 1944.
New
Among
British
on informational
London
of
camera image
day
reality
Traditional
after the
as a
from
way
a social
Thurman
Jiopkins,
Don McCuUin,
among
Grace
others. It
was
in the
who
sought
Glyndeboume
(pi.
no. 709)
is
whimsicality,
Bert Hardy,
transformed
York.
and Frank's
irony.
unique phenomenon.
He
had been
Ray
in the 1920s
among
Man
549
709.
Tony Ray-Jones.
Jones,
-10.
New
York.
"'
Bill
Researciiers.
550
Brandt/Photo
711.
Puddle, Ashbourne
first
encompass
for
Home
portraits, landscapes,
a variety
(1936). Brandt's
no. 710)
(pi.
the
real,"^'
result
he fomid
of using an
few followers
Brandt's emphasis
on
whose
work of Paul
affinity to the
711).
through the
Car Park
Hill,
is
also
(pi.
no.
documentations of working-class
Killip's
his
life
By the
as
of actuality.
to
it
opening
visual
in
and the
devoted to the
medium
and Toulouse,
in Paris
initiation
tivals in Aries,
Cahors, and
Paris.
la
its first
tional center
In their
own
(pi.
France
Photographic
interna-
devoted to photography.
productions, the photographers
among them
fes-
opened
Clergue
begun
Expres-
Acknowledgment of photography's
also reflect
members of the
sity curricula.
but
the
(Free
libre
among
movement
One was
developments.
in several
establishment of a
pro-
human
duced
war
after the
Hill.
no.
767),
Denis Brihat
(pi.
no. 76s),
intervened
in the
(pi.
initially
Lucien
no.
766),
photographic process by
lating negative
satirizing British
life,
scenes of gritt)'
and
print.
The
straight
work of
living
known
in
Franc^ois
the United
as "subjective real-
are
British
(pi.
no. 741).
years,
nent,
in
women
and
society.
directorial
mode
revitalization
graphical sign."^lyricism
of photography
in
their
and irony
An
in a disquieting
in
somewhat
intentions.
The
later,
the
result
of more
551
712.
Mario Giacomelli.
Bristol
Workshops
in
Photography,
Bristol, R.I.
silver print.
Mario Giacomelli.
camera
as
done
until 1991,
in that
of
this
with the
century
rest
of the
effect.
and
in tenor
in the
Marches region
{pi. no.
as
it is
and
as
it is
photographed, with-
aspects of the
and
ideas,
facilitating the
exchange of examples
in their
own
tation,
medium,
hi another approach to
documen-
photographer-anthropologist Marialba
Italian
soon embraced
The
Italian
a full array
of contemporary modes.
but presents
it
who
as
ritual
observances in a
style
a participant in
the event
552
Lx)tti
all
photojournalists
to
terious, genuine,
its signifi-
who
believes that
(pi.
no. 713)-
fe
713.
.,'vv?^ir?""
'}
Cal.
714.
Raymond
Depaiuoon. Angola
(Luma, Street Scene),
February 1994.
Gelatin silver print.
Magnum Photos,
New York.
553
much of
a variety
skills
of
who
of countries
vitality
who do
and
not
One
tions.
graph of
and anger
were no doubt
no. 473),
(pi.
photographer's
among them
recent images of
liis
made
and Africa
(pi.
South America
in
on
has undertaken
no. 4S2),
intensified
by the
Photojournalism
apartheid.
social circtim-
fi-om or
where they
life
Indian homeland.
in his
by Ye\'geny Klialdev's
as exemplified
Army
in the Soviet
Union before
its
expression or as a
foil
dissolution in 1989.
as a personal
in Africa
life
mentation that
tlie
no
lar
document
the
(pi.
no. 71s)
tion
Charbonnier and
approach
more ambiguous.
Ireland, Iran,
who
has
tinctively personal,
ment or using
ate a
Peress,
and
is
more
his
message
documented
strife in
his
whedier imbuing
it
documentation of gypsy
(pi.
no. 716).
S54
Brazil, respectively).
life,
Among them
Sa\'elev,
it
was renamed
St.
of Moscow and
streets
Petersburg) an agree-
employed the
reflections to
distortion
xisual field,
con\ey
a grit-
procedure
drama
in
such ordinary
in a veterinary hospital
(pi.
no. 71S).
culture,
pAiropeans, but wiiile this has indeed been the case, pho-
dis-
in
photoreportage
inally
Jean- Philippe
official
little
was Boris
no. 714).
effects
photographers
With
means of artis-
con-
nalists
an
jects,
of childhood play
(pi.
own
documentation of
society; those
his
of French
panoramic
in
photo-
in Paris
and
sorrow
rely
stances
to produce in-depth
many
their
seems to symbolize
a gesture that
(pi.
pho-
the
is
less pre-
example
nomadic existence
Koudelka worked
British Isles
For
in
throughout
tography
in
of modernist
noncommercial photography
1920s,
creativity
in
during
Japan parroted
and
until
Domon
as
(pi.
artistic
no. 719),
there was
expression.
little
art objects
interest in
The concepts of
by Ken
photography
large-format
\ \
715.
Martine Franck.
Martine Franck/Magnum.
716.
GiLLES Peress. N.
Ireland: Loyalists
vs.
Gilles
Peress/Magnum.
::
555
Joset
718.
silver print.
Koudelka/Magnum.
Aleksandras Macijauskas.
In the Vetcrinan'
Clinic, i977-
Aleksandras Macijauskas.
556
::
719-
Ken Domon.
Hand of the
Detail (Left
Image of Buddha
Shakamuni in the Hall
Sitting
print.
Ken
Domon/
Museum
of Modern Art,
New York;
artist.
Gift of the
Shomei Tomatsu.
557
721.
camerawork
as
Institute
ernist experimentalism
Ishimoto
New Mexico,
Village,
when he returned
of Design
in
in 1953 after
studying at the
dis-
from that
commercial gallery
market for
tlie
musctun and
artistic
realistic style
West's
exist in Japan,
kind of
for
books and
in
fine prints or in
niques
and
in
litde interest in
galleries
Japan
producing
in
The
and
'70s,
according to the
tliat
critic
photography
by everyone
558
central to thd
is
is
a kind
of consciousness
in his daily
life,
rather than
on the Hiroshima-Nagasaki
collaboration with Domon). Sandwich
bombing done
Man,
ftil
Tokyo
(pi.
in
tw. 720)
Japanese
life
theme
Moriyama
The
that has
engaged
socially oriented
among them,
a force-
graiiiiness, blurs,
and
and
contemporary
this
photograph-
images by Daidoh
a series called
the
is
Nippon Theater
used to heighten
fit
"demonstrate
This concept
Museums
silver print.
unambiguous
and
art at
modern demand
for
Nobuyoshi Araki
a
stylistically
woodblock
as varied as
722.
Gravure. Courtesy
Zhang
Shuicheng, Beijing.
723.
Cart
Zhang
Yin Quan.
sih'er print.
Courtesy Zhang
Shuicheng, Beijing.
still
lifes,
ambiguous-looking sexual
women
in
bondage.
known
particular that
and culture
best
(pi.
no. 7S7),
internationally.
may
Though
a straight
image
(pi.
is
of
in
Villajje,
a series entitled
images of
to pro-
Notions about
Ishiuchi,
issues
of aging by photographing
559
Communists devoted
activities
Army in
northwestern China.
After the establishment of the People's Republic in 1949,
for photojour-
less factual
and more
somewhat proscribed
and picturesque
a confident
all
fashion.
sectors
of the populace
Though
ficient, their
in
technically pro-
superficial appear-
throughout
this century,
tography as
support
artistic
it is
political
social turmoil
as
Shanghai
and
were published
in
in the 1930s
School,
Nanyantoii
was
silver print.
Wu Yinbo, the
who
of professionals,
styles
later
most
became
Village,
Among them
artistic
of
scroll
painting that
Beijing.
hands and
feet
photojournaiist.
Photography
some 80
in
entirely
An
this style to
effort
722)
in
the print.
short-lived.
On
(pi.
"new
(pi.
no.
no. 723)
European
Zhang Shuicheng, Chinese photography was circumscribed by a number of factors: by the high cost of materials
first
decade of
this century,
to
political
Le Monde (edited
in Paris
in
life
while
and published
1907 as the
Chinese
promote photo-
560
rich
first
in
Shanghai),
Chinese-language
and of reproduction
by the limited interest
was controlled)
that
in the
would transcend
In
in a relatively
all
visual expression,
witiiin officialcioni
medium's
utilitarian
and
(where funding
purposes.
changed dramatically
a passion
among
as
the Chinese.
-725.
Xu YONG.
Chinese
Photograpiiers
Association, Beijing.
726.
Chen Changfen.
Chromogenic color
Environmental Aletamoi-plnc
print.
Fission, c. 1983.
^61
727.
silver print.
Neikrug Gallery,
New
York. Philippe
Halsman
before 1980, to
has
medium
working
for
selling their
work
for publication
Estate.
also freelancing
by
as
of,
medium's
aesthetic
potential
Acknowledgment of
the
now
indi\iduals, as well as
of photography
choose their
own
in
social
less inclined
to ide-
(pi.
no. 724),
and
562
Portraiture
Formal portraiture
directions.
The inadequate
no. 726).
alization.
(pi.
first
(pi.
no. 72s)
specialt)' that
has been
less
by changes
in
still
time-honored photographic
theory and
in
since the
lighting,
human
medium's
produced
portraits).
infancy.
changed
Expression, gesture,
as keys to revealing
728.
YousuF Karsh.
Photography. ^ 1941
Karsh, Ottawa.
unsated
ciesire for
prompted
in
editors
tradi-
by consumers'
in part
in turn has
among them
Philippe
Halsman
Yousuf Karsh
artist's
own
are
meant
to
approach to contemporary
artificial
sensibilities
glance
by placing her
may seem
less
formal
startling.
who
{pi.
no. 728),
Working both
in color
and
in black
sentations
style
emblems
is
New Mexico
exemplified by
(pi.
no. 729), in
always places
monochromatic back-
who worked
Freund and
Madame D'Ora
in
either
including
on
Gisele
563
729.
Arnold Newman.
564
::
Newman.
New Mexico,
1968.
730.
Kempe
in
in
such
Argentina
and by manipulating
of Colette
Many
(pi.
lighting, as in the
D'Ora portrait
as
photographed, tying
portions of
no. 730).
in the
it
in
his
nude body to
cement
(pi.
no. 731).
be
trees or encasing
Neither has
self-
Cindy
Sherman
(pi.
tion with
course of their
trait
to
life's
comment upon
Rafael
Minkkinen
portion of it
directs scenes in
appears
Uncommissioned
as
which
his
body
or
no. 743),
portraits
ritual in
conjunc-
of uncelebrated people,
phenomenon made possible by the camera's havbecome a commonplace, unobtrusive tool. Street pho-
century
ing
565
731-
Mciiioiy's
Winogrand
hax'e fre-
about the
irrationality
of existence.
home
fact
a
(pi.
and
more
whedier of
way of
tw. 732)
^as
feeling, others
effective
means of expressing
society'.
feelings
This approach
is
and
of
a series
Women and Other Visions. Those works are embleminterest in the role of women in
American societ}^ The sitters, shot in their own homes, were
degree of freedom in die choice of pose and costume;
con\'c\', as in
Laura Mac
566
(pi.
dieir awareness
come
have
ment, and
itations
as a
of photography. In
adtiition,
although
movement.
of
it is
being
Owing
ues to play a
of the photographer's
gi\'en a
who
in
ideas
entitied
atic
straight
to be
embodied
easily
vital role in
journalism.
to the fact
nals
st^ies
formulated
in
become
less
common
When one
and
manipulations of
b\'
next chapter
this
adds the
all
possibilities offered
sorts
language
invigorating richness.
by color
to be discussed
will
in the
be seen to be one of
732.
Emmet GowiN.
Edith, Ruth,
and Mae,
Light Gallery,
733.
New York.
Emmet Gowin.
silver print.
1973. Gelatin
::
567
12.
PHOTOGRAPPIY
SINCE
1950:
MANIPULATIONS
AND COLOR
The camera
necessities
lives;
on the
other, it
manapfes
to assure
us of an
Walter Benjamin,
568
1930
IN
interest
among photographers
in
documenting
market for
actualit\'.
artistic
is
regards the
medium
photography
itself rather
many more
in creative
Conceptual photography
contemporary
art as a
whole, photographers
lens. It
way
as a
to
is
One
art.
way
is
commonly shown
way
in picture journals
As photographers have
become more
medium's history
view that
of the increased
result
become aware
The
tice
sets,
on
television screens
pattern
as a
bining photographs
they have
common prac-
on magazine
"realities" visible
tually
(as a
have served
and com-
(consciously or not)
book of possibilities. An
additional spur to
who
photographer
be saying,
(pouring,
staining,
(industrial
welding)
part
cal,
Mixed-media performances
graphic,
part
photographic)
(part theatri-
and assemblages
should
as discrete processes.
tary
their
tion
it
their
At the
assump-
is
depends on
stationed.
whatever the
embraces,
visible. It
has
little
to
do
^just
as truthful
}w. 734)
{pi.
moment"
or a
shifi:
in
in
a different
documenting
the
same
appearance
neither
a series
especially decisive.
that avoids
at
matter
is
reality.
In
Sonneman
making
some-
a personal
comment about
the subject
exemplified by the
single frame
shown here (pi. rw. 73s) the California painter-photographer Edward Ruscha claimed to be providing "a catalog
facts. "^
abundance of
own
realities.
ing
made
no longer be regarded
is
is
Producing
reality
artists
how
feelings
and
private
dreamworlds
as well as public
and sequencing of straight camera images, to the invenof scenes to be photographed, to the manipulation of
the
Hilla Becher;
Roger Mertin;
many
topo-
logical
qualities,
which
relate
them
to the
work of the
Minimalists,
569
734-
Eve Sonneman.
Castelli Graphics,
New York.
in
Eve Sonneman.
producing
geometric paintings
serial,
who
size,
photographs of
England,
industrial structures in
documenting
tinctiveness
(pi.
similarities rather
no. 736).''
Moreover,
than celebrating
some
human
lots
The
technique
narrative
advertising. Inspired
common
by
is
due to
photographers
of
in the
as
his
first
as
Clarissa T. Sligh
no. 738).
be
is
fijUy
apprehended through
why contemporary
The
play,
falsehood.
words
relationships are
mentary"
aimed
style that
ing subjective
570
(pi.
no. 739)
mind
bill-
black family
new documade
replication
pos-
devising, as a
commenting on
entities.
own
Mae Weems
times combined
at
in fact artililly
at
of children
sible
(pi.
includes key
photo go
his
may have
artist
A creator
fictions rather
Michals
phenomena such
stitutes
and
photojournalism
they provide.
lation
in
it is
six visually
In fact,
tions,
no. 737)
(pi.
or wide,
parking
wish to reveal
pho-
dis-
German photographers
Floris
M.
grids
of 36
artist
slightly different
images of
his
own
in grid
cast
format
shadow by
735-
Edward Ruscha.
Equalization, 14601
Califmfiia,
c.
1967.
State Board of
Sherman Way, Van Nuys,
From
Thirty-four Parking
736.
New York.
1967
New York.
Sonnabend
Gallery,
IVIANIPULATIONS
AND COLOR
57I
737-
DuANE MiCHALS.
cnaAtd Myself
As
(pi.
no. 740),
brings to
mind
Many
(pi.
silver prints.
size
and cinema
straight
of iiigh-art canvases
screens.
Working
photographers as well
by billboards
as those involved
572
as well as
Over the
with manip-
last several
*'
Duanc
as larger sheets
available,
Michais.
no. 59).
expanded
Courtesy and
decades,
more
on an expansive scale.
number of European photographer- artists have
expanded the size of their work and also share the
A large
similarly
conviction
tiiat
photograph
Employing
is
by
itself
a variety
738.
Clarissa
T.
Sligh.
Ainnnnn?
Van Dyke
n.d.
l>i()\\n print.
"'
C.larissa
T. Slinh.
739-
Jim,
is
to
if
Carrie
Mae Weems.
to Accept,
Land on
Feet, 1987.
rrOW
Inc.,
New
York.
573
and George
Beuys
in
in Britain
(pi.
work
in
no. 741),
many
in Austria,
others) have
all
chosen to
feet.
wry scenes
(pi.
no. 742),
that
show
the American
comment on
who
tures
which,
in
some
cases,
is
just
of photograph to
in
(pi.
no. 401).
potentials of the
pictures of the
positions.
574
Rays-
<i /!(./
740.
reality,
New
York.
^r-r-
-41.
Eye, 1992.
"42.
New
York.
Kenneth Josephson.
Kenneth Josephson.
::
575
743-
Cindy Sherman.
C-print. Courtesy
Metro
Pictures,
New York.
New York.
576
Victor Burgin.
745
U.S.
77,
known
art
as
of the
sonate
(pi.
sented, in
the photograph
it
aesthetic
commodity.
York.
no. 744).
previous decade. In photography, this development reprepart, an effort to counter the transformation of
real-life situations, as in
New
recalls
the idea of
late 1910s
and the
Kitchen
Postmod-
real life
could not
handmade
tudes implicit
social realities.
that
is,
replicate
something
beyond the
make
Burgin appended
photographs of
in type, to
his
common
All
own
messages, set
scenes
(pi.
no. 74S),
of tiiese photographic
image with
or an emotional
all,
the pho-
about current
social
number of
photograph
as a highly
in slick
and
a sense
sexist
sought to impugn
magazines
in the
consum-
women
photographers not
phenomena.'
erist
atti-
in
lives
were being
examine
denounced
tions,
their
cliches
often
own
about
needs and
women
roles.
Barbara Kruger
by adding her
composed of cutout
letters,
own
cap-
to large-scale
of
life.
of herself
in a variety
photographic
illustrations in
live
films
stills
and
Interventions
and Manipulations
Cindy Sherman's
of guises
to
dolls imitate
{pi.
models or
tio.
743),
all
of which have
IVIANIPULATIONS
as their central
AND COLOR
577
7+6.
{Ton
lettering.
Collection, Kansas
747.
Ruth Thokne-Thomsen.
Parable,
Toned
Sea, 1991.
578
::
principle the
of the siher
print.
ple
fastest,
spon-
while preserving
the tactile
artist
as
a sim-
is
by Ruth Thorne-Thomsen
{pi.
no. 747).
lowing
earlier
fol-
Weegee
of straight photography
had
both advocates
then
until
and objects
distorted figures
A more
resolved
body of work
to
of
Bill
Brandt
(pi.
no. 710).
Those working
in a style
Swiss photojournalist,
more
Vogt
whose
dis-
de Chirico.
a wide-
infinite
depth.
748.
Christian Vogt.
Untitled
Toned
749.
Otto Steinert.
Children's
Foikwang Museum,
579
750.
Adam
intended, as in
where no
fantasy
is
(pi.
is
York.
either
moving
light
no. 749).
The photogram
New
in the
a camera
sensitized paper.
An
when
(sec
Chapter
9)
and again
it
was
in the
19+OS,
come
involves
Jacobi,
those
who
be seen
them
togenics"
together;
montage
refers to uniting
them
in the
prising tliat
all
it is
not sur-
assert the
non-
the
light
it
(pi.
no. SS4)-
image
(pi.
no. SS6),
made by
During the
curriculum
580
"pho-
several
1920s Bauhaus.
procedure, as can
tiiis
in
1950s,
in Austria
Henry Holmes Smith. Small Posterfor a Heavenly Circus, 1974-75. Dye transfer (dye imbibition) print
from 1974 monochrome refraction drawing in the Henry Holmes Smith Archive, Indiana University' Art Museum.
Collection Ted R. Smith. 1975 Henry Holmes Smith.
751-
581
752.
Frederick Sommer.
Museum, Sacramento,
Cal.
New York.
Light Gallery,
Frederick Sommer.
number of
Naum Gabo
crystals
monochromatic,
sculp-
large-scale,
M.
making photo-
Neusiis,
who
creates
flowerlike
Adam
stances
no. 7So)
Fiiss
is
generated from
unorthodox sub-
their appeal
ing
are
is
their entrails
mean-
paramount.
combined photogram
attracted
tcchnic]ues
print either
on monochromatic
dye-transfer materials.
silver
or
on multichrome
582
(pi.
to some,
with a
no. jsi)
in
Smith's
proclaim
its
mented with
4x5
(pi.
until the
inch and
3smm
on
film in
both
The
imaginative possibilities of
to
on or fuming
smoke
glass
Sommer,
by putrescence
also
photographs, seeking in
straight
all
and cellophane
as
by
(pi.
which he regarded
as
complex
living beau-
and
no. 752),
in
personality' as fascinated
ty',
work with
possibilities
tograpiis that
form
straight
pho-
(pi.
no. 7S3), a
ment of
street
past several
life
in
downtown
Philadelphia.
Over the
strips
experi-
on
"crystallography." Heinz
offered by
glass
technique he called
Hajek-Fialke,
who began
successful press
and
to
cameraman in Germany,
moving beams of light and
scientific
what
liquid substances
on
salts
The
prints,
the
is
(pi.
visible in
still lifts
materials,
take
combining
in a novel
way
varnish, wax,
painting
and
oil
in
pho-
and
private visions,
method of projecting
possibility that, as the
means of
of commonplace experiences.
number of photographers
in the
fruitfiil
generation as an especially
fixer.
generating
visions
"the
753-
Ray
K.
Metzker.
Arches,
1967
Ray K. Metzker.
::
583
'4
w w
754.
584
Joyce Neimanas.
::
Courtesy and
198. Joyce
Neimanas.
755-
William Mortensen.
L'Amour,
c.
sible to
lucid
if
fertility figures
him
tages
seemed
at
and
lust
(pi.
no. 7ss).
In the
and the
from
whom
all life
fw. 7S6)
less
(pi.
no. 7S7), a
The
as
mon-
by Eikoh Hosoe
women
(pi.
obvious
strange montages
Japanese photographer of
sarcastic,
"unrealit)'
of the
real
is
reality
his convic-
like
poignant
billboards,
and
reinforces
their
an inner world"
his sense
town American
Uelsmann
life.
is
one of
work
his early
images express
fiill
of gritty allusions
on magazine pages,
Produced on
a scale that
fialfillment
(pi.
no. 7s8).
II, it is
not
European photogra-
^8s
756.
Toned
gelatin
1975
same object,
have
that
On
large
are
among
those
who
realit\'
assumes,"
'
and to
in their
eties as disparate as
England,
of photographers
no. 7S9)
(pi.
Gioli,
and Vitas
instability'
chaotic or
change.
at
one moment
and the
586
The
that based
Italian
Italy,
and Russia,
number
Paolo
possibilities
time as an element
pro\'ide
more
social
and
visions
is
common
in
757
EiKOH HosOE.
New
York.
Eikoh Hosoe.
758.
Robert Heinecken. Le
Voyeur/Robbe-Grillet #1,
Museum of Photography
George Eastman House, Rochester, N.Y. Light
Gallery, New York. Robert Heinecken.
587
759-
practices have
drawn upon
still-
and motion-picture
war popular
ers stage
own
some
complete
with
fictions,
only
alter settings
entirely
sets,
slightly,
realities for
while oth-
models, costumes,
by the photographer. As an
early
(pi.
friends
posed
in
unpre-
and
"-'
Paul de Nooijer.
about middle-class
who
Tress,
life
worked
has
sibility'
takes a
a later series
more whimsical
ures,
movement
caused by
that initially
Simmons
Laurie
Witkin
(pi.
fio.
(pi.
no. 744),
762) in the
Kirstel
cated.
Pop
588
in
Europe
no. 761),
Les Krims,
United
States,
Saudek
(pi.
(pi.
and de Nooijer,
no. 769),
and Jan
and
(pi.
tone.
Faucon
at first
humor. More
recentiy,
of images
sen-
no. 763),
devoted con-
fig-
works
for their
sufflised with a
and
real
persons into a
romantic aura.
number of photogra-
a large
including M. Richard
mon-
morbid
series
In other
no. 764).
mode
(pi.
as well as with
although
his
modern America
of
in
in this
what
simplified this
way of working
(see
Short Technical
classical
psychoanal\tic symbolism
what appears
some degree be
truthflil.
in a
photograph must to
76o.
silver print.
W. Kelly,
The Ralph Eugene
New
York.
Meatyard
761.
Estate.
and M. Richard
Courtesy
Kirstel.
589
Mexico, 1981.
Toned
Courtesy
Pace/MacGill Gallery,
New York;
763.
Arthur Tress.
TheAaor,
1973.
590
::
to the
on Kodalith
paper. Courtesy
and
'-'
Les Krims.
591
Of
result in conceptual or
of both
still lifes
libre,
and stone by
(pi.
by intervening
in the
flesh
William Pear
chemical processing.
Jean
to
make an
aesthetic statement
unencumbered by
and
aims.
no. 768),
(pi.
suggestive of human
produced by the
tables
Lucien Clergue,
anatomy
(pi.
no. 766)
coal by-product.
this
of sea and
Nearly
all still-life
in
no. 767).
fairly
simple:
in photogra-
manipulation of
they
arranged
may
in the
suggest a
"new"
species with
more profound
fish scales,
entities.
is
what one
relationship
(pi.
no. 769),
between
which he photographs
backdrops.
Denis Brihat.
eats or
Pear, 1972.
592
vege-
with
which consist of
765.
.'..
political
766.
Jean Dieuzaide.
My Adventure
767.
1962.
Museum,
Worcester, Mass.
Lucien Clergue.
593
MiCHIKO KON.
768.
Robert
New
The
it is
sometimes given
installing
them
also
by cinema and
in specific configurations.
impact by
Nan Goldin
has
for
The
number
and montages
sions of die
and images of
all
hung on
walls or
on
newspaper
of clothing have
clippings,
sorts
been
some
artists,
themes such
dealing
as family
life,
is
direct
single image.
to gi\e form
articles
Gallery,
\'arious
that, for
difficult
projected her images in prearranged sequences accompanied by words and music; Lorie Novak, using a
more than
Mann
York.
may be
at
same or
different photographs;
ing
it
is
some elements
a technique for
a personal or political
Christian Boltanski
594
(pi.
no. 770)
right to
tic
as well as realis-
medium
Julia
just acceptable
portraits, as well as
some
Peach Robinson
more
The
New
Another
Em
of Color Photofjraphy
significant transformation
of camera imagery
in the
improvements
in
first
number of
for advertising
and
personal expression.
publicitv'
The
in color film
natural, efforts
When
in 1907,
it
tiie
result
artistic
and
latter part
of the 19th
was immediately
The chromatic
were the
more
successfi.1l.
effects achieved
on Autochrome
plates
to silver emulsion
on
glass.
(see
769.
silver.
However,
Joan Fontcuberta.
Lavandula Afi/justifolia,
c.
1984.
New York.
595
Christian Boltanski.
770.
with clothing, 37 x 24 x 16
Marian
Goodman
Gallerw
in.
New
York.
771.
Arthur
Siegel.
Houk
Gallcr\',
596
::
pAlwAnn
Chicago.
772-
Harry Callahan.
1935,
Agfacolor
Neu
As
up of subjective
feelings.
work
Harry Callahan.
in color.
fiirther
expanded the
New York.
art
in
American
it is
visual
not surprising
most intrigued by
its
were
its
on window
red neon tubing
signs
(pi.
no. 771),
as
of modern urban
and
'50s,
its
the advertising
way
severe eco-
was regarded
coupling
real
statements, by giving
consumer goods an
to
as
By
sur-
attractive
life
more
illusionistic in
(pi.
its
life,
painters.
and reds
its
in a
is
Harry
off blocks of
mundane
geometric
style
Seemingly
still
a visual meta-
street
simplicit)'
and
color contrasts.
The
597
773-
Trees in
598
New
Gorjje,
York.
"^
Kentucky, 1968.
Eliot Porter.
interest
of
early
noncommercial color
and
at the
rocks and
the
her
New
York apartment
no. 777)
(pi.
is
meant to
changes.
foliage
in
photographer of bird
tasteful
tabletop
The
her polished
in
lively
color contrasts
no. 773)-
In a view of Maine
Pratt achieved an
engaging balance
colors in foliage
rocks
and grasses
no. 774),
(pi.
the
stones
and
(pi.
between actuality
subde modulation of
color.
interest in abstraction
its
wonders
real
in a fresh way.
aestlietic.
to color for
emblems of
American middle-class
swimming
life
automobiles,
eating places,
Landscapes by the
Szarkowski
as the
who was
Among
on
Italian
first
who began
life,
The
window of
continued.
themselves,
flowers, or
Hiroshi
on
(pi.
upturned
soil.
On
of wheat,
exemplif}'
photographers
Within the
last
who
art,
handle color
seeking
as
an element
moments when
chromatic happenings
(pi.
light
no. 776).
his
home environment
in the
South
(pi.
no. 779).
as vivid evocations
life
and
These
of the banal-
as aesthetically
may seem
at first glance to
like
be a
774.
life
Charles Pratt.
Sander Gallery,
New York.
Estate of Charles
Pratt.
599
OPPOSITE, ABOVE:
776.
his earlier
1973.
Cape Cod
series
(pi.
no. 780).
The
in his
transparency. Courtesy
Grant Mudford.
(pi.
transforms a chaotic
no. 781)
among others.
is
Hanson, Len
and
Joel Sternfeld,
the terrain and buildings with the ethereal glow of the setting sun
(pi.
no. 782),
continuing in color
in black
and white
OPPOSITE, BELOW:
777-
silver print.
775.
600
Franco Fontana.
::
Ruth Orkin.
Landscape, 1975. Color (chromogenic development) transparency. Courtesy and Franco Fontana.
M^
::
60I
print.
^l^Hii^B;
William Eggleston. Memphis, Tennessee, 1971. Dye-transfer (dye-imbibition)
Middendorf Gallery, Washington, D.C. William Eggleston.
779.
602
print.
78o.
Joel Meyerowttz.
Ektacolor (chromogenic
Sliinoyama, Japan's
to
exude
romantic aura
(pi.
no. 783).
Arch
series,
Cod and
play
Mark Cohen,
and yellows
in
up
strident effects
order to emphasize
Domestic
interiors
with
humdrum
life.
of
its
lushness.
lecture halls,
the
libraries,
St.
and lighting
in
life is
empha-
a mysterious
and
no. 784)
(pi.
have found
no. 785),
all
the
more
visible
and
poignant.
more expressive
The illustrative
and
still life.
603
78i.
Stephen Shore.
and La Brca
Bn'ciiy Boula'ard
chromogenic development)
Courtesy and Stephen
print.
Shore.
782.
Mitch
Piisbknr
Epstein.
Camel
Fair,
Ektacolor chromogenic
development) print. Courtesy
and Mitch Epstein.
(
604
::
"83.
1975.
development) transparency.
"'
Kishin Shinoyama/Pacific
Press Service.
group
two thousand
figures
(pi.
portraits
of from two to
note to
(pi.
no. 787),
the
muted
ads. In
still lifes
are
old
lace,
whether color
is
Fresson (a complicated
gum
process),
gum
bichromate,
among
grams,
computer proand
filters
and
gels
and
mundane
The
by Marie
harmonious colors
yet
791} result
of
revival
enabled some
whether
tinting
James,
who
is
Hand-
work of Christopher
subtle, as in the
method of transforming
tenuous balance
(pi.
no. 792)
is
one
it
from realism
affective
contemporary examples. To
Rosamond
W. Purcell is among those who combine color with montage (pi. no. 788) to invent a personal iconography. The
it
mal and
cite
as
aesthetic
only a few:
metamorphoses of ani-
much
(pi.
erotic
fantasies
lurid,
(pi.
no.
no.
film,
The
vibrant colors in
(pi.
no.
Pictorialists
of that
favor
gum
is
anci
bichromate
in
Nettles
(pi.
nos. 79s,
is
to
recognized by
all
of these photographers
605
In the hands of
creiiti\'e
but rarely
in color
is it
made
istic
Recent changes
socially oriented
images
Among
in color
the
in taste,
realities
of
however, have
more
street
worn by her
subway
subjects.
pictures are
lively colors
The hues
sometimes
in
his
later
riders
work
Davidson's large-format
lurid
in
of the clothing
and sometimes
pretty,
New
of
York's under-
way
to suggest the
for
its
as a
users.
acceptable.
photographers
who
have used
who document
social realities
is
in part
due to die
greatiy
the 1950s, the dye-color films that had been perfected just
Liebling,
Levitt,
one of the
first
to find
work
journalists to
784.
606
Richard Misrach.
::
Chromogcnic dyc-couplcr
print.
Robert
in
War made
it
color, while
improved printing
Mann
Gallery,
New
Yorl
is
785.
1984.
Cibachrome
print.
Meiselas's
some mag-
Nicaragua
before
in color
tliis
in
are
no. 793).
(pi.
who
otlier photojournalists
Brazilian
news documentation
even more
to be evocative
enough,
in contrast to their
work
in
felt
in
color
a series
reproduced
its first
to be."'>
in
in color will
field,
undoubtedly become
common.
Photofraphy
and
the
New
Printinjj
Technolojjies
The conjoining of
the
photographic
image and
what
more
willing to print
gravure,
e\'en
what
it is
to
about the
district in the
no. 794).
picture story
(pi.
you want
of Salvador
black
cit\'
actualities
framed by their
viewfinders. For
halftone plate,
acidition
it
became an accomplished
fact.
The
later
photographers
tiie
in adxertising
607
786.
Neal
Slavin. National
Ektacolor (chromogenic
development) print. Courtesy
and Neal Slavin.
Courtesy the
Polacolor.
608
artist.
788.
Rosamond W. Purcell.
Untitled,
c.
itarian
eties. It also
on
urban
and
as
in
industrial soci-
was a
common
meant neither
as utilitarian objects
realities,
as
windows
as
imique aesthetic
some
The
interest in "process as
effect'
such transforma-
is,
nor
that
but primarily
political posters
In
fabric
new
an aspect of a
valid
canon of
concept
translates a
advertising or
is
gum-
{pi.
no. 79S)
intrinsic to
photography. Today,
thetically linked
medium
printing.
primarily
on the processes
used.
flirther, that
own
beyond
just silver
609
789.
iQ-'P.
790.
hi, ;y<S'?,
610
::
Lueas Samara.s.
prints.
01i\ia Parker.
New
Mareuse
York.
The
who
of
seen in
work by
the
many
The
is
capacit)'
lith-
of photoetching to
realit)'
Naomi
Sa\age,
who works
(pi.
no. 796);
is
from
own. Starting
Thomas
in the 1960s,
Todd
Walker, and
and silkscreen
straight
processes
well
suited
to
generated
Barrow
fairly direct
printing.
(pi.
it
a \'ariet\'
and Nettles
no. 797)
methods of offset
Rauschenberg
(pi.
(pi.
lithograph\'
no. 802) at
no. 798)
employ
and dichromate
results to
merging procedures
and the mechanical
handmade papers
in effect,
laser
more modern
computer
is
printing
have
become
replicative technologies.
possible
with
all
of these methods
do not
Though no
studios.
on the
surface,
in black
ing, introducing an
between
reality'
like
this characteristic so
photographic
from
silver prints.
Dijjital Imajjin^f
Photography's
or shaping
reproducing
ing,
on
ease with
photographers
Roman Quarry,
their
pho-
mote
ability'
to
to pro-
had emergeci
comed
in
laser printers.
(sec
technology, wel-
as a transformative
the
its
computer has
worth
as a
attracted artists
who
ha\'e
recognized
and white
images.
photographers also
a\
silkscreen,
instabilit\' that
in black
fabrics
itself
of xarious
textures.
xerog-
611
792.
]anice
meant
1993.
Hand-painted
that elements
Digitizing
irrel-
is
falsify
ican priests
methods of photographic
However,
(pi.
in
no. 206)
was
skills,
founding truth by
ciigital
effects
this
special
it.
Of course,
die
commentators,
camera image
who
tionship to reality
is
world
its rela-
more
such
as
to another simply to
than a horizontal
fit
a vertical rather
closer
O.
J.
Simpson on
azines routinely
celebrity'
co\'er.
For those
faked.
w as nioxed
figures
612
ing.
untiercut even
Domin-
add
is
later
killing
more because
distortion. Objectivity'
example, a pho-
and
in 1871, for
efficient
after digital
technique used to
Commimards
w liereas
have promoted
first
special effects
critics
who
Tabloid magtheir
their pictures
own
more
is
or
enticrarely
794-
development) transparency.
1978.
Prostitutes
'-'
613
"95-
Rainbow, 1971.
Gum
bichromate on
796.
Naomi Savage.
Pressed Fkm'cr,
614
::
'"^'
Naomi
pastel.
Savage.
Mh H^^'ai
797.
zr.:srst]
Thomas Barrow.
Films, 1978.
Photolithographic print.
Art
Museum,
University
of New Mexico,
Albuquerque.
Thomas Barrow.
little
made
tions
ever
more
through
possible
the
fic-
distinguish falsehood
from truth
Artist- photographers
sibilities (as
opposed to
in the
commercial applications) of
it
an array of
facilitates
camera
artists, is
accomplished more
in
its
with a computer,
easily
tlexibilit}' in
McDonald's logo,
The
dealing wdtli
(pi.
who
call
tally
and
agendas.
visible less-political
of family members,
no. 799),
of large panels
similar
works by
issues.
tonalit\',
digitally pro-
Hill (collaborators
as
(pi.
generates
ning
no. 800)
facial
se\'eral
The
caught
in fabricated landscapes
installations,
site-specitic
Ku
Lopez
and
for example.
news.
digital
tliat
by Martina
she has
merged
one
portraits
face.
combined
human
problems;
who
use computerizxd
montage to comment on
political
and
cultural
Kempadoo and the Japanese-American photograOsamu James Nakagawa. Ivempadoo combines rep-
Roshini
pher
and everyday
social
life
to
rural or
effect
(pi.
in
another, she
face with
no. 801).
Whether
produced by scan-
615
798.
Bea Nettles.
Toiimto
Pliotography
at
of
George Eastman
/-I
'iljoiisaiid Cxntiirics,
image generated on
panel three ola thi'cc panel installation. ('oiirtes\' .\nd " Esther I'aiada.
Macintosh
conipiitei',
616
8oo.
Martina Lopez.
work of graphic
Bsvolntions in Time,
i,
1994.
Cibachrome
print.
art
spatial
as
they
work
They
to resolve
by
laser
beam
will
images printed
special conservation
methods
is
investigation.
will reveal
which
digital pro-
is
a frozen entity
once
it
arts.
Even
for example,
imagery
is
still
new
digital
is
as a fixed
ate fitture,
although
it
will take
may
banlcs
through on-line
services, digital
imag-
many of its
still
tasks as
become more
tiie
less
be engaged by the
over
from image
as
filmless
us,
computer
image.
produce
showing
configurations;
exist in the
art
digital
graph
to
image
and
tastes.
silver-
or platinum-
materials
needed
difficult to find).
for
Despite
many of its
It did,
617
now go through a similar transformation. Indeed, relieving the medium of its commercial and
decorative applications may eventually prove to be a boon
life
photography may
Soon
618
it
When
com-
and Photography
after
by making
the organization
Paintincf
artists treated
it
composition,
the
life
little
artists
work
from
They
and
as
midst of
in the
the
Europe
photographs exerted
a telling influ-
During the
if
early part
this cortiial
more intimate
still
in
some
Although some
respects.
artists
raphy,
American painters
worked
in
Charles
as precise in style as
Edward Steichen
sensitivity'; ironically,
and the
latter,
and
1910s
went even
fijrther,
transforming
and Constructivists
photographs
scientific
Some
life.
artists
combined
on
end to
art terminolog\'
traditional divisions
among
media.
distinctive
ubiquitous
emblem of mass
culture,
photographs were
elite
charac-
ous place
Rivers
in
Pop
art.
To
cite
photographer of sensitivity
silkscreen
techniques
(pi. no.
802)
the
employed
grittx'
Andy Warhol
Rosenquist and
States
those
(pi.
who mined
tographic
in
no. 803) in
imagery
in
embedded
in blocks
considerable size,
produced goods
publicity
The mixing of
Doug and
assemblages,
images, reproductions of
texts
the United
particular,
James
Mike
life.
advertising
art,
many of
wearable,
and
not only
cultural
which
exist
in
latter a
as well as a painter
Museum
popular media.
in the
also
of irony
as
as
testaments to individ-
contemporary analogs of
John Baldessari
Joseph Beuys
the
in
(pi.
no. 804) in
meaning of art
and events
work
photograph not
but
as a
in Baldessari's
as
an aes-
means of exploring
art
Artists
a single point
of view and
a single
moment
in
time also
prints, taken
over a
619
8o3.
work
moment
"realism"
itself,
ality "far
more
exciting than
(pi.
characteristic
the dis-
Chuck Close
to
The quest
world
prompted
ity
exploiting
its ability
sent
reality,
their
work
Almost
in
American painting
Precisionism revisited,
it
art,
emerged
too derived
common
with
built
sort
of
energizing ideas
its
environments so
many photographers),
usually are
more
620
a flat surface.
this
of the
real
many
Indeed,
painters
onto
employed projection
as a distinctive
abstract painting."'**
advertising illustration.
sharp-focus realism
making of art.
most
in particular, the
while
still
1962.
linen.
Galerie
a large
on
is
more
paintings
mimic the
visual
These
appearance of photographs,
from
number of camera
trOf"
John Baldessari.
804.
Arms
in Arc, 1984.
Two
Courtesy Sonnabend
Gallery,
805.
New York.
David Hockney.
Christopher Isherwood
Talking
to
Monica, March
Collage of 98 Ektachrome
prints.
Ringling
Sarasota, Fla.
621
8o6.
Chuck Close.
Nine Parts,
Sdf-Portrait/Composite,
RjCHARD
807.
Oil
on
Kansas City,
New
622
Mo. Courtesy
Museum
of Art,
York.
1979.
New
York.
(pi.
no. 807),
such
ments
in
contemporary
art
This
affiliation
is
that
now
At the opposite end of the ideological spectrum, photographs also played a role in Conceptual
to prominence
between these
least
art,
which rose
visual
forms seems
find
emblems of
the
artist's
a role in
body
pings.
art,
Yves
Klein's
efforts
if
it
its
recognized
less po.ssible
alter
in die
to visualize
marketplace by galleries
creations as equals.
would be
to imagine contem-
indicated, photogra-
photograph
in
now embraces
more often
the medium
images
in a variety
move people
emotionally,
technologies,
enhanced
new
role
New
of the photograph
sell
make formal
of the medium
To show
is
as a
marketable com-
medium
is
now being
expanded
photography flourished
without
even
curious. But, as Sol LeWitt noted, "Ideas [in art] ... are
it is
all
the
more
which
and
in
623
1910
demands
response
in
new
Two
Graphic
to
(pi. no.
8oq),
the
in
flexible-plate
earlier
Linhof
(pi.
cameras,
no. 808),
Company
tively
in
Rochester,
unchanged
in
New
The range of
studio cameras.
photographers
in the
model) with
a later
favorite with
a flash-gun,
which
is
American press
is
here
shown
connected to an
(in
elec-
opened
Single-lens
being
made
eras be
as the flash-gun
reflex
(slr)
was
fired.
equipped with
pentaprism
German
624
III
first
cam-
first
TECHNICAL HISTORY
now
the
It
The modern
in
which the
image received
a
in the
order to
facilitate
(pi.
it
was not
no. 812) in
The
Leica
small, lightweight
no. 813),
(pi.
35mm
introduced
roll-
in 1925
Company
became the
make
to
commercially
first
successfijl
instrument to
and
The
earlier
Ermanox
(pi.
no.
81s).,
fast lens,
a small-plate
had performed
measure
from various
light either
The
fixed-focus
(pi.
also
cen-
no. 818),
evolved into
tlie
Kodak
Instamatic
(pi.
no. 819)
it
Instamatic, accepting
ment
i6mm
cameras,
film.
known
had
a light-
cassettes;
called a
The most
as
it
by
recent equip-
point-and-shoot (P/s)
Developed by
make repeated exposures without attracting the attention of the subject. This camera and the other 35mm
to
nalism.
matter
how many
camera with a
wound on
a spool
The
of formats, contains
film,
mag-
be enlarged, and
which
35mm
too. Later
motor
now
are
and
pre-
Cameras used by
and
and
film advance,
ground edges
(a)
of a ceramic or
glass container,
silver nitrate
811.
flat-
onto
made
its
soluUon was
by a leader,
when
the
Polaroid
the Polaroid
forming the
camera was
commercial processing.
professionals
inside
photographic expression,
810.
back.
a smaller roll
By means of the
of negati\'e paper
connected
(B),
TECHNICAL HISTORY
III
625
8i2. Rolleiflex
ciple
from
a mirror (b)
is
reflected
onto
which
hood
(d).
is
viewed through a
The
film (e)
is
The
Rolleiflex
modern
813. Leica
winding knob
which were
on
was
set
viewfinder (c)
a dial (b).
fitted
The noninterchangeable
A direct- vision,
814.
of
the
was
housing.
no. 811),
field
and
Dubroni
626
The
was the
made
instant
Polaroid camera
(pi.
virtually as old as
photography
that
itself
no. 810),
had incorporated
TECHNICAL HISTORY
single-lens reflex
The camera's
III
this
it
camera to be equipped
was
specification included a
one minute
afiier
exposure to
to
number of
first
of sensitizing
make
Because
this
by the
ing,
and decor
concept, but
film
was adapted
35mm
interchangeable lenses.
set in a helically
One
camera
of the
optical
first
in advertising
composition,
light-
and
field
816.
Wlien
in
the
wool
in this tray
and the
in the
a circular tray
lit,
magnesium
lamps made
ftinnel (A),
(b).
A ceramic
flash
lamp by
1/1,000 second.
now
cameras. There
exists a
which
was introduced
in 1962
in 1995.
600
flash,
One
35mm cameras
hand without
Another involved
roll
a special
phy market
where,
it
at the
Both
development of great
professional photographers
has
Synchronizer
mass photogra-
Bmrin
817.
success.
service to
flash illu-
powder form,
World War,
flash
of virtually
all
is
cameras
(pi.
no. 819); a
modern
mini-version
(known
no. 816),
even lighter
tion in 1925
(pi.
made
artificial
produced
like
illumination
lamps appeared
in 1929;
(pi.
no. 817)
units.
High-speed
electric flash
It
was
those carried
on by Ernst Mach
in the
in
since
facili-
such as
Czechoslovakia in 1887
TECHNICAL HISTORY
III
in
627
mated
als
esti-
of the
late 1970s,
24
full
sunlight
Both black
million times. ^
films are
more
sen-
sitive
The
original
tals in
Brownie
camera of 1900 had the shutter release (A) and the film
winding key (b) on the top; the film rolls (c) were
placed
vertically.
(d) were
To
marked on
The
first
sliding
recent years both black and white and color positive and
negative films have been vastiy improved in terms of
speed and resolution. Manufacturers have recently marketed films in which the
formed by
less
a different
monochromatic image
final
is
crystals
Film
is
now
available in a variety
sitivities,
differing
in scientific
documentation and
conditions,
human
eye,
is
penetrating
for
to light that
not
two
prints,
and
basic kinds
fiber based.
in different
One
of paper
Both have
visible to the
being used.
a gelatin
is
haze
plastic layers
layer.
on
Both come
grades of contrast.
Kodak Instamatic Camera. The Kodak Instamatic camwere introduced in 1963. They took a drop-in
cartridge that gready simplified the loading of the
cameras. Like most of the Instamatic cameras, the model
100 had a built-in, pop-up flash gun, released by a button.
819.
tion
eras
Part
of Autochrome palates
II}.,
a variety
(see
Colour
Plates,
and Agfacolor),
additive-color principles.
all
From
introduced by Kodak
gradually lighter and
in the
more portable
Edward
skills.
By
1925, as the
demand
on
subtractive
ftirther stimulated
by compe-
the
first.
tition
Materials
and
TECHNICAL HISTORY
among commercial
firms
film
an inducement to
628
was
Processes
to
III
color theory to
the production
ot"
layer
that
ized
some
primary colors
their
25 years later in
in
a triple
real-
Leopold
musicians
movie
film,
Kodacolor
first
roll
which
Company
and
in 1938
in 1916
first in 1935,
as a negative
1942.
Autochrome
rivaled
in
plate
that
Kodak
whereby
made
from
For the
by exposing
dyed
it
directly
through
filters.
were transferred
in
by
reliefs
in
which
dyes are added during the processing, and the dye-destruction (or dye-bleach) system, in
dyes
complete
of
set
ter
which
is
lat-
and released
be
in the layers
during development;
this
processed in individual
darkrooms.
enabled
in 1939
the
An
film
to
almost identical
be processed in
home darkrooms;
some
tomers
Kodak
in the
gave
and
to
rise
renewed
slide projection
interest
during the
films (transparencies)
late 1940s.
Color positive
film
a finer grain
was no longer
just
will
in color
to the
problem
Ducos du Hauron
brome
monochromatic
Thomas Manley
in
(see
is
now
called assem-
invented
in
1905 by
World War
in 1935,
trol
that
of the emul-
became more
pressing. Central
when exposed
to
monochromatic
chemicals
in the
silver
crystals
of photographic
conservation
the
efforts
has
materials
sta-
tographs
in
ways that
and display
will
minimize
all
deteriorated
has
types of pho-
their deterioration.
interest in restoring
potential problems
artis-
what
their original
purpose
may have
been.
II.
was
print.
is
Short
well-known
ble
prompted
a variant
all
the chemicals
work
manufacture of nearly
Cibachrome.
Conservation
slides
in the
basic to
is
to
for processing
and process-
Initially,
used
latter
in
are
company
Hungary
in
the
Holofraphy
An
entirely
new
last
45 years or so.
TECHNICAL HISTORY
III
629
a three-dimensional
is
and exposed to
sion
whole
two
as the reference
from an
object. In
beam must be
split
beam,
is
will
be recorded. In
beam and
emulsion
becomes
parts by a
light
and jjratnma
is
photographically processed.
when
visible
it
of lines
a pattern
the
after the
two
reflection.
laser
or white light sources located behind or below the emulsion surface; reflection holograms
become
visible
when
Holography
is
by the
i960 of
the
laser.
new
In 1962,
Emmett
known
as
Union
recording on pho-
for
in space
by
satellites
which convert
most
made
electronic imaging
way
as archaeology, the
lance; light,
buried
its
brain
cities,
dna
cells,
structure, or
hidden mUitary
installations.
Around
computers became
1979,
digital
light
that
is,
and shade by
by a number. Stored
in the
or pixel,
and printed or
desired,
if
transmitted.
cell,
struction
first,
The hologram
is
higher
detail are
determined
number of
which
pixels,
in turn
requires
used computers to
inciustries
separations,
and to
size
facilitate
microchip
and
expensive
less
beams. Improvements
of over
in
fiall-color
16 million colors.
The
holograms discov-
digitally
encoded image
as "electronic
found
ical characteristics
of earth formations
and
optical
measurements, and
investigated as a
the
creation
and human
cells.
method of efficient
They
artists in
as a
means of personal
States, Eastern
expression.
artistic
is,
is
its
a grid
of pixels
development that
duction of photographs.
Made
on
the repro-
abil-
received
630
considerable
TECHNICAL HISTORY
will
III
silver-
become
is
will
visible
lost
when
original negative),
able
is
finite,
frizzier
enlarging
and
itself
traditional
a fairly recent
that
quality
Image-Making
will
Electronic imaging
traditional
and tone
Dijital
from those of
phys-
its
are different
video," but
the United
sometimes referred to
in
images. In addition,
is
"still
in
photography" or
whereas
is
less
(a
produced
in sexeral ways:
by
realitv'
on
a magnetic disk or
from
and organize
used
is
in a
computer
arrangements
in 1990,
it
is
analogous to
con-
on
disk or
memory
and then
cards
records
tions.
among them
in,
facilitate
refers to
and
make
There
and
colors, as well as
that
tojournalists
who must
file
and editing
in the
Because there
al
sense
that
recourse
control
individual
is
photo editors
for processing
large, given
used
in
up
print.
is,
when images
sent or knowledge.
for photojournalists
are manipulated
and
for viewers
issues raised
by
both
the increasing
all
made
niques has
known
made
possible a
more
them
translates
ed, space
reduced.
is
The
usefiilness
on
as
the original
need-
work
is
services,
which give
example, can
if looking
through
also be printed as
on
on paper,
As
is
direcdy
a consequence,
is
usually
done
by specialized laboratories.
in
texts
emerged
to rotate so
sophisticated approach
A scanner,
first
in Photography (1990).
new
these ele-
their
entirely
combine
mon-
special effects.
programs,
in
tages
burning
services in
expressive purposes.
in the
own
facilitates
from on-line
as well as
collec-
appropriate images
artists to
and picture
library catalogs
technology throughout
its
in
all
will
con-
entail, there
many of
silver processes.
can be
little
doubt
will
be effected
TECHNICAL HISTORY
III
631
Notes
I.
1.
Unsigned
article,
3.
4.
An
London,
1951), p. 323.
whom
after
see
(New
York, 1968),
New York,
6. S.
D. Humphrey,
1978), p. 246.
20, 10 (February
7.
"On the
1859): 307.
?,
155.
p. 88.
16.
against James
The Laroche
case
came
to
trial first
p. 728.
it
the Stereo-
\\as himself
century.
impro\ement
5.
in
15.
17.
tion.
812;
1851):
5.
Niepce, with
177, 341 n.
n.
in
Atheneum (March
14.
article
23,
1839): 263.
2.
From an
13.
in
Holmes
as
ities
H. and A. Gernsheim,
19.
5,
is
inadequate
prints,
in
and
5,
Fox
both positive and negative images, one-step images, and one-ofa-kind light graphics without a camera.
Talbot
It
might be restated
A PLENITUDE OF PORTRAITS
2.
as
1.
on
1859; trans,
a photosensitive surfice."
and reprinted
on Photojjraphy
in
Modern
9.
fine detail
Albert
2.
S.
of the daguerreotype.
Photographer
See Weston
10.
J.
3.
Florence was
Elizabeth
(September
LXXIX
12.
in
1851.
Henry Fox Talbot: Pioneer of Photogand Man of Science (London, 1977), p. 211.
raphy
632
1849 (with
NOTES
Essays on
Physiojjnomy (1^89); in
According
4.
3.
to
1841, 1843,
1871): 320.
ed.
11.
(October
graphia,"'
Word
\^U
do Photo-
from
5.
Baudelaire,
tJiis
"Modern
seems
urdikely.
6.
Antoinc
()t\'pe
"iaudct, "Progress
ot tlie Dagiierre-
Nadar (New
22.
Quoted
23.
in Nigel Gosling,
York, 1976), p.
37.
(Juh' 1845),
ser.
p. +5.
Hogg
Daguerreotype," History of
Photography I, 4 (October 197"): ;i8. The sitter is tliought to be
William Johnson, lather of lohn Johnson, inventor with Woleott
7.
Essays
and reprinted
Imajjes
in
{New York,
1980), p. 109.
1842,
York, 1979), pp. 184-85, 201. Stefan Lorant, Lincohi: Picture Story
article,
a siher plate"
dn portrait,''^
photographic journal L Lumiere;
author of
a series that
^^lljcorie
see part 2,
5,
essayist
appeared
May
and
in the
of His
Kempe,
Fritz
Dajjiicrreotypie
friihen Fotojjrafie
am
(Seebruck
im
Deittsehland:
(New
p- 26.
to April 10,
it
made of Lincoln.
1851, p. 511.
25.
9.
and
L'nsigned
p. 4.
(1859); trans,
in
Days
10.
of Photography
11.
i,
.;
Nathaniel Hawthorne,
Tlje
26.
Unknown
author,
"How
the
Camera Came
to Japan," East
XVI, 5-6 (June 1980): 32; see also John Dower, introduction to
A Century of Japanese Photography New York, 1980), p. 3.
(
back ed.
(New
York, 1967),
p.
i.S.?-
27. Judith
Unknown
12.
Journal
midcile
i,
author, "Reporting
6 (April
initial
a discussion
1854):
15,
i5-
b\'
Photography," Humphrey's
Brady signed
name with
his
light.
and commercial
figures
For
Gallery in Washington,"
and
Eyes: ii)th-
Early-
from Westerners.
differently
Quoted
28.
Margaret Cameron:
Unknown
30.
ation," p. 320.
Victorian
Smith, "Mrs.
P- 127.
I?.
Indian
Jljroujjh
political
Mara Giitman,
Julia
in
Charles-Harvey Gibbs-
in
Unknown
14.
autht)r,
(August
1975), P- 71.
Photographic
16.
Walt Whitman,
York, 1980), p.
17.
(January
Society
Tlje
(Albuquerque, N.M.,
Hill, in 77a-
1971), p. 238.
Hamilton
L.
it
became known
as a tintype.
who
called
ed.
(New
20.
Anthony Trollope,
York, 1982),
it
rev.
and
2.
3.
Tlie
Quoted
in
Camera and
the Pencil
(New
?,
the Stereo-
Primitive Photography
5.
p. 63.
4.
enl.
Patrick
(New York,
1970), unpaged.
(New
otype on
American
Society
6.
7.
Unknown
Tlje
19^9), P- 49-
(Albuquerque, N.M.,
1971), p. 12.
p. 181.
York, 1864),
a ferro-
York, 1963),
1.
1973), unpaged.
19.
A Life {New
3.
American
Daxid Octavius
31.
1855): 19.
112.
reotype on
18.
in Justin
Originally ascribed to
author,
See Andre
195.
Janis, Tlje
Art of French
NOTES
633
British Photographer
9.
7f/r(
Containing
Du Camp used
Sensibility'
Blanquart-Evrard's
in
France to be
et
les
Du Camp;
ori^ines
(Geneva, 1981),
p. 81.
Italo Zannier,
25.
1983),
First
illustrat-
with
in 1852
Jammes,
see Isabelle
de Fedition photojjraphique
albums photo^raphiqucs
three photo-
11,
Antonio
5,
(October
1981): 330.
27.
Photographic
News
who
plates
prints
were made.
and
Java,"
in
sures
1978),
in
Tljc
e Felice
seven coolies"
in this
James Borcoman,
Bible:
Illnstrated with
26.
12.
The Holy
is
.
unpaged.
album were by Aime Rochas, a French daguerreoNear East at the same time. The metal
were rephotographcd on albumen-coated glass from which
graphs
cdites,
on
the
10. Francis
Included
1858.
carried apparatus
make
when he ascended
five
expo-
Tljeir Collection
unpaged.
28.
Tlie
Last Empire:
Unsigned
article
p. 56.
1857):
n.
5,
i.
29.
Another version
i+.
exists in
Mark
Amber:
in
Sihy's
C'amiile
River
For
16.
to
(London,
1975), P- 16.
fact,
p. 747, as
matter as a
31.
jjraphs
(hnndon,
at the
New
1975),
closer to
Quoted
20.
1855
in
Gerda
Peterich,
and
1915 as
1984).
1979):
22.
della
From
p.
Richard
in
Helmut and
D. Fowler, ed..
CitA',
1972), p. 143.
of the
TIjc
Explorer
Camera
Higher Himalayas,"
(March
18, 1870):
This was
XVII, ^^
28-29.
judgment about
unknown
author,
1956): 22.
C^cw
Don
14, 1872; in
Winning
Huyda, H.
J.
in the Interior
Weston
J.
iii
(February
i,
i860): 32.
(Buffalo and
the
sites in
PhotojjraphyYU,
I.
mention
36.
21.
York, 1966),
35.
illustrated
Expeditionary
32.
34.
S.
Charnay
and
p. 180.
See Rolf
Desire
Central America.
33.
19.
Davis,
F.
(Albuquerque, N.M.,
any longer."
18.
Keith
P/;ofo/7rrt/;/;t'r
Photoiraphs, r840S0
17.
diss.,
See
30.
New
York,
19".^),
pp- 129-30.
Alison Gern-
4.
OBJECTS
AND EVENTS
23.
sets
634
NOTES
1.
Monthly
1973), P- 22.
I.
of stereographs
S.
Virtue,
illus-
London,
2.
12 (July 1863):
Sunbeam," Atlantic
11.
the Stereo-
3.
M.
William
l\ins,
(Cambridge, Mass.,
Prints
Jr.,
a)ici
Visual Comuiitnuatiuii
1953), p- 94-
20. William
p. 350; in
/)ra)i'?/?.f
4.
i.S5
edition
the Juries'
in iXsa in
an
Henneman
Talbot,
1851:
6, 3 (July
Hoppin,
J.
LIS.
War photographs
European
artists"
1863-6+,
22 (September
15,
Photojjraphic Times
1862): 18+-85.
1982): 257-72.
5.
(New
Yorit, I9"3),
p. 18.
6.
F.
1976), p. 22.
iSso to the
and
Present
Rochester,
For
People (1873;
Its
M. I-yman,
Tlje Vanishinji
Photojjraphs of Indians by
Edward
S.
Curtis
(New
Illusions:
York, 1982),
pp. 17-23.
9.
article,
Printing," Harper's
10.
1856): 433.
and
2,
8,
Kunhardi,
the
Jr.,
Mathew Bradv
"Images of Wliich
Label," Smithsonian
documentation of the
Civil
War
for
originated with
Alexander Gardner,
23.
"A Harvest of Death," Gardner's PhotoWar (reprint. New York, 1959), pi.
Unknown
author,
25.
Century," parts
a photographic
24.
Unsigned
tember
History
him.
Christopher
According to Philip
22.
Majjazine
reprint.
8.
21. J(K'l Snyder and Doug Manson, Tlje Documentary Photograph as a Work ofArt: American Photographs, 1S60-1S76 (C^hicago,
26.
X, 519
2, n. 24.
1971),
p. 31-
27.
11.
Alex
J.
Macfarlan,
"On
For
full
Langenheim
Treatment
and
13.
CV,
see
in Philadelphia,"
Bioiraplj^'
Others
discussion,
C^ollection: Early
who photographed
14.
War were
Weston
Weston
"From
J.
Naef,
J.
Illusion to
Tin-
Truthful Lens:
in
develop-
TECHNICAL HISTORY
I.
1.
2 (April 1977):
ofPhotojjraphy
3, 3
(July 1979):
193-942.
Actinic rays are tliose having the radiant energy needed to pro-
16.
17.
Unknown
author,
Journal (October
i,
18
and
May
20, 1855;
Chronicle
5.
).
in the i8th
(Boston, 1980),
at
4.
Camera
photography.
75.
1855); 285.
as in
3.
raphy ^,
18.
this
of 360 photographs.
in
(Charles)
of the
15.
a discussion
For
1978), p. 43-
7.
See chap,
i,
and
may have
as early as 1798.
p. 62.
n. 10;
Naef states
that Florence
first
photojj7-aphy in 1832.
8.
See chap,
i,
n.
5.
NOTES
635
9-
in
method of dissolving
F.
the sub-
its initial
10.
Unknown
11.
author,
Journal of Photojjraphy
British
(March
186+): 256.
13.
1874),
14.
XCI (March
15.
Scharf,
Art a7id
Unknown
Photojjraphy, p. 79.
author, "Photography in
Its
Art {Boston,
as a
i,
in Tlmujjhts About
p. 52.
use
was
15,
1862): 359.
p. 14.
2.
52 (April 1868):
16.
Sciences
IX (August
Gernsheim,
Tlie
19, 1839):
William
4.
and
(New
History of Photojjraphy
Art and
to the Bejjinninji
i,
before exposing
7.
"De Pinfluence de Theliographie sur les beauxLa Lumicre (1851); in Heinz Buddemeier, Panorama,
Photojji'aphie
(Munich, 1970),
1859; trans,
and reprinted
on Photography
8.
(i8s2.); in
Francis Wey,
Diorama,
Quoted
in
Modern
1980), p. 88.
Boucher, intrt)duction to
G. Sadoul, "Peinture
d'Eugny and
An
temps de
R. Coursaget
Arts, purchased an
Philip Gilbert
636
Ohio,
in
Jljc
Painter
and
Fj'attce
19-20
the Photojfraph,
appear
tt)
on photographic copyright
toward the end of the
Bill,
relating to photography,
tinueci to use
artists
was
have con-
their author-
Heed
contemporary
discussion.
Unknown
Notes
II
(Nox'cmber
Sunbeam," Photographic
1856): 83.
15,
21.
Nadar (New
Gosling,
1855
22.
Gordon Hendricks,
York, 1972),
Tlje Photojjraphs
of Ihomas Ealiins
{Kcw
a painting,"
but
nected
in
details
it
for a painting
nudit)'.
oj' Photojjraphy
1973), p. 92.
NOTES
photognphie," Arts de
without
Robert Hunt,
et
89-94, 267-68.
ID.
Century,"
journal entry.
when
in the 19th
and finished
Eugene Delacroix,
In 1865,
20.
in Frani^ois
p. 262.
on
Hand-Drawn,
(1948): 5-23;
19.
arts,"
it
of sensitized
Clichc-verre:
a glass
Aaron Scharf,
photographe," La Ltnnieir
6.
common
less
laws began
5.
paper to sunlight.
17.
on
115.
Fran(;ois
18.
3.
The
Quoted
After Dajjucrre: Masterworks of French Photography {1848-1900) from the Bibliothi-que Nationale (New York,
23.
in
1980), unpaged,
pi.
no. 6.
Hunt
I96y
suggests
p. f>6,
),
ot tivmpf
/on/ still
lifes,
tliat
direcdy inspired
b)'
these
images.
26.
Unknown
18.
book"; see
1858): 120-21.
i,
2.
3.
Antonio Frrera,
28, 1886):
Naya
venete"
p. 38.
J.
Morton, "The
3,
27 (March
Quoted
(New
Samuel L Prime,
in
Morse
F. B.
L.
Art
New
diss..
York Univer-
1967); see
Vision,"
in
as a
in
who
1855
(New
Tlic
York, 1966).
Image (September
1979):
Following
his
8.
Henry Emerson,
dis-
^Naturalistic Photojj-
traxeled
39.
New
Braun:
A 19th-century Career
i,
4 (October
1979): 365,
and Metaphysical
Architectural
work of art
The
in art
41. Felix
(January
as author,
Tlje
by the photographer
tiiat
D.
J.
in a deposi-
in
in Science
and Art,"
were sold
Man
The
Eadweard Muybridge:
p. 87.
Motion (Berkeley,
in
p. 155.
In 1878,
Motion
TJje
in
a set
iti
Stanford Years,
p. 66.
11.
Motion
persistence of vision.
The
in
Criticism,"
where-
12.
Quoted
255-68.
only one
1855); in
phenomenon
called the
in
M.
Animal
Langlois,
"The
2, 1869): 165.
Architectural
states that
Motion
on
is
contending
first
appeared
William
ings] visually
when
suggestions.
perceiving [build-
is
not resume
cfid
TJje
371 n. 36.
America and
as "a
C'ential
Muybridge
ID. E.J.
in
tt)
of Science
9.
Man
his
8.
36.
These
1851, p.
37.
Henry Roscoe
Biitish scientist
to measure sunlight.
Muybridge
Study of Movement
35.
later
lover,
7.
1969), p. 27.
of Samuel
Tlie Life
Elizabeth
33.
1.^4-
Bunsen,
1866): 71.
Communication (Cam-
4- Invented
5.
rapher
32.
Rev. Henr)'
31.
Jr.,
5.
hins,
Monthly
M.
William
28.
30.
p. 58.
NEW TECHNOLOGY
6.
in
p. 67.
29.
43.
was meant to
"truthful pictures"
25.
27.
on
contradict
13.
I.
in
Haas, Muybridge:
Homer and
J.
Picture Process,"
Aaron
Scharf,
See
Meissonier:
also
Man
1963): 18-35.
in Science
and Art,"
NOTES
in
637
Muybridge:
Unknown
14.
p. 103.
News 8+
1.
(October
December
/wrt/7c(
is
quoted
which
"The
1956): 21, in
"Mv
as saying:
aim
is
some
to secure
tleeting effect,
Artifice
p. 179-
Impressionism
Photography
anci
66-78, and
1980):
unknown
1980): 96-110.
Coe and
Brian
(London,
3.
Paul
1977), p. 14.
26,
(November
I,
5.
Aidrew
Studio
I,
Pringle,
6.
7.
Today, dichramate
is
Photojjrapher IX,
(January 1897):
9.
5.
Hartmann, "A
22. Sadakichi
Camera
Arnold Genthe, As
See, tor instance, E.
the
CNcw
York, 1939),
p. 18.
chromium atoms
J.
J.
York, 1936), p.
first
H. C.
Price,
Photographers
Circa
District,
12.
(New
(New
638
New York,
1908
);
in Peter
Mood (Washington,
p. 96.
(May
Nude
Photography," Photographic
in
Amateur
J.
H. Lartigue,"
3,
in
21, 1853):
\'ol.
NOTES
Barbizon
were
to Artists,"
Ibid., p. 209.
1897): 210.
For
a discussion
TIjc
1981
);
5,
1910):
15.
Unknown
author,
in
the
"The Nude
Open
111
Photography, with
Some
Air," Studio
77/f
Work of
16.
Ihc Art
Regime (New
1985).
(July
(1898): 108.
vol. 2,
Ancieti
News
Studies,"
20-21.
Studies Taken
"^5.
of Old Paris
Art
the
women
i.
in
Photojjraphy:
1981), p. loi.
John
TljcAutochromcsofJ. H. Lartigue
vol.
Jeffrey,
etJ.
14.
\'()ls.:
Europe he
York, 1882).
trips to
Times XXIX,
igii,
Hov to Make
{New
see Ian
as symbolic;
D.C., 1975),
32.
Remember (New
as a
(1899): 319.
-\-(>
11
p. 22.
tions in Europe.
Atget,
1977): 345.
him.self;
Concise History
30.
Europe
in Eastern
4 (October
i,
10. Stieglitz's
13.
29. R.
28.
189''); in
Szarkowski
27.
21.
Meacham, Paul
"Hand Camera,"
23. Stieglitz,
from
1980), p.
containing X\\o
photographed
25.
Cit\',
p- 47-
24.
Photographic
charged ion).
found
York,"
SI.
compound
8.
21.
Photographx',"
in
Lake
Among
Rov
At
"The Naissance of
Wm.
(December
II,
1900): 50.
Amateur
20.
WA\
Vision, p.
"The HantJ Camera Its Present ImporAmerican Annual of Photography (1897): i9-
(May
1899): 528.
author,
Alfred Stieglitz,
19.
25.
1864): 69.
tively
14
1907), p.
earlier; see
Gates,
31.
tance,"
18.
Camera (London,
the
17.
69.
4.
America (summer
1898):
(March 1900):
2.
16.
in
William
Photo Era 4,
Scharf,
15.
1859):
ART PHOTOGRAPHY
7.
to
Beaut}':
and
1981), p. 119.
in
Amateur PhotogFlstelle
Jussim, Slare
Controversial Career of
F.
r. C'harlcs H.
C^affin,
MfWiM November
5,
J.
J.
For
19.
a discussion
tography, see
J.
"new Parthenon"
Dorothy Norman, Alfred Sticjjlitz: An American
34. Stieglitz's reference to the
"The
New
J.
J.
American Quarterly
is
cited
2 (1955): 224.
Color- Photography,"
1913
Century Majjazine
75, 3
American
in
(August
21.
ment
Tlje
Linked Rin^:
(
Ainslee's^.,
Tin- Secession
London,
Annan, owned by
R.
"The Camera
Dreiser,
(October 1899):
C^lub
of
New
York,"
328.
1981),
Move-
1979), p.
ix.
Craig's
].
8.
1.
&
of T.
38.
Ibid.
22.
Theodore
37.
p. 63.
p. 4.
and
Hartmann
Pioneers by Sadakichi
Profiles of Photojjraphie
Pictorial
16
(Berkelex",
in
I9I5.
(New
1904); in
in
in
York,
I9'^3), p.
35.
New
mentioned
in
Nilsen Laiirvik,
is
Seer
Quoted
in
vii.
1973), p.
father, purchased the sole rights in Great Britain to the Karl Klic
outstanding
24. E.
J.
(March-April
in gra\iire printing.
J.
Revue de photojjraphie
2 (April
15,
May
15,
and lune
Adam
in
History of Photography
(January 1980):
the 7?;-
Documentary Expression, p.
two tendencies in documentation
5.
Alexander Alland,
rapher Extraordinaire
6.
Women
Withers,
7.
(New
Unknown
For
30.
New
a discussion
Elizabeth Flint
conflict
between
9.
1982).
Benjamin
in Bill
Ja)',
Stone, 1838-1914
How
V,
Life
10.
10
1893): 441.
(London,
See
Tom
Beck, Geotjje
M.
Mines
Photojjraphs of the
Benjamin Stone,
p. 32.
Pictorialist attitudes
32.
Art Journal,
unpaged.
of the
Wade,
Josephine
(October
Sir
Scots Photographer
America
by Sir
Artists in
Edward W.
Riis; see
York, 1978).
i860; in
8.
in
(New
Old
York, 1977), p.
Closes
and
Streets
Tljomas
Annan:
of Glasjjow, 1868-1877
v.
Alfred Stieglitz,
New York,
12.
visited
in Livcipool,
ibid., p. vi.
1983), p. 190.
13.
33.
29.
anci the
Sr.,
25.
Poland,"
ff,
other expressive.
Sr.,
in
12
one informative
are
28.
in
5.
Unknown
27.
America
3.
4. Stott,
Quoted
in
1904); in
15,
26.
1971): 87.
2.
Sadakichi Hartmann,
"A
Notes
4.,
(October 1900):
97.
AlexantJcr Alland,
Sr.,
Amonjj
the
How
and
the
Citizen
Other Half
NOTES
639
of die
first
Through
tions.
of the
Thomas
of New York.
Cit>'
14.
intendent
Byrnes, Darkness
to
Preface
modern camera
volume.
Every
is
p.
.\;
p. 41-
publishers
the
illustration
is
Taylor,
An American
illus-
from a photo-
life."
Both
26.
Quoted
in Pete
Daniel and
Raymond Smock, A
(New
"Therefore
York, 1974),
19.
let
me
in
Edwin Hoernle, "The Working Man's Eye," Der ArbeitcrFotograf in Da\'id Mellor, ed., Germany: Tlie New Photography,
1927-1933 (London, 1978), p. 48.
28.
and
P- 23.
istration,
OVO
Magazine
40-41
30.
(1981); 3-9.
5.
all
31.
of "sub\ersive" organizations
of
number of feti-
Valle)' Authorit\',
conservatism,
political
it
in 1950;
found
list
itself
O. R. Lcwejoy, Report
in the
to the
Board of
McCune
the
National Child
University',
New York.
life.
Tennessee
bodi medicine
Expression, p. 67.
in
photomicrographs, especially
for his
10,
32.
21.
was renowned
zoolog)',
this
Documentary
1930s
27.
Talent for
Benjamin Johnston,
20. Stott,
1932-1940:
Aiijjiist
this
Commentary,"
Erosioii, 1939;
1913): 167.
18.
Record of Human
29. See
3,
images.
17.
Exodus:
Archibald MacLeish,
illustra-
its
Museum
donated to the
many of
same fashion
as those
made
for the
Quoted
33.
Sander, p.
in
in
August
17.
F.S.A.
By moving
54.
This figure
is
gi\'en
by Grace
America
images on
announcing the
a\'ailabilit\'
of tiiese
from
its
bleached steer
skull,
found
in
North Dakota,
graph
it
of the
in sexeral
see Hurley,
See
F.
collections.
were exhibited
in
the
1.
Grand Central
Palace in
New
9.
York
in
Museum
of Modern Art,
New
25.
in
local
it
Praise
Famous Men,
1941;
sent out
communities and
state
some
Evans, Let Us
15
Now
NOTES
and magazine
editor, in
in Advertising
"The
5-
Gustav Hartlaub,
in Peter Selz,
in
German Realism
of the
3.
Quoted
in
Dawn
Tirc/-?f.f
(Minneapolis, 1980),
Ades, Photomontage
(New
p. 32.
York, 1976),
p.
4. R.^oul
World War
(Albuquerque, N.M.,
640
critic
10.
books,
Camera
2.
York;
Photographs, at
Briggs, The
1939), p.
Egmont
W. G.
{'Ra.ton
5.
1975), P- 86.
ft,
AlthoLigli initially
now used
tioti is
somewhat
meaning, solariza-
different in
"Remembrance,"
in
Edward
Weston: Nudes
b\'
phenoment)n
term for
this
Sabattier,
who
first
described
Salmttier
is
it
Armand
after
effect,
21.
raphy
in 1862.
Annual {i9is-i(>)',
in
Modern Photog-
p. 34.
7.
raph)'
and
effect
its
on
the
still
new vision
is
VVillett,
(New
"The Future of
Photog-
Pictorial
Photojjraphie
22.
discussed in John
Lake
(Salt
blatt (1928); in
lesen, sehen,"
Das Kunst-
Sachlichkeit
Movement,"
Photography,
p. 91.
in
New
a representati\'e
Edward
Weston: California
Rochester, N.Y.,
1980), p. 194-
Cit\',
1966), p. 103.
9.
(New
Moholy
24. Laszlo
10.
and reprinted
Daxid Mellor,
in
1928; trans,
ed.,
11.
The
Die Welt
tide.
1978), p.
ist schiin,
to Light," Telehor
in
raphy, p. 80.
Photojj25.
(London,
raphy, 1927-33
"From Pigment
Nag\',
and reprinted
17.
rapher
49
9,
in
of Renger-Patzsch's original
place
tide.
Die Dinjje
{TIjinjfs
or
Objects); see
in Mellor, ed.,
Book of Objects
anci
Things,"
in
13.
Germany:
in
JJje
New PhoU)qraphy,
Is Beautiful:
Germany, and
raphy
(New
Model
Paris, 1979), p. 7.
TECHNICAL HISTORY
1.
when
it
Ina,
Photoj^raphs
Photography in America:
York, 1978),
(En^cwood
Cliffs, N.J.,
Dry
Magazine
Si, 5
{New
Sheeler
18.
Fillin
Among
York, 1975
),
1934).
For
a discussion
of the attitude
among
artists
Edward D. Wilson,
and
F.
intel-
Bach],
1931): 101-2,
Dada and
in 1889. After
Goodwin's death,
his
patent
favor of the
Made
was setded
lectuals
Henry A. Reichenbach
p. 65.
Plate
Goodwin
Kodak camera
fi.inds,
product was
p. 155.
also
(New
in
17.
on
p. 324.
16.
Tlie
p. 16.
for the
15.
first
13.
"Return to Photography,"
practicable as a
roll film in
Nobuo
14.
became
it
2.
York, 1980),
II
the
and
American
1975), pp.
204-26.
64
Eaton
S.
Lothrop,
Jr.,
Museum
Ferry, N.Y.,
the
of Photography at George
1973),
p. 37.
5.
actinograph
a slide-rule
equate variables governing exposure. In 1890, they joindy published Photochemical Investigations
mining
6.
Quoted
in Brian
Tears, 1840-1940
(London,
Tlje Fiist
Hundred
1978), p. 21.
NOTES
641
lO.
16.
Sandra
mchr
1.
UHU
is
2 (1926-27): 83. In
i,
wortli
the
Weimar
cd. in English,
ilc
in Picture
Life
als
Germany during
S. Phillips,
Magazines Before
See
17.
Hardy,"
(London,
1840-1950
and
1975), P- 35,
Hardy {hondon,
tion to Bert
Tom
Hopkinson, introduc-
1975).
18.
19.
Camera
1952), p. 42.
in Lewinski,
(which was used on the dust jacket for Robert Capa, Death
2.
the Makinjj
3.
TJje
International
York, 1893):
20.
[New York,
Quoted
Concerned Photojjrapher
in Tlje
in
Biofjraphy
{New
New
York, 1968),
unpaged.
18421.
4.
On
finding his
Genthe borrowed
studio,
3A Kodak
from
disaster;
(New
York, 1936),
Unknown
author, "As a
News Magazine
22.
submitted;
(March
i,
The
Edward
Illustrated
1963),
the\'
were narrowed
down by
Luigi Barzijii,
1907; in
La
Steichen,
Life in Photography
(Garden
Cit)',
N.Y.,
unpaged.
1890); 48.
23.
6.
(New
p. 89.
5.
York,
camera
shop, and for several weeks he used this equipment to record the
see Arnold Genthe, As I Remember
Edward
Battajflia di
Eugene Smith:
Early
Camera
at War, p.
7.
Lewinski,
8.
of
whom
were
Monsivais,
9-
10.
risualcs
first
(January-February
appeared
UHU,
in
1981).
magazines.
2
25.
Quoted
in
Quoted
naltst:
Paris; see
sons, both
first
56.
in
\9S^)'-
p. 63,
p. 123.
very few pictures of the war, only those of the most innocuous
485.
Herman
Blauvelt,
"When
(May
1925): 65.
27.
28.
11.
ing, see).
12.
Das Kunstblatt
iQio-iQX^
13.
II
29.
(Otto Umbehrs),
trierten der
in
Dawn
illustrated weeklies
15.
Quoted
Ades, Photomontage
p. 55.
of the Weimar
York, 1976),
Photographing in Color
attitucie, see Carl
(New
York,
Sandburg, Steichen
p. 53-
30. Ansel
p. 16.
31.
in
the 'Ads,'"
unpaged.
(New
York, 1979),
32.
Margaret
Bourke-White,
Nation (February
p. 16.
642
Jr.,
For Steichen's
et metiers jjraphiques
Scientific
(New
1929),
France," Gebrauchs-
Illus-
Mac
Paul Outerbridge,
1940),
the
Umbo
Pierre
(May-June
in
i"".
Brodovitch.
12 (1928): 79.
R. L.
NOTES
19, 1936); in
Quoted
(New Vori<
33.
in
lysi), pp.
14. Quoted in Lee D. Witkin and Barbara London, Tlie Photograph Collector's Guide (Boston, 1979), p. 78; see also Jonathan
Green, American Photojjraphy: A Critical History, /y+v to the
35.
Present
Quoted
Photojvnphy
in
York, 1977),
TIjc
History of Fashion
P- 142-
16.
Gabor
17.
(New
York, 1981), p.
118.
Museum
Press release,
38.
(New
of Modern Art,
New York,
i947-
William
S.
Johnson, ed., W.
Etifene Smith:
Master of the
Quoted
(New
Quoted
in Allan Porter,
London
Quoted
in
Ben Maddow,
Faces:
S.
3.
New
Aaron
in
An
1975), p. 33.
Scharf,
22.
Italo
23.
Venezia
24.
Tlje
(London,
in
Bill
p. 18.
Contemporary
Photojf-
raphers, p. 602.
in
Contemporary
Steinert," in
(1936); in
Quoted
21.
1.
"Otto
Photographers, p. 723.
jfraphs, 1840-19SO
11.
Bresson," p. 485.
Contemporary Photojfraphers
Szilasi," in
20. Laszlo
in B.
"Gabor
Szilasi,
Veneziayg
in
19-
41.
1971),
Diego
18.
39.
in
p. 12.
37.
1984), p. 166.
p. 120.
Nancy Hall-Duncan,
(New
(New York,
Quoted
15.
Man-Altered Landscape
Topopiraphics: Photographs of a
Half-Century of Color
66-67.
Ibid., p. 86.
34.
New
13.
"Contemporary
Zannier,
Photography,"
Italian
in
79, p. 280.
Quoted
in
Emma
raphy (hu^ufit
25.
Harry CalJahan,
4.
in
John Szarkowski,
ed.,
Callahan (Millerton,
New
by John Szarkowski
Aaron
Critics,"
Siskinci, in Carl
6.
Minor
12.
dence over the past several years with Lin Shaozhang, senior
editor of Chinese Photojjraphy, Beijing.
5.
Wliite,
York, 1974), P-
Vision, p. 27.
26. This
5.
(New
12.
7.
Wynn
9.
From Diane
1963; in
Guggenheim
grant in
and reprinted
Nathan Lyons,
ed..
2.
3.
1978),
Santiy Skoglund, in
Age of Mechanical
ed.,
(1936); trans,
Illuminations: Walter
p. 236.
st\'le
(New
pp. 23-24.
12.
in the
Photographers
Altered,
Hannah Arendt,
Present
Social Landscape
in
Work of Art
(New
in
Contemporary
Mae Weems,
in
1975), P- "
(fall
1992): 47-
NOTES
643
5.
tiie
Game Wlicn
Modernism," and Christopher Burnett, "Piiotography, Postmodernism, Contradictions," Nen> Mexico Studies in the Fine
^7'fy
VIII (1983):
modernism
5-13, 21-27.
Or,
as Bricolage:
30-35,
Possible?"
14.
Camera Lucida
15.
(1982): 23-29.
(December
Recent
Color," Archive 14
1981): 7.
New York,
1970), p. 166.
6.
13,
Process as
3
(1967),
7.
unpaged.
(New
York,
17.
N.J., I9~>), p.
5.
and In\-ention,"
in
(New
1977), p. 150.
York, 1987),
p. 172.
"A Statement by
the Photographer,"
8.
Clarence
in
J.
Laughlin,
13, i4-
18.
9.
Quoted
in
Edward
p.
Michael Badura,
12.
Groover,
Aline
B.
in
in Jean
Luc Da\al,
Photo/jraphy: History of
1982), p. 244.
Sol LeWitt,
(New York,
"On
1983),
Louchheim, introduction to
Conceptual Art,"
1978); in Ellen
p. 67.
(New
in Alicia
H. Johnson,
ed.,
Legg, SolLeWitt
American
Artists on
unpaged.
TJje
15.
19.
10.
Richard Estes,
Estes:
TECHNICAL HISTORY
III
(New
p. xiv.
1.
"The Photographic
Wolfmnn Report
13.
644
NOTES
2,
Unknown
author,
A Photography
Time Line
1816-1829
1830-1839
1816
1830
July RcNolution in Paris deposes
to record imaries
bv
1818
1832
1819
British scientist John Herschel
method ofobtaininri
anion oflipht.
Honorc Daumier is imprisoned
in France tor making political
invents a
imajjcs by the
cartoons.
1833
salts.
Stethoscope invented by
French physician.
Theodore Gericault
paints
1821
Greece fights for independence from TurivC}'.
Mexico declares independence
from Spain.
British scientist Michael
colonies.
1836
Battle ot the
Alamo
Republic of Te.xas
fought;
is
founded.
is
1837
motor.
Queen
1822
Victoria assumes
British throne.
machine
First typesetting
is
patented.
is patented
England; Samuel F. B.
Morse demonstrates mag-
Electric telegraph
in
Brazil proclaims
its
indepen-
1838
1823
U.S. enunciates
Monroe
of stereoscopic projection.
First transatlantic crossing by
Doctrine, opposing
European influence
in the
western hemisphere.
First electromagnet is devised.
ships
steam
powered entirely by
is made.
1839
1826
German
lith-
ography process.
emment purchases
1827
German
physicist
identifies units
Simon
Ohm
of electrical
resistance.
process
to
and makes
rights to the
it
available
Gennan painter
Friederike
1829
Louis Jacques Aiandc DapfiieiTe
enters into pnituership with
both miniature
and life-size
portraits.
Scottish scientist
Mun^o
Ponton
silver iodide.
is
images
made
Royal Academy
to the British
64.^
I840-I849
i86o-i869
I850-I859
1841
1850-51
process.
Blanqiian-Evrai-d announces
for hypnosis.
ic
Adnmson
to
bcffiii
and Robert
electric
is
J.M.W. Turner
and Speed.
fought
of Troy.
War photographers
Company
is
Rochester,
N.T.
on
1862
Hauron
this project
iS8~.
to
describes
in color.
1853
1846
Carl Zeiss opens
ment facton
Tintype process
optical instru-
is
in Jena,
German photographer
1863-75
Cameron photographs family and friends in
England, in a
1854
'Ambrotypes" in U.S., are
Ldle, France.
1854-55
as a
chemist,
1848
In Paris, students and workers
force abdication of Louis-
republic
established.
is
rcccii'cs
1857-60
Robertson
and
Felice
Bcato phoconflicts in
David Bmvster
photographs in Egypt.
A mericans,"
first
Russell,
and
1859
British naturalist Charles
1876
Centennial Exhibition opens
in Philadelphia.
Carleton E.
command
his
government geological
1868
Thomas Annan
surveys.
A. Edison
demon-
hand -cranked
phonograph.
strates
making
mental psychology
Heniy
lished in
Photography"
to
acquaint
concepts.
1878
First laboratory for experi-
color photographs.
British photographer
Origin of Species.
is
estab-
Germany.
1879
Viennese printer Karl Kite
improves photoengraving
methods.
tioned
are killed in
1877
Thomas
begins documen-
at
in Paris.
Heniy
group exhibition,
Nadar's studio
1849
of Illustrious
in
Eadweard
Muybridge, O'Sullivan,
issues "Gallery
Beato photographs
Mathcw B. Brady
machinery.
1865-80
Jackson,
combination prints.
Manifesto.
Abraham
assassinated.
including William
patent for
Rights
1857
Scottish physicist
fust
Women's
is
raphy
Revolution spreads to
Convention is helci at
Seneca Falls, New York.
Karl Marx and Friedrich
it
1855
Alphonse Louis Poitevin, French
new French
to photo-
make
Electricit\'
Lincoln
halidcs.
Philippe; a
to
becomes
1865
LIS. President
\'alle\'
'"carte-de-visite."
Vogel, in
patents Woodbmytype.
Yosemite
graphic emulsion
1864
Walter B. Woodbiny, in England,
itsinjf
1873
Hermann Wilhelm
introduced.
Saint-Victor proposes
style related to
Pre-Raphaelite painting.
1847
printinjj establishment in
Ottomar Anschiitz.
]ulin ALaigarct
invented in
France.
Germany.
646
from 1877
methods of
producing photographic images
established in
1872-87
Aluybndge first photographs a
in Ireland
1872
Commercial production of celluloid begins in U.S.
1852
Talbot patents prototype ofphoto-
to U.S.
process
is
Russell.
mass emigration
results in
War
enjfi-avinfj.
1845-49
Great Famine
London.
British ardst
First
Brady.
Universal Exposition in
1844
is
color.
Photographic documentation of
Civil War is initiated by
French monuments.
Crystal Palace
Scottish pjentry.
three
to record
1871
Dty-plate silver brotnide process
1861-64
LIS. Civil
spark as illumi-
collaboration
until 1878.
Octaviiis Hill
with
nation.
1843
David
War ends
illumination supplied by
usin^
Franco- Prussian
Maxwell superimposes
.1851
are discovered.
1870
albumen.
Biinsen batteries.
1842
1861
1870-1879
rertex.
i88o-i889
1880
Fim
tii
New
iiig firrjuencv in
Tori; newspaper.
1890
Photographs appear with mcreas-
halftone reproduction of a
pljowjjrnpb appears
1881
supplanting hand-
drawn
illustration.
sionals
reproduction of photojpnphic
other iniacics in
originates
Sherman
same
both profes-
Antitrust Act
in
feature film,
is
1890-1910
Alt movements
in photography
inci
and
Queen
and
makiiijj of exposures
and
1902
de\eloped.
discovers
Gottlieb
engine.
first
first
1904
York
established.
brothers, in Lyon,
process for
full-color
1888-90
Charles Driffield
and Ferdinand
1905
at
21)1
Fame
dmsed
Fifth Avenue,
New
York.
exposure,
tivity,
and enndsion
publishing a work on
untU 11)17.
Emile Zola's open
French
government to reopen the
Alfred Dreyfus case.
Radium and polonium, two
1889
Henry Emerson
new
publishes his
Forest develops
lens, is
vacuum
Bolshevik Revolution.
tube.
1907
American photographer Edward
S.
paper) are
Schad
invented.
fin-
roll film.
1899
Boer War begins against
British in South Africa.
Influenza pandemic
First exhibition
of Cubist
1908
Ford Motor Company introduces inexpensive automobile, called
by Christian
Model
Man
Indian."
made
in Gei'many,
Ray
in Paris.
War
kills
I.
more
1918
shadow
Curie.
anastijjmatic
1906
Photography."
Protar
book "Naturalistic
1917
"Camera Work" ceases publication.
relativity'.
letter
in
"J'accuse" forces
Lives."
of
Steichen, Alfred
Stieglitz,
special theory
sensitometiy in iSgo.
campaign of ci\il
Russia.
American War
Eugene Atget begins photogra-
sensi-
returns to
1915
Edward
Paris.
1898
American photographer Jimmy
tn
begins.
d'Automne,
developed.
1914
World War
rule.
man
The Rite
by Ives
o'i
first printed in
Diesel engine
in Paris.
performance
to begin
for
completed
making
photographs; commercial
Tower, constructed
mod-
Lumiere
1897
Halftones are
initiates
Mohandas Gandhi
City.
telegraphy.
art
of Spring, in Paris.
ractioactivit)'.
York
N.C^.
New
New
modern
extensive controversy.
1888
is
Hawk,
in
photographer in
successflil
1886
American Federation of Labor
Eiffel
Work,''
at Kitty
1896
Olympic games are revived.
Giiglielmo Marconi develops
less
1913
Cit)' displays
1903
"Camera
1885
is
1895
the X-ray.
German engineer
telegraph.
camerawork.
1911-12
Armory Show
1884
E.xperiments in photodynamism
First
the
lead to increased
Steam turbine
U.S.'
interest in photojiraphinjj.
awarded.
is
Victoria dies.
1892
Immigrant-processing station
opens on Ellis Island in
New York Bay.
and prints,
curtain wall.
Ellis
the restdt-
architect Walter
publishes The
Nobel Prize
First
arc initiated.
German
1901
South
arrives at
Pole.
Ktecblatt, Photo-Secession,
Kodak
Amundsen
in
Interpretation of Dreams.
less
1883-90
theory.
Orient- Express,
is
Sigmund Freud
U.S.
.1883
American
made.
successful
first
1911
British physicist Ernest
China.
The Great Train Robbeiy, the
and amateurs.
enacted
quantum
become increasingly
cially in U.S., as
Eastman Brownie
camera is introduced.
Cicrman physicist Max Planck
1910-1919
1900
Fixed-focus
popular pen-
odicals,
Women
and
1900-1909
1890-1899
7.^1^
population.
1919
Bauhaus
is
established in
Weimar, Germany.
T.
647
1920
Constitutional
and
Europe.
the right
1931
York
1920-28
tqijraphcrs, influenced
Ldszld AIi)b()lv-Najjy
1932
meter
atom
for the
1933
manufactured
Ulysses.
in U.S.
to
first
as
as
U.S.
sponsors
an
Administration
extensive
documeu-
round-the-world
air
1924-25
Introduction of Ennanox
Leica
and
in available lijjbt;
a new
look
Arts Dccoratifs
Modemes
the
is
oritjin
^
ct Indiistriels
is
is
cartridges
and
IS
War
roll film.
of Life magazine
camera
in
Art
Hungary.
Martin Luther King,
Jr.,
Montgomery,
orga-
Nuremberg
'938
invented by
founded
in Paris.
is
initiated.
1948
Nikon camera
duced
in
is
intro-
Japan.
Gandhi is assassinated.
State of Israel is proclaimed.
1939
1949
Chinese Communist forces are
victorious; C'hiang Kai shek
becomes
Republic.
is
estab-
1947
_;snim
is
1958
C^harles de Gaulle
Land.
Market
lished in Europe.
of uranium
1957
Common
trials.
annihilate
Ala.,
home darkrooms,
648
computer
Soviet
camera is
Gcnnany.
Modern
Polaroid camera
American newscameraman
1929
Khrushchev denounces
in
1937
is
1956
U.S.S.R. leader Nikita
introduced.
at
is
physicist
introduced.
of"
bombs
invented.
processed in
introduced in
movie cameras.
Museum
Europe.
in
town of Guernica.
end
in
1928
Eastman Kodak Company pro-
unconstitutional.
German bombers
held in U.S.
is
sion
schools
manufactured
demonstration of televi-
racial
nizes
1927
IS
Deco.
is
held in Paris
in
the Pacific.
intro-
segregation in public
1945
Electronic analog
publisheci.
in Gennatiy.
Hirst
Supreme Court,
Brown
Board of
U.S.
in
First issue
is
1946
SSmm
1925
1954
1936
Kodachrome
in photojournalism results.
France
in
Hostilities
U.S.
1924
identified.
duced.
on Hiroshima and
is
High-speed Tri-xfilm
puter
tajy project
1953
I~)NA structure
1944
First
Paid
\'.
of four terms
Security'
1952
Pocket size transistor radios
are introduced in Japan.
1943
1935-42
Farm
nuclear reaction.
Harvard University.
is
made.
June.
1923
First wirephoto transmission
1951
II.
January and
elected
is
president.
First
Germany.
Franklin D. Roosexelt
Land.
1941
U.S.
is
in
ini-
movement
tiates anti-liberal
time.
first
discovered.
is
opens
1922
Penicillin
Ait
is
of Modem
is
introduced.
1921
James Joyce completes
War
Photoelectric-cell light
and
and close-ups.
are introduced.
machine
produced in U.S.
by
1950
First Xerox copying
established.
is
and Sakura
Natural color films and
Kodachrome films and papers
Depanment of Photography.
New
in
1940
Museum
Cit>',
Spanish Republic
Constriictirist
open
buildings,
I950-I959
Ansco, Agfa,
to vote.
1930
World economic depression
sets in.
amendment
women
gives U.S.
I940-I949
I930-I939
1920-1929
1959
Nikon f^smm single-lens reflex
camera is introduced in Japan.
Cuban dictator Fulgencio
Batista flees; Fidel C^astro
becomes premier.
I970-I979
I960-I969
'
i960
1980
1972
Polaroid
transmission of holographic
images.
s.X-70
system
is
intro-
duced.
headquarters
independence.
in
at
Cease-fire
invasion ot Cuba.
U.S.S.R. sends
is
declared in
manned
first
troops to withdraw.
is
made.
1962
Polacolor film for one-step photojj-
raphv
is
introduced; produces
Cuban
Missile Crisis.
Communist
oly
First
U.S.
introduces
Instamatic camera
and
first
F.
still
(digital)
camera
is
Gulf War.
White minoritv'
South Africa.
is
time.
make
their
first
Please
Me."
1965
Nikkonnat camera
World
introduces pre-
tions
make
color separa-
and montages.
is
introduced
states
and
Israel fight
Six-Day War.
recordings for
manufacturers of all electronic
still photography (ESP) and .still
video
Two
to walk
on the moon.
300,000
in
Bomb
explodes
1993
New
explodes in
York's
killing
people.
in flight.
in
defeats
commemorating
ruler in Philippines.
the
six
Chernobyl, U.S.S.R.
Human embryo
the
used in science
and
is
and technolojjy
and
camera
Major earthquake
in Los
Angeles disrupts city life.
Republican majority in U.S.
Congress seeks to end government ftmding of the arts.
is
demonstrated.
1995
Federal office building in
Oklahoma
Communist
killing 166.
the encH of
Israel
bombed,
Endow-
is
fimdamentalists in Iran.
prohibiting National
Cit)'
Organization agree on
human
American
cells are
patient by
geneticists.
Noriega,
who
1996
Kodak
introduces Advanced
successfully transplanted
into a
1994
in Pittsburgh.
industrial sectors.
1989
The Berlin
time.
in the commercial
First all-dijiital
first
increasinjjly
Supreme Court.
first
kills
Somalia.
equipment.
(SI')
Non-human gene
1969
in
and diqital
ment
1967
Arab
ends
1992
Former Yugoslavia splits up,
provoking ci\'il war in
Famine
introduced in U.S.
rule
Balkans.
conference establishes
by Japanese company.
is
graphic capability.
city, is
1964
Tonkin Gulf Resolution marks
Flash cube
Company
Feminine Mystique.
Beatles
Electronic imajjinjj
1991
Company.
neutron bomb.
operator to
assassinated.
The
tests
of U.S.
1979
Scite.x
biqher-
is
flight
monop-
Soviet bloc.
in
1988
1963
Eastman Kodak
Kennedy
manned
cides.
Artificial
1977
Party's
on power
1982
Electronic
Corazon Aquino
of military action.
1975
North Vietnamese forces seize
Saigon, encJing two decades
manipulatinff
introduces personal
computer.
1986
1974
and
photojfraphs.
1984
1973
.storinjj
vative policies.
introduced.
1990
Kodak
Watergate,
to resignation of U.S.
1961
IBM
hostilitii'.
I990-PRESENT
1980-1989
consoitium of manufacturers
facilitate
to
proccssinpi.
A TWA
Long
jetliner
explodes over
all
230 on hoard.
eventually
surrenders and
Miami on drug
is
tried in
charges.
649
Glossary
red,
White
light
is
ALBERTITF
See
all
in different
proportions the
green, and blue.
BROMOIL:
tact print or
enlargement
is
silver-bromide con-
treatecH
CXILLOTYPE
pigment
one of a
ordinarily
of colors
variety
is
adheres
less
in the
water, and
is
CABINET CARD;
The
is
solution and
salt
made by exposing
the
name
AMBRO'lTPE: The
in
is
silver gelatin
carcl
image
monochrome
produces
It
in
CALO'ITPE
{also
in a lens,
which
is
one deter-
ber,
focal length
is
light that
expressed as an f/num-
of the lens
di\'ided
or negati\'e for
rioration
as
long
as possible
due to chemical
by protecting
it
see
a print
against dete-
an additive
ors of light
glass plate
collotype
A negative
sitized
v\'ith
is
a sticky substance.
The
plate
in the
is
latent
in
successful
in acetic
and
and
salt).
(i.e.,
In current usage,
calot\>pc refers
silver nitrate
to the negative.
either
plate or film.
in the
manner.
a sensitized
CAMERA LUCIDA;
by
See
COLLOTYPE
the
photographic
CARBON
see
PRINT'
light source
onto
See
PRINT:
a negative against a
650
lens, mirror,
CARBON
see
a pinpoint
BICHROMATE
BICHROMAIE
camera.
BLUEPRINT
camera.
bends the
lens
AUTOGR,WU RE
AUTOTYPE
nega-
then developed
first
then
company
The
covered with
stitt
reactions.
on glass made by
process in which starch grains dyed the primary colred, green, and blue
are mixed and sifted onto a
AUTOCHROME:
later a
mounted on
Talbot.
ARTorypE
an albumen print,
by the
(initialh'
rALBorvPE):
caller!
nitrate. Positives
photograph
camera
Great Britain.
in
or in several colors.
CYANOTYPE
GLOSSARY
pigmented
in
proportion to the
amount of light
is
receives,
it
sandwiched with
forming
tiie
both are then washed. In the process, the original gelatin and any
and soluble
image
transferred
was the
orate, this
manent
washed
method
truly practical
producing per-
for
CONTACT
ti\e
PRINT:
A positi\e
CYANOTYPE:
in direct
contact w
ith a
nega-
The
light.
been immersed
The
resulting
first
practical
on contact and is
then processed like a carbon print. Derivecl from OZOBROME, a
similar process that produced a monochromatic print. Color car-
blue ground.
bro prints are made by printing three negatives of the same sub-
which an image
siKer-bleaching agent.
gelatin hardens
DAciUERREOTYPH: The
polished silver that
filter.
by
3'/2
2'/2
popular
made
Patented
b\'
a single
and generally
photographic
plate.
image
latent
contact with
image usually
is
photographic process,
It is a
in
form
is
detailed image.
white on a
is
light-sensiti\e coating
c:ARrh-nh-\i.snh:
formed on
is
clirectly in
v\'ith
bromide
a silver
made by putting an
(i.e., a
paper impregnated
as
made
object
PRIM:
(:.\RRR()
ject,
more than
on one
AUTOTYPES.
in a
printing
single negative,
prints.
Publishing
as
first
is
intact.
in a highly
repli-
cation.
in 1854.
HROMOGENic
PRINI:
made from
color print
a color trans-
of silver
salts,
of
Dyes are added after initial monochromatic developform the appropriate colors. The color is not stable.
light.
ment
to
it
in
b\'
is
printed by
alone.
CLICHE VERRE:
A drawing made
on
paper by contact or
light-sensitive
in
an enlarger.
smoke
and
and printed on
a glass plate
When
the plate
either paint or
is
film or photo-
rel-
permanent image.
paint or ink
white lines
OKHROMATED-COLLOID
Any process
which
COI,i.Ac;e:
tv'pe,
and
a wet-plate process in
which
sensitizers
ammonium
digital iMAt;E:
\'ideo screens,
in
is
The
dry-c (ILLODION
COLLOTYPE;
much
at a later
longer exposure.
washed and
becomes selectively
absorbent, and greasy ink adheres more easily to the parts of the
image containing the least water; the inked plate is then printed
on paper. Variants of the process are called ALBERTYPE, ARTOTYTE,
autogravlire, heliotyte, lichtdruck, and phototypie.
treated with glycerin.
chips.
The
DRY PLATE:
with
it
is
gelatin surface
a method of recording on
color
filters,
components of a photographic
printing
it
in color.
in
picture
formed by
light-sensitive
receptors
as digits in
negative
silver halides
separate sheets of
made by exposing
suspended
from wet-collodion
in gelatin.
a glass plate
plates.
DYE-DESTRUCTION PRINT:
of
silver salts
mary
coated
A color print
made from
a color trans-
the appropriate
pri-
chromogenic
DYE-DIEFUSION PRINT:
COLOR separation:
is
arable
ether
gum
sodium dichromate.
called Pi.XEi^,
emulsion of collociion
e.g.,
with a light-sensitive
glass plate
PROCESS):
prints.
color print
made on
light.
itive,
unique color
print.
GLOSSARY
651
A color
made when
a subject
is
in register onto a single sheet of sensiform a positive color image. This process produces
permanent print because it contains no silver salts.
a tripod.
HELIOGRAVURE
see
PHOTOGRAVURE
tized paper to
a relatively
EMULSION: Any
film, paper, or
photographic
contains silver
it
Also, the
light
onto
a photosensitive
mate-
HELIOTYPE
COLLOTYPE
see
method of creating the illusion of a threedimensional image. A laser beam is split into two parts; one part
HOLOGR.\PHY:
duces
HYPO
when
three-dimensional image.
INFRARED:
see aperture
f/number
radiation of wa\'e lengths longer than that of visible red light but
FERROTYPE
FILM:
Some
see TINTyPE
Most commonly,
{also called
HYPO):
chemical solution
usually
invisible
image produced on
which
LICHTDRUCK
LIGHT GRAPHICS
or
and
silver salts
COLLOTYPE
See
PHOTOGRAM
of the
lens,
accomplished by
MAGNESIUM FLASH: An eaHv de\ice for pro\iding artificial illumination, which made indoor or night photograph)' possible.
Igniting magnesium powder or wire produces a bright light.
either
bromide or
silver
silver chloride,
MAFRL\:
prints can be
made;
specifically,
make
GLASS PLATE:
visible
GELAIIN:
See
a sensitized
converted to a
is
a print
on
sensitized paper.
MEIAINOTYPE
GUM BICHROMATE: A
See
TINT\'PE
microscope, resulting
in the
MONTAGE
photomontage):
(also called
HALFFONE:
gridded screen
field
in
picture
order to
A composite image
made
in a
negative image.
the image appear as large, closely spaced dots; the dots repre-
652
GLOSSARY
The
halftone
means of preparing
ONE-STEP PHoroGRAPHY:
A proccss
sandwich of
a negati\e,
ORTHOCHROMAi ic; A
film, pLitc,
OZOBROME
or emulsion that
renders
It
proportion to their
gray, in
all
is
sensitive only
PALLAI5IUM PRINT
see
PLATINUM PRINT
developing
It
relati\'e brilliance in
in
it
POSITIVE:
nary camera.
initiolh'
its
much wider lateral field of view than in an ordifilm may be mounted on a curved back in the
lens may turn on an axis. The exposure is made
narrow
pho-
The
take
that
slit
lens.
Panoramic views
PHOTOGENIC DRAWING: An
producing paper
on paper
was then
fixecH
PHOTOGRAM
table
with a
in
When mixed
blue.
all
light, the
produce
pigment
(e.g.,
dyes and printing inks), the primary colors are magenta, cyan
(blue-green), and yellow.
PRINT:
An image on
it is
a positive
image.
salt
solution.
salt
the less
tonalities
portrayed (as
to
compound of
which the
the subject.
inserted in a camera,
name):
PALLADIUM PRINTS
of the spectrum.
When
CARBRO TRINr
see
Called
PRINTING-OUT PAPER: Photographic paper that produces a visible image when exposed to light, without need for chemical
development.
RAYOGRAM
PHOTOGRAM
See
GRAPHICS, PHOTOGENICS):
REFLEX CAMERA:
image
A Camera with
onto
in the lens
a glass
a built-in
viewing screen.
SABATTIER EFFECT
PHOTOGRAVURE
(also called
HELIOGRAVURE):
photograph.
in a
exposed to
a trans-
more
light
SALTED PAPER:
paper
with a
ride,
in a
weak
printing-out paper
salt
made by soaking
writing
form
it
fibers.
is
printed
on
a flatbed press
SALT PRINT
see
CALOTYTE
HAND-PULLED GRAVURE.
SOLARIZATION
See
A photomechanical
gelatin,
is
dampened anti
areas. The print
a negative to
is
SeC
SENSITIZED
SILVER HALIDES
see
coated with
PHOTOGRAM
SCHADOGRAPH
it
against the
SHUTLER:
A device
SPEED
is
that
plate,
shutter
SILVER HALIDES
[also called
The
silver
bromide, and
PHOTOMONTAGE
seC
MONTAGE
silver iodide.
light-sensitive
components
in
PHOTOTYPIE
see
COLLOTYPE
SOLARIZATION
PINHOLE:
A tiny aperture
ing through
paper that
is
it
in a
camera without
a lens.
Light pass-
less
(also called
sabattier EFFECT):
who
discovered the
m a range of sizes)
Named
phenomenon
A partial
reversal
of
in the
afi:er
Armand
in 1862. Solarization
GLOSSARY
653
when
diffracted
is
STEREOGRAPH:
pair
it
becomes
visible
color.
violet
through a prism.
mounted
side
by each eye
by
side, usually
SCOPE
is
TONING:
more
STEREO-
of a
set
of
stereographs.
SUBTRACTIVE COLOR: The principle underlying most color photography. Wliite light passes through dyes containing \'arying
of most X-rays.
more
making
it
more
treated with
transparent,
more
sen-
and
stable.
WET PLATE
see
COLLODION PROCESS
spectrum.
WOODBUR\'TYTE:
TALBOTYPE
TINTYPE
SCe
CALOTYPE
[also called
Used almost
654
in a
camera
positive
of
sensitized collodion.
GLOSSARY
An
is
is
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1979-
Gertrude KAsebier
Her
John Hharthielo
Pachnicke, Peter, and Klaus Honncf, eds. John Hcmtficld.
New
Photographs.
New
Andre Kertesz
Tucholsky, Kurt. Deutschland, Dcutschland.
b\'
tiber Alles.
Montages
1912-1972.
1972.
Museum
of the
of Modern
Sandra
Phillips,
Kertesz:
An
S.,
Travis,
1985.
New
William Klein
York:
Close-up: Photographs
William Klein:
New Tork,
du
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of Scodand,
David
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Art, 1990.
London: George
Publishers, 1974.
Florence Henri
New York:
Josef
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1991.
Koudelka, Josef
Aperture, 1975.
Lewis W. Hine
Dorothea Lange
Gutman, Judith Mara. Lewis W. Hine and
Conscience.
New York:
the
American
Social
Walker, 1967.
cisco
Museum
New
Dorothea Lanffc: Photojjraphs of a Lifetime.
Millerton,
N.Y.:
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Guichard, 1966.
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Raymond Smock.
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New
Clarence
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J.
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zs Tears.
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R.\LPH
Eugene
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La
Way
Levitt, Helen, yl
Sandra
New
An American
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ed.
I99I-
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Pedro Meyer
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A Journey fivm
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Danny Lyon
Danny
Meat^'ari:)
Tannenbaum, Barbara,
Visionaiy.
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iSsi
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Don McCullin
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Peter M\gubane
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Brown, Bulfinch
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1980.
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1975-
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Prinet, Jean,
J'e'tais
New
photographe.
York:
Arno
and Antoinette
Preface by
Leon Daudet.
Naef New
York: Metropolitan
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of Art; E.
P.
Dutton,
1979-
Press, 1979.
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Paris:
Armand
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BIBLIOGRAPHY
667
Arthur RcrrHsxEiN
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SebastiAo Salgado
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al.
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New
Alland, Alexander,
Sr.
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How
the
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Other Half
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E.,
Jr.,
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Walter Rosenblum
Siskind, Aaron.
668
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Universit)'
of
New
Photography, 1993-
W. EUGKNH SMH H
Benjamin Stone
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Hill, 1989.
Press, 1972.
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VVilli.im
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Jay,
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Paul Strand
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the
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Albert Sands
Sol'i
hworth and
M.
K,\RL Struss
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Edward Steichen
Ajiion Carter
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The Master
Prints, i8qs-i9I4-
New
New
JOSEE
Garden
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Cit^',
SUDEK
Doubleday, 1963.
New
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in asso-
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1977.
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Norman,
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York:
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BIBLIOGRAPHY
669
Heinrich Tonnies
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Heinrich Tomiies: Carte -de-Visite Photog-
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York:
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Fellig)
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Arthur Tress
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i()3s-i9(>o.
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Jerry N.
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Aperture, 1980.
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Paul Getty
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Paul
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1996.
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New
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Boston:
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Clarence H. White
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San
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Boston:
Garry Winogrand
New
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Museum
Joel-Peter Witkin
1983.
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670
Shapes.
Press, 1989.
Rule,
Brown, Bulfinch
Watkins
American
1977.
Minor White
Little,
Carleton
Museum,
BIBLIOGRAPHY
and Bibliography.
Calif.:
Index
Page numbers
and Spews
in italic refer
m,
to illustrations.
Idiocies
Heart field),
albumen-coated
glass negatives,
398
albumen paper,
albumen prints,
625
196,
442
401-3, 547;
works
in, 493;
close-ups in, 492-93, 494; color
218; artificially
Abralmm
photography and,
as
current trends
495-97; digi-
bination prints,
420, 421
.570,
62
Abraham
70
405
Abstract Expressionism,
518, 519,
of
human
form,
ernist straight
^'^\,s^4^, in
105,
mod-
photography,
and,
imusual \ie\\points
j5f,-
330, 15/,
'Ali
al-Hasan ibn
Abu
iSs-89, 191:
achromatic lenses,
Picturesquely
115,
Actor,
Adamson, Robert
work
by, 60
(1821-1848),
55,
103, 211, 221, 315, 343, 375; portrait of, 79; profile of,
78-79;
18
mounting prints, 34
Ropes for Hanging
adhesives: for
Adjusting the
He Eats
Gold
18,
cal,
photojournalism
pornographic,
216,
220; portrai-
562
problems with,
201-4, 2is;
in,
33,
documentation,
34(i, 347,
3SS, 391
Afi-ican-American photographers,
New
lifes, 226,
227,
347;
still-
war
portraits
173; "galleries"
of
of famous people,
66,
of 19th-century
115,
Neu, 597
Aguado, Olympe, Count, 74
Alabama, U.SA. {Erwin), 529
d'Albert, Honore, due de Luynes,
Alberrvpes, 453
Albin-Guillot, Laure, 492
Alexandre
der Zeitgenossen
(HanfstaengI), 67
albumen,
32
Dumas
Alfred Kerr
(Carjat), S5
R. Diihrkoop
M. Diez-Diihrkoop),
and
315, ,?rt
115, 233,
230-32,
233, 235;
nudes
Pictorialist,
work
Freeman ),
72
(Eakins), 254
335
Max
304,
,50rt,
320
(1899-1980), 472;
by, 473
Altobelli,
114-15;
155
Americans
We
(Richards),
LAmoiir (Mortensen),
f.5^
585, 5S5
241
in,
535, 53S
44,46
Alpert,
308, 331
of social docu-
Alinari,
34
Albert, Josef, 453
Photography, 309
334
of ethnographic
Amateur
albums,
docu-
130,
images, 170,
27.5,
323, 32s
Album
life
Album
color photogra-
19th-century scenic
70,5,
33;
2S<;
actinometers, 448
phy and,
after-the-hunt
Actinograph, 449
process and,
120
views, 96,
(see
18
and genre
tive, allegorical,
for, 245,
627, 628
625,
and Architecturally,
The (Stillman),
in,
equipment designed
344; narra-
2S3, 2S4,
275; calotyp-
also
192
Autochrome and,
ored, 280,
tography
al-
Haytham (Alhazen),
com-
illustrations, 109;
),
404
531-32
book
by,
259-61, 625-26,
imaging
393, 402-7,
scenes, 24S,
Amateur
work
tal
al
Abu
in,
lit
Gioacchino (1814-1879),
work
by, 119
Chelle,
Nnv Mexico
(0'Sulli^'an),
143, '45
INDEX
671
Angola (Luena,
Depardon),
{
aniline d\es,
554
MLiybridge ),
motion studies
250, 2S0,
Animals
of,
249,
in
Motion
Muvbridge),
Annals of Anists
Spain (Talbot),
in
(Steichen), 499,
SOD
for,
needs
of,
work
167, 259;
ui
by,
documenta-
See ethnographic
art
442
Aristot\'pe,
Armco
Steel,
++1,460
Armer, Laura
Adams
(1874-1963),
405
331, 363,
Thomas
Frederick
Hih
208-43; conventions
of, bor-
by, s66
work
by, 1S3
Approach
to
Arago,
209
Arheiter-Foto^raf,
the
from a Balloon,
The (Nadar), 246, 246
archaeology, 450; holograms in,
Boiilcimrds, Paris,
and, 104,
painting
209, 241
Umbrella (Kuehn),
Art NouN'cau,
mod-
1950,
672
<;46,
547, 570,
600-603,
INDEX
603,
tographs
in,
(I^emachx'), 309,
314
work
by, 370
work
by, 4S1
work
Ban\'ille,
Vicomte
of, 120
George
140; work liy,
155,
112, 141,
535
142
documentation
in, 73;
ot daily
464; wtjrks
portraiture
in, 315
577
275, 280, 290-97, 595,
Thomas
T.,
P.
)ohn, 352
48
Barrow, Thomas
work
1938-
),
611;
by, 6is
I^arthes,
44; Pictorialism
Autochrome,
Barnardo,
Barnum,
by, 269
1-0-72; ethnographic
331,
The
Selves,
44, 72
304,
529-30;
),
by, s3o
photography
in,
loi, isS
Barker,
22,
Barboza, Anthon\',
466-67, 46S
art
619;
),
621
324
311, 323,
99, 133,
John (1931-
b\',
life in,
339
<>0h 60s;
26;
2$,
315, 33-,
w ork
Australia:
182
War
182
iSi,
35
.?_?/,
309,
270;
Art Jomtial,
atmospheric
trait of, S2
331-32, 339
and, 161-62,
164
Atlantic Monthly,
300,
Robertson),
work
2S1
b\',
photographic documentation
i6j,
(1799-1871), 52;
432
Grand
works
David, 502
472, 479;
Anna
tography,
by, $26
by, 271,
470, 471
Arbus, Diane (1923-1971), 502,
work
works
27S
Atkins,
George Piatt, 96
Bachrach portrait studio, 69
backdrops: in portraiture, 43,
Babbitt,
372;
art liistor\',
520, 525;
S74< sS2,
2"9
Ballerina,
as,
(Paris in
Brassai), 4SS
(Goldin), 542-43
countiies
asphaltum, 452
assemblages, 569, 570-72,
specific
of photography
Avenue
in,
(late 19th
Photorirapher), 372
of,
277,
Fog at Night)
Baldessari,
583, 619
in,
SoS
Avenue de VObsenrntoire
(J.
15-16; status
24, 97, 97
Smith), 514
depiction as goal
modernism
A\edon, Richard (1923- ), 400,
501, 502, 563, 572; works L-)y, 497,
Baile\',
E.
realistic
115
163
work
(Bechard),
),
24,25art,
2S9
School (Saxton
Autot^'pe, 34,
recreated in Pictorialist
271,
324;
565;
308-9; technical
245
SS7;
the
),
and
rowed bv
tion
in periodicals
Central
anthropological documentation.
support
Aristode, 192
Park(V.
184, 191
Art Union, 98
.w
and
155, 167,
135
Arndt,
32,
Naturalism
books
Army
Ansco, 629
Anthony, Edward (1811-1888),
221-22,
motion studies
2S7
imagery
still-life
and genre
narratixe, allegorical,
Bresson), 514-15,
;i
E.
250
also Pictorialism);
250, 2SI-S3
296-339 (Sec
107,
450
Ariiinal Locomotion
animals:
309, 312
Street Scene)
SS3,
60s;
points, Linusuai
Barzini, Luigi,
464
Hugues Maret,
Bassano, Joseph
Marquis de,
32
work
by, 236
factured
b\'.
199
Bathing
Diana
Pools,
Moran),
(T.
Baths
's
135, 13S
Institute
Bausch
&
work
documen-
Academy of
Bavarian Ro\al
Beaman, E. O.
work by, 136
work
Beato, Felice
by, 123
1830-1903),
(c.
120-22, 124,
iSz, 183,
284
Hatch
nude
studies and,
Giacomo
Battista, 193
work
work
by, S7i
569, 570,
),
work
),
569, 570,
by, S7i
work
315;
by, 31S
Becquerel,
Edmond,
197,
448
Before
Before
Boy unknown ),
(Masao), 374, 374
Touiiij
Be^jffar
Bell,
352, 352
work
by, 136
work
b\',
Bellmer,
work
(1902-1975), 431;
by, 433
Bellocq, E.
work
192
Hans
J.
(1873-1949), 267;
by, 268
443
Bemis, Samuel (1789-1881), 96;
245,
work
by,
594;
Bencia, Arthur,
315
),
by, S96
215, 221,
242
Book of Beanr\',
liooks, 34;
by, 416
work
by, 34S
Bonvin, Franijois,
albumen
prints as illus-
change
Summer
work
of,
documentation, 346,
490-91;
3f;6,
357-59,
46
bird's-eye views, 98, 245-46, 246,
115,
work
uted to,
previously attrib-
works
61;
War Dress
Brave in
Beavers (Frissell),
documentation
3i6
of,
201
The (Polk),
(Hine), 361,
Bretz,
247
Botanical Specimen (Talbot), 27,29
botanical studies, 27, 29; in color,
bitumen, 194
Black, James Wallace (1825-1896),
128, 135, 246; works bv, 129, 247
''Black
(probably Venice)
535
African Americans
Blanc, Charles, 210
240
work
by, 491
Boudoir, 69
Boudreau, Robert, 543
work
Road
Aiahal (Bourne),
to
(Gros),
21,
96
427
Bridge near King's Monument
(H. W. Vogel),
112, //f
George W., 99
Aluddun
122, 124
of mod-
160, 161,
259, 2S9
78,
(Daguerre),
354;
167, 199
bridges, photographs
253
Boulders on the
j^tf
George (1842-1895),
work by, 3SS
Bridges,
by, 304
485, 486;
Pittston, Pa.
by, 160
Black Canal,
in,
547
Breaker Boys (Marrissiaux), 354-57,
in,
554; social
Boss,
no, 160
views
photojournalism
(Soule), 72, 73
247
499
500, S02
bv,
by, 398
Hermann Gunther
(1810-1850), 44;
purpose
in
titles
work
Brancusi, Constantin,
241, 259;
55
39*
122
book
190-91;
398;
Society,
464; portrait
Brandt,
work
135
(1823-1896), 23,
170
344;
works, 320,
9(>
work
Bombay Photographic
Bonfils,
48-49, 50,
of,
ifo,
work
of,
187,
Workers) (Tit/enthaler),
Mathew
Brady,
359
(Fatuous Contemporaries in
Bradford, William,
464
(J.
Biow,
by, 163
works
413;
by, 410
work
411;
Beccaria,
Room
472
Beatrice
Sciences, 32
615
),
si
by, 413
(Umbo), 470,
and
unknown
349, 351
Bloom, Suzanne,
by, iS
tation of construction
120-22;
work
Bavaria: photographic
32,
474
reincarnated as
Lomb, 447
Paul, Minnesota
St.
Blind Home,
20
21,
us, 146;
George W., 31
Brigman, Anne W. (1869-1950),
Bridges, Rev.
320, 324;
work
by, 323
work
),
551,
592;
by, S92
INDEX
673
Museum (London),
British
189,
190, 241
wi
100,
British
Brogi family,
and
California
West (Weston),
the
California
4?o, 431
520, 597;
works
calorv'pes (Talbotypes),
(unknown), 165-65
Broom,
24-34,
30, 45; as
23,
15,
aid in painting,
166
Christina, 263
31,
32; as
Broom, 438
types
brown
prints, S73
337,
drawbacks
experiments lead-
Anton (1900-1983),
Bruehl,
compared
222; 19th-century
documenta-
work
29,
by,
494
work
432;
39,
.31,
78-79,
40, 54-56,
printing tech-
79, 211;
by, 43S
130;
157
U4
30, 95,
motion
(Morath ),.?*
Bucquet, Maurice, 309
lUiffalo Camera Ckib, 323
of,
243
work
Bunsen
work
l-5ureau
(1902-1975), 520;
batteries, 248,
Max
249
of American Ethnology,
334,
137,
camera
Camera
Camera
),
551, 577;
193, 194;
95; as aid in
Daguerre's experi-
ments with,
by, S77
///
Rene (1933-
),
cameras mod-
Ostvcfjo, Neii'
(Barnard), 167,
15, 17,
work
481;
615;
view cameras
266, 309, 325, 331,
Cameron,
Julia
(1815-1879),
Margaret
.52,
with View of
in,
543-44, $44
Courtellcmont), 291
ion photography and, 500, soi;
in,
627, 628
Cabbage (Zwart),
Caffery,
536
481;
67+
Romano
work
(1935-
by, 480
INDEX
607,
411, 413
Deborah Fleming,
Cagnoni,
(see also
digital,
),
248, 249,
627,
627-28; flexible-
478,
62$,
for
626-27
motion
(see
abo Polaroid);
514-15;
works
us
work
Gimeno
560
sag,
(1931-
work
by,
ambrotypes,
59; for
(Lauschmann),
407
to the i8s9
Salon of
C^atherine
(Plumbe), 24, 26
Caponigro, Paul (1932-
II
of Russia, 193-94
Catherwood, Frederick,
art
),
by, S46
work
),
Photography, 213
D.C
95;
Nnv
520;
work
by, 9S
Street,
by, SZ2
prints, 34, 67, 84, 155, 629;
risite,
66, 67,
500,
documentation,
images,
22(5,
358;
227; techni-
carbro prints,
287,
<;oo-so2, $62-6$,
563-65
442
Ceramic Tubing
131
work
Chalons,
622,
623
by, 226
93
Thomas, 80
Alfi-ed, 55
Chambi, Martin
work b\', 366
131
Carlyle,
627
450-51, 49S,
62$,
S14,
Catalogue
565-66, s66;
igs,
Kodak camera);
62-63
407,
625-26,
traits of,
56,
cases: for
<^3-6s,
62-63,
466
42, 43, 47, I9S-97, 198; darktents for, 197, 198; designed for
file of,
S48
64,
439, 5IO
3.3.^,
cameras
(15, 6y,
496, 629
194-95
Camera Obscura
Burty, Philippe, 69
3.34,
still-life
by, 61S
Camera Work,
H.
J.
hand cam-
eras; lenses;
28, 29,
),
624-25,
for,
319; social
by, 4S2
early
San Juan
the Fighting at
works
carbon
Notes, 334
i6mm,
Mountain (Herschel), 2
439
camera obsenra,
Bumhig Alills,
{See van-
graphics
by, 41$
work
(Lavenson), 422,
363, 438,
(1887-1961), 413;
172, 178
Burri,
Dam 11
by, $23
346
Bureau of Ethnology, U.S.,
work
in, 98,
426
Wynn
Burchartz,
60, 605
Calveras
Bulgaria, 272
Bullock,
Talbot's pro-
ments
photography
Talbot's patents
SS-sS,
Dodgson)
35mm, 465-66,
441
115
(i89i-i9''3), 365;
and
the
Commons, 463
Hawes),
50, 52
12";
work
b\',
127
Chemist, 196
562;
work
by, S6i
70,?
Locherer), 221,
122
Chevalier brothers,
18,
83,
3S-
(Emmons),
Children at Well
2(19,
270
Children on a Fish Weir, Veniec
Hands (Biermann),
413,
photography;
urban views
movement,
532, 533
War (American),
69, 128,
rights
Cjvil
portage
Seymour)
of, 143,
photore-
184-87, 18S-S9,
by, S42
work
b\',
designed
Arc
painting
in, 125;
i9th-centurv
photojournalism
i2f>,
in, 4S2,
12-;
560;
postwar trends
517, SS9-6I,
mentation
in,
346,
_OT-(i/,
war photoreportage
560,
in, 182,
and Apples
I (Gill
),
40
to
f--^,
233
in,
394-98,
39'';
mod-
396, 397;
607;
S98-60I,
S96-614; oil
611. See
montage
Collard, August Hippohte
1860s), 157; work by, /cy
also
images of
pigment process
(active
613; Pictorialism
315, 321;
social
298
Collen,
Henry
199, 209;
(1800-1875), 54-55,
w ork
and
revival
by, ss
450, 611;
602,
problems and,
images, 599,
still-life
603, 605,
of
609,
collodion positives, 59
collodion process, 32-33, 34, 141,
stri-
and,
look of colors
in,
606. See
also
hand coloring
color sensitivity: of black-and-
ed
work
592;
),
551,
by, S93
582-83
s8i,
work
C^lose,
work
1800-1863),
by, 120
C^huck (1940-
),
620;
Annan),
Hi^h
ifcS,
Street (T.
facial,
of working
into
wood
engraxings and,
155;
studies, 25;,
photolithography
Colnaghi,
P and
or
D., 80
595-607, S96-6I0,
613,
Ahin Langdon
Rujht
220,
227,
237
21S,
computer-generated
laser print-
588.
imaging
(Hanawa), 417
Conceptual art, 577, 623
conceptual photography, 548, 551,
569-77, $70-78; large-scale works
in,
572-74,
$7$; pairs
sequences of images
617;
Societx', 363
Comte, Auguste, 96
180-82, 184
collotype:
184
C'oburn,
7*3,
227-29,
in Their Coffins
(unknown),
nation prints),
replacement
for,
The (Du
358-59
492-93, 4^;
132-33, 442;
442; social
documentation and, 343; sup-
by, 622
>19
life
599-600, 602-4:
fashion photography and, fO/-4;
collaborati\es, 481
ernist, 393,
emblems of American
629;
depicted
C"ommunit\- Services
[T. L. Feininger),
308
Christo, 623
S70,
Communards
by, 96
213
work
Club derAniatciir-Photofjraphien,
S07
Deren,
\'an
271, 272
184
Coke,
and,
96;
Close No. 7s
in,
cliche verre,
conceptual works,
),
French
410
Clergue, Lucien (1934-
Anns
Donejjal
410,
4^6
543, 569;
190;
Clemens Roseler
),
4!fi
562;
418
580
Child's
in
-f/,f(,
1944-
collecting:
Chim
Podsadecki),
233, 351
-'.;/,
cixil
(active 1871-1889),
Mill of Life
472, 47S
127, 127
Thomas
in, 611-12;
Cityscape (Schamberg),
(Naya),
C/fT,
4-bS
and,
techniques
Cohen, lAiine
work by, S43
C;ole,
digital
36
Child,
03
583
Chen Changfen,
prints, 602
chemigrams,
Ektacolor prints,
Type-C
or
in,
569-72,
600-603,
603,
reproductions, 241;
Autochrome and,
275, 280,
images
ical
images
Conde
$76-78,
in,
569-70,
$71
INDEX
37$
675
Death
Arkansas (Shahn),
in
),
work
61
County
by, S3I
Connor, Linda,
519, 520
and, 617
Conseivatoirc desAits et Alcticrs, 17
Fair, Central
Ohio
(Shahn), J7C
Couple and Child (D.
in,
in,
in,
44, 4S
Couple in Raccoon Coats (Van Der
still-
548,549
work
by, 3S0
work
501;
life:
Naturalism
of, 2S9-74',
237,
documentation
and,
by, sos
instantaneous pho-
tographs
(1787-1851),
La
Dadaism, 334,
in, 43,
photographers and,
52-53
women
(Maurisset), 21
photographv
seriousness of expression
Dafjueircotypomanic,
Millet),
Which
in,
impixnements
52;
407,407; photojournalism
470, 472, 554, ss6; postwar
trends
Zee), 273
Constable, John, 16
Constniction ('Lm),ss9, 560
techni-
Czechoslovakia: modernism
life
F.
531;
in,
2S1;
3S1
(McCullin), 4^0
Stanleyville
of, 168--8,
173-77
32,
40, 42, 97, 194, 222; cameras designed and used by, los,
Dnli Atoniicus
Will Be Used
to
Divert a Section
17, 36,
4SS
(nnknown),
158, 161
(unknown), 21/
Covert Look, The (Dahl-Wolfe),
Wyoming, The
Grand Canal
(Lyon),
work
(i8.'i6-i9i9):
(Thomson),
431;
180-84,
1860s),
13s;
work
by, I3V
235
(London;
191, 198,
Corncockle (Irving),
20.5
work
by, 212
),
432,
464
1925-
),
605;
by, 60S
costumed
figures: in
photography,
composite
21S, 227,
227-29,
photog-
676
INDEX
for,
moon,
nude
24, 27;
S3i
of
studies, 215,
French support
for,
painters influenced
23;
ture,
is, 16,
1"^,
18,
43, 4S-SS,
96, vS,
2S,
209; posing
52; practition-
James Ambrose,
59, 196
2S, 26,
124; scientific
and
sentimental subjects,
80
work
),
543, 566;
07
Daughters of Edward D.
by,
The
Boit,
95-98,
177
R., 77,
Davidson,
Cut
198
ing provisions
by,
197,
Darwin, Charles
work
dark-tents,
S. (1868-1952),
photog-
198; landscape
works
Edward
197,
39-54, 42,
for
of, 69;
Curtis,
and,
Yevonde), 500
Cundall, Joseph,
199
camera
216; official
-*
C'unningham, Imogen
work
(Talbot), 54,
544-47
ing
199
by, 436
Cosindas, Marie
della Sera,
2?;,
43-44; decline
Pckiiiij,
for,
Alicia,
darkroom procedures:
for, 17,
crystallography, 583
(1796-1875), 213;
by,
341
the
Coniere
of,
190,
Summer Palace,
(1812-1877), 178;
40-44,
enterprises and,
stereo-
Crcatis, 491
by, 433
Rudolf, 447
in,
cial
work
358
.!f(i,
of detail
by, 66
Thomas
Company, 447;
l")allmcycr
D'Amico,
S62
240; calo-
Crayon, 132
Critic,
),
cases, frames,
44, 44,
Crawlers, The
463
580;
.i88,
SS9
Dead
554
compared
work
Tuan,
as aid in painting,
photography,
67;
Dallmeyer,
Halsman ),
16-24, 211,
art reproductions,
for,
iSo,
5>i,
15,
cooperatives, 481,
47-48;
types
pro-
C-prints, S76
626
535
Cook, George
work by, 1S6
work
for,
by, 360
162, 164
daguerreori'pes,
art
Kenyon
is;
35-37;
iOl, SOS
Co.\,
342, 354,
documentation,
stereo-
graphic views, 34, rgS, 199; stilllife images, 36; technical history
(Sargent),
55/, 557
Basil,
440
),
work
532,
S3S
Lynn (1944-
),
191;
530-31;
b\', _vi/
work
by, 310
F.
Holland (1864-1933),
229,
230
l")c
Dieuzaide, lean
C^aranza, F.rncst, m;
Roy
DcC'arava,
work
),
work
551;
by,
"decisive
(iyi9-
moment,"
Dederko, Marion
work
work
309;
work
Degotti, Ignace
by,
253,
Eugene Marie,
35
615, 616;
montage and,
photography possibly
b\',
nude
life
works
camera designed
work
498, 510;
331,
by, 63
Depaitenicnt
71,
72
),
Madame (Dora
315,
Kallmus)
499, 563-65;
536;
),
work
401,
Eahins's
Hand Muvbridge
liictda, zS,
Theodore, 337
Dresden Exposition (1909), 331
Dress of Peas Kon), 592, 594
Driffield, Veto C^harles, 239;
Actinograph designed bv, 448,
Dreiser,
Sweden
13-;
daguerreotvpes, 20,
the
Hall ofMiroku,
(Domon),
171, 178;
in
the Mnro-ji)
ft-
44<:,
446,
Deutsches
Work
Werkbund (German
Alliance), 393,
400, 432
developer, 29
de\'eloping:
made independent of
Du Camp, Maxime
x'iew s,
mammoth
i6y,
167-68,
medical, 77,
77,
photojournal-
diaphragm
dichromate
prints, 611
postwar trends
social
documentation
in, 371,
Eastiake,
Lady Elizabeth,
105,
by, 25S
Duchenne de Boulogne,
1806-1875), 77; w'ork by,
Kodak camera
(1888),
Kodak camera
East Pakistan:
No.
Villqtjers
Welcoming
39, 39
Echagiie, Jose Ortiz (active
319, 348;
work
by,
Ecole Nationale
cie
Photographic
and Alice
Liddell
Viirjinia
and Mae,
Gowin
),
Danville,
567
Edward
197,
198
Span^ler, a Conspirator
toreportage
of term,
C harles L. See
Carroll, Lewis
modernist images
of, 431,
433
(1889), 44s
Edith, Ruth,
-cV
works
(Carroll), 74, 74
documenta155, 341; of
wars and conflicts {sec war photion); use
Dodgson, Rev.
287
work
479,
47S,
(1887-1968),
Guillaume Benjamin
IS6-62,
470, 472,
1906-1940),
(1822-1894),
development, 156-61,
Duchamp, Marcel
255,
in,
3!9
b\',
works
171, 172;
art
241;
taneous
in, 569;
nalism
Duboscc], 199
304, 315, 331; work by, i/f
Dubroni camera, 62s, 626
and ethnic
moment"
exposure, 259
life
243; "decisive
of
465
of daily
customs, 168-78,
and, 629;
442;
Shakamimi
(active 1840s),
by, _
work
Drottninjjholin,
499-500; social
documentation during, 365-77,
Imafie of Buddha
Thomas
Easterly,
51;
220
219,
ph\' during,
251
),
or student),
of
documentation, 154-91,
alteration or falsification
hand
works
and
(1844-1916), 220,
299; Muybridge's
251,
studies of
391
261;
Thomas
Detail (Left
629
402, 403
Eakins,
249, 250,
photogra-
W. Draper), 46-47, 49
bv, s6s
15-
629
prints,
D'Ora,
449
5"9-8o; reflections
Fonts ct Chniissces,
St.
,?/f
Disderi,
314
Doonray,
Snow
in the
(DLibreuil), 315,
of, fO
and
Delpire, 491
),
by, 540
studies
141, 188,
Price
(J.
229, 230
Donvale Luna in Dress by Paco
3"y, 383;
1,
451
work
3S1
1909-1990), 554,
Don
(1881-1963),
104
works
imaging,
The Diorama
b\',
digital
work
digital
612-15, 631
2_<:S
1,0,
by, 316
,y,?
work
315;
1844-iyio), -4,
(1873-1929),
by, 402
(actixe iy20s),
Domon, Ren
558;
(active 1920s),
by, 402
Dederko, Witold
401;
592;
551,
),
Dicz-Diihrkoop, Minya
401;
1921-
b\', fp,?
(Gardner), 202
work
),
599;
bv, 602
103-4,
106,
116-22,
121
Effypt
and
and
Palestine Photographed
INDEX
677
Eickemcvcr, Rudolf,
323
Jr.,
Ehibeck, Gcorg,
315
Ektachrome, 597,
Ektacoior,
Nnv
Huron
Ethiopian Chief,
life in,
230-33; Naturalism
in,
(Callahan), sig
nalism
in,
in, 30S,
in, 39,
40-41,
54-56,
55, 56,
imaging
also digital
7g,
Klectro-Tachyscopc, 253
Elements of Drawing (Ruskin), 212
in, 548,
Sandra
1942-
544; work
),
by, S4S
Elk,
Ellis,
Ellis Island,
9-
23,
549-51,
Oiiany,
261;
engravings, 16,
McBcan
500, S02
Embrasure, Tnkii Fort (F. Beato),
1S2,
),
184
work
by, 2}7
ig, 32,
83
Stanley
work
bv,
Ttitzinij,
Bavnna
(Eugene), 294
emotional
expressions
states: facial
and, 77, JS
375;
),
work
Woodward's device
photography
photography
in,
54-56,
55, 56,
toreportage and,
180-84,
181, 187,
189, 190;
iSo,
daguerreotyp-
40-41, 42,
42-44, 43, 45; debate on artphotography relationship in,
in, 16, 18, 21, 23,
documentation of 19th-century
industrial activit\' in,
678
INDEX
156,
156-57,
_5/!
of: in
19th
(F.S.A.) (formerly
Administration
3',
Sec daily
Resetdement
Historical
):
life
(
Ba\'ard
),
3-9-83
32
J.
Seeberger),
4S2
502-9; instant-print
Exciii'sions dn/jiiciriennes
trends
in,
of,
Federation of Women
Photographers, 26-
Province,
The
vs.,
Villajjc,
Shanxt
562
(Xie),5(5o,
Ghetto,
to the
422
Cracow
(Vishniac),i7/, 372
P.
Environmental Metamorphic
(Chen),
561,
work
Fission
),
600;
(see
survey expedi-
103-4
by, 604
Equivalents (Stieglitz),
i;4, 335,
Hugo
(1874-1948),
315;
Erwitt, Elliott
Sifter
528;
work
Eve,
Tlie
Man
(Darwin), 77,
Nnv Mexico
623;
7<V
and
J/J'
feminism, 543,
),
410,
551,
559-61, 566
3S5
no,
141,
180-84,
211,
work
(Witkin), 5po
Lux (1910-
Ferrez,
work
works
by, 113,
by, 164
Ferrato,
work
224
Fernique, Albert
592
libre, 551,
),
41''.!
photographic van
and Animals,
by, 52g
Feininger, T.
103, 109,
),
bv, 622
modernism
627
(Magubane),
See also
418
work
postwar
562
to Victoria Pari;
in,
188
37
131
specific eivnts
life.
in, 227,
by,
Erfurth,
War pho-
work
The
15,
(unknown), /c
309;
Italy,
(Strand), 43g
Enlightenment,
composite photography
as
Martin), 262
typing
b\',
Entrance
ing
collodion nega-
Entrance
Darkroom
Sbenvoitrjoii Township,
72
Portable
graphic reproduction
20g
Famese Hcrcides)
6g,
everyday
,?(io,
Soldiers on Russian
(Saronv),
240;
Gennan
(Posinjj as the
of,
documentation and,
S.
Porter), 97, gS
portage;
40, 109,
229
Vwllct-lc-Diic
social
Fallen
century, 167,
551
enlargers:
Emmons, Chansonctta
Emmanuel
22S,
444
9.;
in,
by, 160
361; translating
by,
work
373,
611
Tent
348,
Elsa Lancbester
in,
372-74,
F.iiropenn-st\'lc
Roman
El Aledol,
43, 45,
2i)2,
(Nadar), SS
loseph John, 67
Alexander John,
42-44,
42,
documentation
social
3SS,
Elliott,
4-^5;
Eleta,
464,
Eiujene
//.?,
Faces
Pictorialism
21,
(unknown), S3
(Moon), j'06
fading: of paper prints,
(Day), 320,
321
photojour-
506
York), 438
An
Bazaar Hiro),
Fabric, Haifcr's
(New
rcire
629
60S, 629
621,
603, 604,
in,
439-40
Eisenstein, Sergei,
fashion photography
158;
157,
Donna (i949-
),
536-38;
by, 540
Marc
by, 12S
Festival
m Aynvin
(C'hanibll, ^65,
Flower Study
Braiin
folding cameras,
366
work
(1770-1852), 40;
b\',
4/
(Laughlin), 401,40,5
Figiiicr,
Louis, 212-13
215-20,
nude
studies;
Durieii
),
210,
211
3"i
442;
40th
work
Parallel
Foit Peck
628-29
b\,
588,
),
Foitune
Auge/OeU
ct
Photo/Photo Eye,
Foto^rafica
2S7
4.32-37
filters,
319
(Airs.
427
Scaffold,
Finsler,
fires:
documentation
with Officers
Pbotofivaphy E.\hibitiiui
1930),
Japan;
First Annual
and Others an
The (Gardner),
Burgin
),
Comtnumt}' Baptism
New
York
71,
Rudolph, 629
Fishcrnien near Washenvoman's
Fischer,
72
270-71
99-100; daguerreotyping
Henry,
Jr.,
46, 47
in,
F^ugenc), 339
Navspapcr.
Leslie's Lllustrated
(imknown), 48,
Frederick Daiirilass
L. (1936-
),
535;
history of,
627,
627-28
Flatiron,
raphy
Flatiron Building
(New York),
in, 551;
flash-powder, 248
260-61, 263,
270-71, 271, 277,
in, 220,
96,
99-103, 100-102,
IDS,
107-8,
loS-ii, 141-43;
in,
photoreportage of Paris
Com-
mune
photo-
606
Floodinjj of the IVjone at Aririnon,
loi
photojournalism
300,
303,
44, 45,
4S, 55-56,
59-60,
60,
work
of silver,
195
1949-
work
j'24
15s
movements, 543
Gebraitchs^raphik, 491
bromide
Gemma- Frisius,
),
527;
Gen. John
F.
442
Reinerius, 192
Hanranft and
Staff,
611
(Gardner), 204
Gen. John
F.
Death Wanmit
the Shelton
by, 121
212
Westward Nnr
,?,?.f
Cliffs.
Sieira
(Gardner), 205
217, 221,
23S,
235-37;
238-39;
337; picturesque
images of
working people,
341-4S,
342-44,
353-54
J4/
EcJmund
to the
Naturalism and,
515
1860S-1880S), 67
f/64, 422
485
),
by, S23
gelatin-silver-chloride paper,
by, S02
Fry, Clarence
525, S26
plates
Company),
185
gelatin
by, S2S
William
(Gardner),
Gaudin,
work
work
ga\' rights
work
War
Fund
70,
From
185, 186,
Flor, 54-
520;
by, 272
Frith,
),
by, SS3
by, S38
Fri.ssell,
260,
Fry), 67
196-97
of the Civil
life in,
552;
Garduno,
daily
and
so
Friedman, Benno,
instantaneous views of
(Elliott
of, 127;
191,
67
Robert (1884-1951),
348-49; work b\', /""
flash equipment, 245; motion
66,
Flahert)',
Gaillard, Paul, 74
348-49
See
582
of 19th-century industrial
fixer.
Gabo, Naum,
gallo-nitrate
hvpo
by,
actixi
619
516, 520,
works
255,
Frank
Frank
work
582;
),
by, 62
(Issan), 73,73
/j,
1961-
(Dallemagne),
in, 275;
Fitz,
in,
Futurism,
gallic acid,
271, 272;
242-43; Autochrome
work
work
5-7, S77
Silo
554;
Alexander (1824-1912),
Freeman, Roland
),
20.C
by.
1938-
Fredericks, 69
the
492
S2S
49,
A rtistica
Adam
Fiiss,
440
by, sss
Steichen
2fis
Foto
in,
Profile of
for,
37; street
Franco-Prussian
Geological Survey
Teller,
work
60;
(active
3m
432-37; poster
j(S,
422, 4SS
l">\'ke),
in, 260,
Fran<;ois,
photogra-
in,
Franck, Martine
phy
phy
France) (Strand),
),
1955-
James Joseph
Forrester,
T850S), 351;
628;
photogra-
France de prafil. La (A
552,
S99;
small-camera photogra-
vrt'i,'
subterranean photography
of, so?
),
Fiinueh {\\\n
264, 270,
portraiture
563,
84,
postwar
,frtf;
graph
W--f<V, 54-,
use by
3.SI,
443
309, 314,
,54A'-.fO,
trends
of,
S2, 83,
<<;.
SS3
.^.^2,
67-69,
fi6-6S,
198
documentation
folk culture:
.U"-49,
222, 224
),
197,
INDEX
679
19th-century scenic
of:
W,
century, 519,
S2i, S22
117, iiS,
20th
IS2, IS3\ in
Girard Bank
137, [43
survey expeditions
(Jackson),
Warsaw
Frust, 358
glass plates,
no, 114
55; albumen-coated
(Ik-dford),
431
I'ctre
Nnv
Mexico (Newman),
Gericault, Theodore,
35
),
245; daguerreot\'ping
in,
medical documentation
in, 178;
modernism
308;
410-n, 410-12;
i9th-centurv art photography
in,
photojournalism
116;
47h
in,
466-70,
472, 472-75,
Pictorialism in,
479;
^i<,,3i6-iS; por-
467, 46V,
299,
documentation,
338; social
Camera
(Stirn
Hamerton,
157, IS7
Goerz Companv,
++^
253;
Dagor
lens,
(1793-1870),
Grossman, Sid
work
18,
96;
work
documen-
Gervais-Courtellemont, Jules,
275;
work
(Haynes),
Wyoming
Goro,
is2
mentation of
Gidal,
),
552;
by, if2
Tim
Sommer),
j-fc,
583
N., 467
work
551,
572-74;
work
Goupil-Fesquet, Frederic, 97
155, 156;
19th-century
social
documentation and,
357,
Administration)
works
):
/";
I.:
by,
flap shutter
work
316
Gipbantie (Tiphaigne de
Roche), 193
INDEX
628
grain gra\'ure, 452
pri\'ac\' issues
and,
and small-camera
photographv of 1930s, 485-86,
by, 465, 47S;
life
captured with,
of,
443-4"
hand coloring, 220, 2-5, 595; of
albumen prints, 280, 283, 284,
344; of ambrotypes, 59; of carbon prints, 280, 2iS\; of
daguerreot^'pes, 44, 280, 282,
595;
modern
re\i\ al of,
(.Appelt), 565,
frtrt
26+, 26s
Threading a Needle
(Zille),
(Bruehl), 493,494
no,
work b\', 60
Hanging at the Washington Arsenal
(Gardner), 186, 200, 201-7
Hanging
(Gardner), 207
Gurne\', 69
Hanging
Ciutekunst, 69
446, 465;
190, 259-61,44^?,
Hands
286,
nonphotographic materials,
Gummidrucke (Watzek),
463, 465-66;
Handstands
Guy's
Kodak camera,
Hands
446
),
520;
Warwickshire
(Cheney), 103,
by, S67
44,f,
605, 612
609, 614;
446; detective
cameras, 245,
448,
by, 229
103
A'7
680
work
Guerrv, C.
267; street
by, _f07
designed
337, 419;
by,
by, S7S
work
(MacPherson), 114, nS
Group of Cotton Carders
230;
241
226
work
Sterling Adrcrtiscnicut
(Steichen), 4S6
at
//;
Gorham
by, 291
Geyser, Yellowstone,
_;7f
264, 26i
by, 21
(1913-1955), 375;
in,
by,
619
by, 602
work
599;
551,
135
),
Hamilton, Richard,
Work on
Kiinsthalle, 308
Greenland,
315
International
3-4
FAhibition of Art
Hamburg
SSO
Hamburg
(Howlett),
373,
Hamburg
Docks at MilbralCThe
by, 30s
Halifax (Brandt),
Photographx' (1903),
446
60,
358;
605
exhibition
t(jrialist, 29S,
364
in, 212;
198;
Gray-Stirn Vest
panoramic photographw
155,
halftone plates,
1850s),
563, rt4
tionship
_f<s'/,
Germany,
213, 214,
Wilhelm (active
work by, 22
(Gardner), 203
in,
Halffter,
20, 96;
431, 433
Glasgow Improvement
S3S
5.35,
geometric design:
and Grandfather,
(Vishniac), 372
40; camera
Prospectus, The, 78
of the Colorado
/f?
Gra)iddaitghter
Philibert, 9-
1830S-1840S),
Grand Canyon
\V. and F.
Langenheim), 24, 26
Girault de Prangey, Joseph
134,
Hard Times
Rejiander),
227,
351
of film and,
Haas, Ernst, 481, 607
lu
229,
H.irc,
work
by,
Herold, Da\id
graph
Hers, Francois,
Harper's Bazaar, 475, 498, 499,
500,
514
Harper^s
200; photo-
E.,
Holmes-Bates Stereoscope,
551
Hn)fcr's Wccklv,
155, 185,
Homage
Hester
Hausmann, Raoul
236
23s,
(1886-1971),
work
by, 396
High
Hill,
(1941-
448
work
551;
),
John K. (1843-1925),
work
Himmel,
(1860-1920):
J.
P.
A. (1813-1894),
213;
John (Helmut
397,
.f^7
heliochromes,
heliography,
heliotvpes,
78,
450
288,
J.
by,
607
C., 463
(1831-1913), 137;
work
Hugo
by, 14:
(1863-1918),
502;
),
work
Hamaya
work
Farm
Histoiy of a Jump,
Eakins ), 250,
),
by, i/7
Dead
D.C
work
94,
46 3
London Nnvs, 155,
,
472
albumen
Images a
346
73, 172,
Zeitung,
155
la sauvette
(The Decisive
(Cartier-Bresson),
imaging software,
soo
Spnngkrnut
410
(Blossfeldt), 4/0,
Impressionism,
Ages
631
Imperial Panel, 69
the
172,
490-9T
Hoyningen-Huene, George
(1900-1968), 499; work by,
Hugh
155,
(Thomson),
Moment)
Series
documentation of dailv
life
19th-century scenic
125, i2s;
photojournalism
Human
35,
A merican
463
180,
Illustricite
by, IS7
Christ (Braim),
Illustrated
),
by, ss8
Humbert de Molard,
241,24/
work
of, 43
Holiday, 478
Hugo,
(1817-1899), 42-43;
photograph
Holbein's
work
King (Tennyson), 80
LlUustration,
140
135, 138
(Muybridge), 250
humanism: photojournalism and,
315;
13-',
by, 317
Midsummer, Antarctica,
(Pouting),
Standing) (Jackson),
Hogg, Jabez
404
of, 167,
work
Idylls of the
documentation
Surgay Through
500
315;
hyalotype, 32
P.,
Hudson
(1868-1943),
work
249,
Security Administration
Hofmeister, Theodor
4/f,'
of,
562
An
by, 37s
sdi,
Illustrated
Among
552;
How the
by, so6
Jack, 165
F.
Iceberg in
motion studies
hospitals:
221, 221
97;
157;
(active 1930s),
horses:
Hunt
_?0(?
470, 471
Henderson, Alexander
Henneberg,
(1930-
Hitler's
194
Hemment,
work
2SS
17, 19,
176, 178,
(Parks), S39
(1863-1908), 309;
374;
47i
125, 126
453
Housewife, Washington,
Hiroshi,
work
of,
by, 214
Heartficld,
375, 384,
387
portraits, 43, 52
work
363-64, 365,
Healy, G.
by, is2
work by, 97
Horgan, Stephen,
Hot
137,
315, 317
),
170
Lizzie, 570
357, 361,
Haynes, Frank
134,
172-78, 346
135
Hofmeister),
bv,
by, 136
Haves, Isaac,
Lai
417
13-7
23
Horst, Horst
Hillers,
uo
Island
S7,
SSI
by,
Ed, 615
Hill, Paul
343, 375;
works
work
Hong Kong
535
by, 230
ture in, 73
349
Hopkins, Thurman, 549
Hoppe, Emil O. (1878-1972), 364;
Higgins, Chester,
549
Hurley,
i9th-centurv scenic
by, 346
13C1
M.
Molard),
(1836-1910), i8~;
185, iS-
Homer, Winslow
work b\', 190
(O'Siillivan),
Crosstar Filter
Heute, 478
Street,
270
2t)g,
Pemisvlmiiia,
to the
Hong Kong:
John
tography, 528-29,
18-
C, 447
Harrison, C'harlcs
humor:
Humphrey's Journal,
35, .y,
199
198,
by, 28
178
work
is4, I5.'i, 162, 236, 246; stereoscope designed by, i$,3S, 198, 199
of, 20s
of,
44, 46
Louis
344-46,
of,
600, 604
Album,
INDEX
344
681
mod-
73;
postwar trends
.ff7,
SS8; social
.383
422-30, 427-29,
documentation, 156-61,
/;;
1S6-62,
162-67, 166-69
35,
491; social
documentation and,
Industrial Revolution,
Intimate Gallery
life in,
Henry
exhibi-
its
Issan, Yoshikazu:
(Hennenberg),
Dominique,
Italian Railroad
Italy:
Jessie
daguerreot\ping
debate on art-photograph\'
(Diamond), 77, 77
In Memory of Ida Brayman
(unknown), 274
Innes,
modernism
in,
"6,
Italy Dajjuenrotypcd,
War
77,77
615, 616
yofi,
work
278-79 (See
(J.
Thomson),
172, 173
),
259-71,
also
women
instant-print cameras,
Bidermanas) (1911-
work
work
(unknown), 42-43,
Sciences
ofHorus Edfu
International Center of
580;
work
Jahan, Pierre,
Photography
International Exposition of
(Turin;
1903), 319
modernism
ism
682
),
in,
work
125;
529, 574;
work
),
in, 320,
work
work
5.'i4;
by, 473
Rauschenberg), 619,
VV. E. (active
619
1846-1862):
by, 282
Kinder
illustrc, Ic,
King, Clarence,
work
Kirstel,
by, 192
M. Richard
Thompson
(1936-
),
588;
by, s89
cameras, 246
work
),
502,
by, $26
Knudsen, Knud
work
(1832-1915), 112;
by, 117
by, 172
354
46", 468
Walter
by,
520-25;
work
work
I7S
by, S7S
Kodachrome,
59",
629
K-odacolor, 629
.f24
also Eastman
Kodak (Company
Kodak (snapshot) camera (1888),
Agenc\', 492,
493
photojournal-
479; Pictorialism
kite
168, 259;
in, 413,
472, 479,
J.
(1892-1970),
bv, 401
work
by, 99
INDEX
99;
19th-century scenic
238
31,
war photoreportage
work
490
Edmund
401, 430;
190, 212
International Exhibition of
Kesting,
192;
Journal
by, 43s
237,
374
Pictorialist
Henry
19
1840s),
Jackson, William
448
44
Interior of Temple
43,
in the
(unknown),
432, 438
by, 311
as,
by,
of Design (Chicago),
394, 518, 519, 558, 583; Bauhaus
reincarnated
H. Evans), 309,5/1
work
(1868-1955), 309;
Joly,
b\',
104
Kilburn,
Institute
(1827-1895), 103,
Kiesler
by, 173
by, 490
Thomas
work
works
363
George Skene, 97
547;
NJ.
by, S47
Keith,
Kertesz,
538, _w/
Km Kianff
street
171, 172,
photography); by
52
259-61;
scenes, 167-68,
street
.^o,
Kian^si
44,
by, 310
496
the
xc
Itinerant Tradesman,
Accept, the
Blind (Nixon),
9-
371, 372,
v,-,'
postwar trends
to
to
118, lit);
work
Cosmo, 74
Mission Is
rela-
Peter, 580-82
50-51, f4
Inkjet prints,
372
in, 23;
Keetman,
(F.
431, 433
114
605;
Company,
),
by, 611
73
316
600
Jeux de
work by,
and Villa
301,
107;
by, 24
portrait
work
Keith,
Thomas, 40;
Jenshel, Len,
Miyako, 559-60
Italian Landscape
619
Jefferson,
of, 41
it
558,
309;
tion to
209, 210
of
Johann Baptist
Ishiuchi,
and,
York), 335
271-72, 272
35,
(New
century), 275;
Isenring,
by, 234
documentation
art, 337;
Isabella II,
work
Japanese
S63
work
work
563;
),
b\',
322
Japanese-Americans: documenta-
184
in,
Irving,
37
15,
Inglis,
238-39
daily
384
351,
industrialization,
554-60,
in,
documentation
Madame
259-Ao;
vantage points
uiiLisu.il
iu-3i, 144;
131,
59-^-99, S9S--601,
nalism
in, 481;
606, 607;
52, 72;
recent trends
629
Kodalitli paper, yy;
Koeniqs-Albu)}i
Stndte Snchsens,
cicr
492; woric
),
592;
work
work
by,
),
554;
work
Hermann
(182V-1916), 44,
works
bv,
4-U
work
modernist, 420-22,
atti-
1945-
577;
),
Levitskii, Sergei, 45
Levitt,
Window
at Lacock Abbey
98;
Lmns
work
49;
work
by, 426
Kwikprints, 611,
fii6
109-10,
"Labyrinthine Walk,
Smith),
A" (W.
E.
),
rcjjions
and
countries
390
155, 178;
155, 178;
Langtry,
Lillie,
155,
196; color
phodocu-
naturalism
in, 16;
School, 128,
137;
Hudson
Ri\er
photograph\' as
school
tion in, 105, 114,
.f/i',
518-19, 520,
atmospheric effects
book
in,
illustra-
180, 182
S11-13,
works
by, 109,
cover
511,
of, 474,
Broads
),
43S
"Light
Company,
first
476
Life
607;
A Medium of
Plastic
Expression" (Moholy-Nagy),
625
438
pho-
43S, 436,
lens caps:
579-80;
Madras Famine,
Nnv
York
daguerreotvping
graphic photography
in, 52;
ethno-
in, 73;
work
Helmar
by, 364
equipment);
Pictorialism and,
(see also
artistic,
315;
for
432
"light writing."
5ft'
photogenic
drawing
Lillie
Lincoln,
Pavm.il,
(Strand), 426,45-5
248-49
lighting: artificial,
67,
69
limelight, 248
579, S79
,54rt
Akeley Shop,
of,
technical history
580-83, s8i
flash
computer-generated,
phott)graphy
44"
3,
446,
253, 339
Lathe No.
(Fenton), 180,
32,
Lemercier, 452
531,
by, 348
(F.
by, 380
(Left
Leitz
by, 26
work
work
1911-1913), 348;
lantern slides,
S02
221
work by, 26
Langenheim, William
work
30,3
179
73, 125;
(Brady or
597-99,
Langenheim, Frederick
.V74
600, 603,
S7S, 579,
511
LEF
by, 400
469
romanticism and,
22s
112, 114,
work
"re-photography" projects,
stereographic views, 96, 107,
466
Aubry ),
and Manacled
(Gardner), 203
by, 40
Payne, a Conspirator, in
Sweater, Seated
131;
Leaves
530;
(1857-1926), 453
137;
Max
bv, s'S
by,
606;
531,
),
by, 532
Germaine, 426
Kuchn, Heinricii (1866-1944),
304, 315, 319, 3?i-?2; photograph of, _!_?p,- profile of, 338-39;
works by, 294, ,?,?/
Kriill,
work
531
Helen (1918-
work
Levy,
Barbara
403
in,
by, 100
manipulations
work
Le\enstein, Ixon,
617;
536-38,
(Talbot), 27,28
44; desecration of
96, 98,
141, 242;
Let Us
portraiture in,
in,
Latticed
216, 223
b\-,
95-98,
Ki'iiger,
116-20;
105, 132-33;
588;
),
.(()/
Krone,
and clouds
and, 615,
\St>
b\-,
in,
b\', 4')2
problems
tional
us
112,
y.f,
photojour-
133, 134;
(1871-1956), 364;
Abraham, 60,
186, 191;
photographs of events
of, 62, 70
Lind, Jenny, 63
Lindahl, Axel, 112
Line,
The (Lyon),
535,5irf
INDEX
683
624, 624
by,
Linked Ring,
493
Listener, 47s
York
Malcrci
Nagy), 438
Malone, Thomas, 199
Alammoth Cave Vinvs (Waldack),
works
by,
490,
6ig;
photo-
290
Men,
Little
of the Photo-
(New
Secession
408, 409
SS9
D.
(J.
Lyons, Joan,
Emma,
31,
),
31
320;
work
by,
221;
work
a Crowded Bayard
Tenement (Cox), }6o, 361
Lodp/ers in
155,
Street
236,
443
320
Photographic Company,
and Daughter
{
work
),
Georgio,
Museum
18
(Paris), 157
467,
),
Ncpci,
INDEX
300
by, 262
(c.
Masao, Horino
1816-1879),
work
by, 162
(active 1940s),
):
Sally (1951-
),
542;
work
193
b\, 496
la
(Paris), 551
Hine), 377
The (Appert),
People), 373,
Man
5-2
374
Maunoury, Eugenio
(active
works
by, 344
by, 27
b\',
May Day,
Barcelona
Chim ),
476,
work
b\',
320
New Photographic
Comer of Broadway and
Street, New York
Al. B. Brady's
Galleiy,
Tenth
(Berghaus),57
/,?rt
Alarch
184
1S3,
478
Mayer, Emil, 263
Ma\er Brothers and Pierson, 60
(Hillers), 134,
work
Maison Europcenne de
),
A, 44
by, 3~4
),
work
449; work
Man
374;
1861-1865), 344;
Photographic
prints, 298,
Man
470, 47i,
,?^.f
unique
629
es
S7S; in
by, S42
(1811-1872),
S4S
684
Majjyar Fold
552
by,
sequen-
Mann,
MacPherson, Robert
work
photomechan-
426
519,
477,
tial
213;
Magnum,
Louvre
478,
),
magnesium
Lotti,
122, 180
Lotar, Eli,
work
262, 263;
Marville, Charles
Mass-Observation (Worktown
Alajjic Lantcni.
440
montage
by, 22
Lorentz, Pare,
modernist
work
Maniae
615;
Letter to the
(Morgan), 437
(Kick)
55
by, 617
ifo, 551,
S7S; in
World
480
630-31;
618,
McClise, Daniel,
magazine covers,
in the
Rome unknown),
213, 21S
Martha Graham:
ical
Healy Studio in
155,
347
Lonjjfillow
(sec
236
157,
3y6
(see light
London
cameraless imagery
McCall's, 49S
McCosh, John,
nude
(Atget),
279
Lee, 536
Crnnlishaft
Mame a la Varenne, La
278,
works, 572-74,
Pott de L'Hotel
131
,5/y
532,
),
S79,
Saipan
Fire,
Marmon
439
52
335
SOI
611
2f(i
Marin, John,
Marmon,
532, 535,
S36
bv,
434
imaging, 611-18,
by, 432
221
work
Llewelyn,
prize, 243
works
34
Due de Luvnes
4-33,
32
535;
267
194
Little Galleries
267,
Chinatown
583
Socict)',
de Bassano),
Girl in
Alajjiiificent), 418,
luminograms,
554, S56
H. (Hans Bauniann),
(Genthe),
Garden at
Lunar
Felix
and
Marines uyider
Moholy-
27S
Lumiere Family
46-, 475
Man
Man,
Film (Patntinjj
248, 249
So, 83,
Fotojjrafie
Photojjraphy Film)
290
lithography or photolithography
39
304
155,
Nnv
Tide, Atvertie,
(Struss),.;2*
literary
Low
19, 1983
52
iy25-i9"2), 588;
Mecha)ncal Toys
work
b\',
sS9
Hausmann ),
396
mental aberrations
a[id, ^7,
77',
John Everett,
Millais,
212, 253
nude
Miller,
Wayne, 48?
Mehlman, Janice
work by, 612
Millet,
D.
X-rays
in,
249
(1958-
by,
605;
),
5?6-^8,
),
59, 196
2}s
++"
Members of the Harden Sunvv
Work Hine),
Mennie, Donald, 125
(
Minimalism, 569
Minkkinen, Arno Rafael,
(unlcnown),
for, 178
with, 401,
work
(Hill
402
530,
by, 606
),
583;
in,
),
547;
work
48,
525;
work
by, S24
Meyerowitz, Joel
1938-
Duane
Michals,
),
527,
by, 603
(1932-
),
570;
by, S72
Michelangelo, 512
Modern
(Gasoline
(Hagemeyer), 420,422
(New
Gallery
York), 334,
Tomb
modernism, 320,
photography and,
419, 421; articles and
class:
American, photo-
525, 588,
4S7; collage
exhibitions and,
SPi,
431, 432,
social
concerns
384
California (Lange),
4j(i;
images and,
419,
420,
369, 383
altered
reproduced on materials
611,
composite
photography
39S,
432, 43i,
192
motion
stutiies,
S32;
44,
531,
104,
loi, 104,
stereo-
graphs, 34
by Anschiitz, 249,
251-53, 2S7;
equipment
work
in i9th-centur)' land-
Moonlight on the
St.
John's River
(Barker), 142
Moore, Clarence
Mora, Jose, 72
B., 323
"moral treatment,"
131, 233,
249,
by Muybridge,
252,
and reconstitution
of appearance of movement,
253; skeletal and muscle movements recorded in, 250-51
253-55, 2sS;
Mount
Mudd,
John, 430
Mudford, Grant 1944work by, 601
(Rosenblum),
599;
),
New
York
375, i7(S
Multnomah
Alimchner Illiistnerte
73/
Press
(AUP),
466, 467
Munich Secession
(1898), 308
work
Museum
of MocHern
by, 130
Ai't
(New
527
178
(active 1860-1870S),
241;
by, S06
Moran, John
for,
moonlight:
248, 249-55,
2fo-f^, 619;
418, 41S,
517; for
news photographs
240-41
178, 248, 481,
daguerreotypes,
architectural
microphotography,
Michelin, 493
423, 424,
525,_f2(i
Mo Ti,
249-50,
436;
the Hillside
(Kuehn), 294
Mother Holding Her Child, N.J
616;
Vegetable
(Stelzner), 44, 47
-^0
Truth (Silvy),
405, 439
S4(i
259,
by, 2\9
Leslie as
(Arbus),
48,49
Mrs. John
Station)
547
by, 39s
230, 230
Mis. John Vincent Storm (Phillips),
465, 466
work
.?5i'
work
by,
3S8
Woman
Stieglitz), 337,
141;
middle
),
work
/pjj 193
131,
Mollinger, Franziska, 97
Monckhoven, Desire von, 199
Reef Utah
565
Misses Binnv
194
by, 416
by,
44
in, 72;
in,
views
j*i5,-
(Arndt),.w/
fijmed
354-57, 361,
39-40,
39,
work
Strata, Capitol
378
ment
miniatures,
49S
Les,
441, 547;
599, 60
at
j.f4-fCi,
Modes,
Moencopi
(O'Sullivan), 354,354
subterranean photography
41S, 417,
400-403,
tions in,
Men
by, 213
(Jackson), 134,
work
4<!
Melainotypes (tintypes),
work
(S/.j
L.
F. (active 1860s):
panoramic views
INDEX
by.
685
Near
253, 253
work
233, 351;
c.
by,
1860-1882),
S30,
new
165, 236;
106, 107,
documen-
See also
(Weston), 441
countiies
New
Mydans,
Cameron ),
76
MyselfAs
photographs
69,
by,
245-46,
works
S},
24S
210, 246,
24-27,
32; early
)-,
6i>
406-7, 432,
442; terminology
albumen
for,
27-29.
ambro-
prints;
carbon prints;
t)'pes; calot)'pes;
100,
103, 141,
Nnv
196
19th-century combination
2/1?,
227,
work
227-29, 22S
),
Committee,
49
Native Americans: documentation
New
nalism, 465
Naturalism movement, 137-40,
23(S-?p,
(Emerson), 238
nature: abstract forms in, 105, 114,
518-19, 520, 52/-2J; 19th-cen-
harmony
people living
in
to,
NeivMain Line
at Dinicannon
(1918-
),
563;
modernism
Obsciratoiy
life:
newspapers
Lovers
Station (Watanabe),
413, 41S
of,
by, 41
in,
work
work
),
),
530,
by, 607
N. Ireland: Loyalists
Nosotros,
465
notan, 322
Closes
and
335,
418, 430,
sH
Streets of
Glasgow
(Curtis), 325
315,
landscape photography
Old
5^6,
by, s^S
(IV-ress), 554,
O'Keeffe, Georgia,
563; portrait of,
603;
316, 321,
248-49
490,
work
405-6
experiments
,?.?o,
(active 1840s),
oil
photoreportage
Nonnandy
Time The
Ochanomizu
New
Realism, 378
612
(119
specific
ph\-, 155,
by, S4i
photogra-
ob)ectiyit\': ascribed to
Oehme, Gustav
112
INDEX
by, 19
Dessau (Volkerling),
Trees in
Norway,
686
work
Roman Forum
reportage;
131
112, 116
nocturnal
See also
work
yfi
by, S64
keit), 339,
251
Oak
New
Tool)
(Ray), 500
La Nature,
319, 320
Naturalistic Photography
SiS,
337
work
Lesen, Sehen"
(Bemis), 96,
atti-
158, 160
Mehr
of,
,;o2-i,
Newman, Arnold
440
170-72
452
New
New
219,
325
Zealand: documentation of
(England),
550, 551;
324-25, 348-49,
School of
centu-
ry,
life in,
30<;;
"New American
and, 271-72
60-, 612
Native Land,
611;
Objectivity
(Ottawa), 543-+4
(icojjraphic,
357, 378
by, sS4
(Talbot), 29, 30
images
583,
NASA, 630
daily
345,
tech-
167, 171
Nnv
a Staircase #2
New
National
605;
.f,?2
Nnv
347
357
prints,
56,
New
471, 471
sso, 551
Nude Descending
531,
stir
documenta-
32, 99,
postwar
NovyiLEF (Rodchenko),
Nude (Clergue), 592, fy,?
Nude (Tabard), 430
Nude (unlcnown), 216
Nude (Weston), 430, 432
Nude(C. H.White), .502
York (Levitt),
15;
of, 286;
social
f,?.f,'
i7<S,
335, 33s,
329, 330;
Nav
Nav
Nnv
Nnr
file of,
f32, .03,
436; Pictorialist
albumen-coated, 24,
32, 196; enlargement of, 199;
glass vs. paper, 32, 55; origin of
Woodburytypes
negatives,
M2, 3S7
Negre, Marie Paule, 554
Negretti and Zambra, 124,
535;
view
141, 214,
life
of,
Sec also
466-67;
adxantages
(1826-1891), 137,
by, 167, 234
veirc
negative-positive processes:
works
My
Nouvean
modernism
Notman, William
569
2.5/
-ttf
vs.
Nationalists
On
Douamenez (L'Hermitte),
.?4
On
(
348,
Lath D.
|
(.).
Hill),
"y
Photojjraphic Vinvs
Open
Coloiiiiaiie,
Garden Front,
16-,
170
Opium War
(Second): documen-
+01-3, 404
Oraiiijes,
569,
442, 449
-^0(5,
Manhattan (Sonnenian),
ro
work
by,
Mi
143;
works
80,
pantographs, 40, 67
Panunzi, Benito (1834-1886), 344;
work
in, 27,
print quality
calot\pes
roll film,
work
S7S,
),
531;
),
work
by, S32
documentation of
Haussmann's transformation
photogra-
270,
270-71,
271, 277,
278-79;
Tower
Scaffoldinjj with
440
Commune
reportage of,
Paris de
Nuit
m,
compositional strategies
compared
end of,
209; landscape
painting);
(see
landscape
nudes
in, 219, 300; photography as
tool in, 60, 78-79, 98, 209-10,
249, 250,
183,
184
619-20,
images, 187-88,
cific aitists
621;
war
and nwreinents
),
605;
work
),
369, 535;
Parthenon,
551
18
Mt. Blanc)
),
554;
art, 548,
569
in {see fashion
in,
magazine
coN'ers, 467,
474,
.103;
images
in,
photogenic drawings,
photogenics, 580
photoglyphic engraving, 452
photojjlvptie. See Woodburytx'pes
Photojiram (Moholy-Nagy), 39s
Photojjram (periodical), 309
photograms, 394,
s8o,
since 1950,
spf,-
graphics
Photoijraphic
in,
photomechanical;
on nudity
1950, 548;
cooperatives, 481,
554
551,
Album, The,
Photoijraphic Alt Joiinial,
Photographic
3so
si,
An 'Treasures,
235
109
and photography's
exposure meters,
245,
also specific
315;
Matthew
work
447-48,
periodicals
624-27. See
C., 73, 124, 172
also
photographic gun
cameras; lenses
(fusil
15
Petersburg
pho-
tocfraphique), 251
Photojjraphic Journal
by, 317
perspective drawing,
London ),
1-8, 212
Photojjraphic
Reinm\ 319
(Wheelhouse), 99
403
Academy of Sciences,
Photographic
(later
45
Petit, Charles, 453
Petit, Pierre,
Series of
611
photographers' collecti\es or
photoetching,
233, 235
364, 36S
Photodynamics, 398
517;
194-95;
photogalvanography, 452
Palestine as It Is: In
work
Past, Present,
successfiil
first
in, 27,
experiments
Demach\'
298
103, /Of
),
articles
.f
110
in,
1941-
Parks,
Passet,
moment
and Maskell
bv, 49
Gum-
Photochrome Engraving
Company, 333
by, 610
Parr, Martin,
501, 502;
specific titles
work
also printing,
486
Parker, Olivia
),
h\\ SO'
century trends
48;
photochemistry:
240
raphy
(Paris by Ni^ht)
(Brassai), 485
photo-
(1871):
125
in,
Paris
127
19th-century secnic
work
Ammi,
Bichromate Process
emperor of Brazil,
451,
Paris: bird's-eye
Photo-Aquatint, or the
in, 260,
Un
II,
performance
615;
by, 616
Insane, 1-8
Phillips,
by, SSS
579
Parada, Esther (1938-
phy
529
319,
S33
views
Bill,
),
by, 34s
overpainting, 60,
ozobromes, 629
Ix)bo\iko\-
83
Owens,
320
Pelikan, 493
161, 162;
62, 233
319, 319,
Pedro
246;
life:
320
98;
442
Parable (Thorne-Thomsen),
185,
351
298,
paper
493
Pantascope, 198
negatives
Timothy H.
O'Sullivan,
Phenakistoscope, 253
Peasant Scene
ments
16, 39
peasant
29
406
Pexsner, Antoi/
of,
462
Twin Lakes,
Bowls,
tilni,
++2
Conn. (Strand),
in,
5++, S4S
daguerreotypes, 97-98,
Orange and
documentation
social
Room, Massachusetts:
Petz\al, Josef]
99
Panama:
panchromatic
Paris), ;6
Operntiiifi
67
Societ)'
of London
Royal Photographic
INDEX
687
of photojournalist's commit-
560,
ssi, 5.S4,
in
19th-century fore-
606-7,
613;
runner
of, 186,
life
stories, 186,
postwar trends
in,
480-85;
and Descriptive
Notes
and use of
Rajputana, 123
195
in, 320.
New God"
309
"Photography asking
for just a
of
in,
montage
runner
Photorealism, 620-23
Pit
Brow
St.
Andre
and
(Robinson), 229
411, 413,
611,
approach
688
and mystique
INDEX
modernist,
mod-
documentation,
338;
and practice of, 297-99; landscape photography and, 320, 320, 322-23,
324, 328; literature in support of,
308-9, 319; manipulated prints
32s, 326, 336, 337;
ideas
nude
and,
315, 316,
technologies and,
176, 177;
No.
Pop
art,
(1811-1857), 24,
49
Pluto and Proserpine, Gian Lorenzo
Rome
26,
(Pare), 531,
<;32
220, 543
216,
Rome
(Jones),
work
by, 598
Porte
work
St.
work
by, 98
Wilbur H. (1873-1958),
by, 324
172
Portrait of an Unidentified
Woman
(Disderi), 62, 63
Portrait of Elizabeth Rigby, Later
Bcrnini,
I9S9,
276
Plumbe, John
407
605
440
by, 47S
Henri (Moholy),
4K
(Berger), 18
Poitrait of Louis Jacques
Mande
Da/iucnv (Sabatier-Bkit),
Pottrait nfAlathnv Brady
(D'Avignon),.
Portrait of Mother
and
Child,
625
Point Lobes
Poitevin,
Wave
(Bullock), S23
Alphonse Louis,
34, i9~,
work
(Bayer), 406,
Pool,
59, do
34, 197
420, 424
Ploiitfh that
digital
Pans
410, 411,
137;
bv, 140
Ponton, Mungo,
work
des Arts,
(i/j;
and, 485;
(C^artier-
(Izis), 490
planographic printing, 453
plant images: early botanical stud-
Pictorial
Pans
by, 119
99, 99
Place dc lEurope,
physiognomy, 77
Physiognomy of Insanity, The, 77
15",
(Dugdale),342, 344
432
phototx'pes, 163
work
115;
600, 603
pornography,
Girl, Shninjjton
moment"
S76,
577
Plossu, Bernard,
"decisive
modern
446
Baldus ),
511-14
579
.ro
450
315,
in,
pigment
S78,
by, 61
pigment
Frank), $2$
by, 32s
la Aliilaticre
work
200, 207-7
of, 186,
use of,
465-66;
19th-century fore-
SII-13, 511-14;
work
of, 259
in,
139, 140
ISS
or enigmatic images
Life
Pinatype,
Anglian
alter-
Pictures of East
486-90; and
Pont de
Piljjriniajic
physionotrace, 39, 40
objects, 485,
626-2"
fcf,
photojournalism,
323, 365;
467
626-27
Polaroid Land camera,
process
.^11
(Strand), 439
America, 33"
work
graphy," 208
46s,
476-79, 476-82;
photographers
480, 4S3
Photo League,
301
in
documentation
Photojonmalist, The (A. Feininger),
and
picture editors,
384,
Photographs ofArchitecture
Sceneiy in Gnjcrat and
in, 371,
372, 372
(Dresden), 110-12
documcntarion
social
women
Photo^raphisches Institut
Photographers of
in,
in,
(Sizeranne), 309
women
Photofjraphische Kunst,
st)'les
of,
Polacolor, 627
Beato), T72
(F.
4S6-(ii;
still-
299-304; unique
prints and, 298, 300; urban
views and, 327, 328, 329, 330;
Pictorial
ph)'
of 1930s, 485-86,
images and,
and themes
Historical
Photo-Secession);
{see also
304-5, 309-15,
of,
specific topics
support
documentation
b\',
307
177,
1-8
Poitrait of
My Mother (Rodchenko),
411, 414
Portrait of Samuel
(unknown),
2f
F.
B.
Morse
camera obscura
raphy as tool
photog-
in, 193;
60,
in,
55,
38-93,
515;
abso-
positi\ism, 96
of daily
life
270
calo-
-'2;
36s
Pratt, Charles
work
1926-1976), 599;
in, 331,
467, 565-66,567;
62-65, 63-65,
and,
33, 39,
40-44, 46-52,
54-55, 56-60,
of,
modernism
Prelitnitiai-y Sketch
with Photo
Pre-Raphaelitism, 74,
115,
212, 232,
501;
documentation of condi-
Movement,
361, 377
(see
342-44, 353-54,
363-64, 364,
i.fo,
36s,
work
on
made
I9th-century formats
for,
410,
lations);
on
inde-
materials other
American
614;
72-73,
131;
611,
and,
315, 316,
posing
for, 43,
ancH, 631;
tation and,
180,
180-82, 191
in,
551-52
Porttiffal
609,
4()i
155;
documen-
photojournalism
documentation and,
on unusual
negative-positive processes
engraxnng; lithographv or
positive slides, 32
documentation
therapeutic uses of
photolithographv
Adamson),
55,
.(7
Red
in, 178
463, 595
),
Constant (1857-1953),
work
(Prevost),
130, 131
630
bv, 314
Regionalism, 619
Queen
Victoria
Victoria, Princess
Royal (Collen),
54, $S
C,
341,
engraving or photo-
30.?, 309
reconnaissance photography, 246
of
materials,
(Engel),3^<?
.y.f
Purcell,
309-15;
238
236,
Harlem
586, 587
Puyo, E.
of pho-
574, 612
155,
Recessional (Hinton),
279
manipulations and,
607-11; 19th-century
social
(Boubat),
photography
documentation, 363-65,
364, 36s, 378-79; and technical
improvements in photography
social
300
77;
187-88, 213,
486
Ixpage),
publicit)'
psychiatry: camera
photography
mid-i9th-centurv mediums
Realites,
Rebecca,
and, 77,
for, 69;
Promenade, 69
propaganda, 369, 560
movement,
in, 39,
idealist
Milhailovich, 275-76
by, 263
Prinsep, Sara, 80
378-79;
194
by, xfo
tographs to,
bv, 229
359,
work
263;
ss;
(1941-1972), 549;
reality: relationship
Prokudin-Gorskii, Sergei
bv, 130
Tony
Rudnitsky)
work
Ray- Jones,
work
131;
by, 503
Rayographs (Ray),3P4
35
work
Man (Emmanuel
Prcvost, Pierre,
Ray,
),
619
liy,
Progressive
work
in Pictorialism, 298,
Price,
611, 619;
Exception in
(1859-1916),
by, 301
(Mayakovsky), 471
Sickle
194s
Raphael, 229
263
Ward
work
299, 323;
2S,
442-43
also
May 2,
prisons:
Hannner and
Ranger, Henry
300
Praxinoscope, 253
niques
in, 245,
Stillfried), 174
liaisinjj of the
unique,
by, $99
Pravda, 472
cartes-de-visite, 56,
33,
advances
144
prints);
albumen
{see also
Post-Impressionism, 213
artificial
196
19th-century scenic
African-American photogra-
169; in
mate), 19"
by
gold-toned,
documenta-
railroads: 19th-century
documen-
works
351, 595;
INDEX
689
55,
Renaissance,
245,
Rodin, Auguste,
304
Renoir, lean,
Security Administration
(Zola),
515
Time, I (Lopez),
279
Surre'aliste,
Joshua,
Sir
55
Krefeld (Scharf),
Street,
315,
),
535,
131
359,
Railway,
,;,?rt,
),
Tear,
430
River Landscape with Rowboat
Rivers, Larry, 619
(
6t4
Kasebier), 322
1852-1865),
work
115,
by, 181
of, 365,
),
569;
by, S7i
Andrew
134, 165;
works
J.
(1830-1902),
work
by,
Russia; color
photography m,
INDEX
Schatz,
Otto (1858-1957),
315;
by, 318
Howard,
536
of, 86
1930S-40S), 426;
Schinzel, Karl, 629
378-79;
of,
_y7,
558
463, 464
the
by, 4S1
work
b\',
428
Maine
U2
(Caponigro),
scientific
works
work
by, 5?/
phy
496
408
phy
),
611;
Disaster
Dotter), 536,
78-79,
79, 103;
doc-
work
by,
2.^8
Mine
photogra-
96
umentation of 19th-century
bv, 614
work
Scotia
in, 95,
238-39, 309;
medical documentation
S40
work
also
by, 69
Sarra, Valentine,
40S,
Russell,
690
documentation
228
Xf<i
3M
work
554,
work
work
325, 337;
Rumania (Koudelka),
Scharf,
605;
184;
),
Ruisdael, 128
Robert Henri
),
by, 610
The
by, 107
work
i.
394
b\',
work
countries
29
and
60, 81,
18,
work
60,
440
Royal Academy (Berlin), 308
Royal Academy (London), 188
by, 391
by, 36s
(Mazourine), 320,520
554;
(Gardner), 202
Roy, Claude,
of polar regions,
Rittase, William,
work
98;
Rudisill, Richard, 52
80, 232
71),
mas, 97-98,
104, 107;
The
220, 242
157,
131,
135, ;;v
547-48; profile
Navrs (Collard),
an Lee Field
(Dunmore and Critcherson),
work
613
New
(Cameron),
337
98-104,
157
of
9S-I42, I4S-S3;
44
by, 367
IS9
375,
),
H. White),
Moran),
(J.
565
portrait of, 87
safelights,
St.
322
work
94-144,
American West,
by, is
Sailinjj Ships in
rotogravure, 451
Rising of the
16,
by, xi*
Riis,
Saftra, 554
31S
work
442
536;
Reynolds,
roll film:
work
Sadermann, Anatole,
fi26
615, 617
464
Sachse, Louis, 18
Scene in an Asylum
S4S
(1801-1881):
Revolution
344
Hauron), 288
Revoliitiotis in
Scene at a Fair
130, 131
54, 59, 60
Rooster
views of,
scanners, 630-31
344
114, 131
260-61
2tfo,
RJnne
in, 315-19
romanticism,
La
(Carrick), 545.
in\ention of,
he Retour, 515
Retmyi to Life,
344,549, 350.
Union
253
in, 34,5,
180
515
Tower,
320,520;
,?ip,
Farm
mentation
by, S4S
Renger-Patzsch, Albert
work
74
15,
Pictorialism in,
Rodchenko, Alexander
works by, 398, 414, 47i
Rodger, George, 478, 481, 549
Rembrandt,
HO,
mentation
113;
in, 3s8,
portraiture in,
358-59
Scottish
Academy,
~8,
-9
AWncmcnt,
Scottish Disruption
572, 577;
work
Sherman, William
78-79
pnnnng,
screenless offset
Sciibucr's Alntjnznie,
Sciirlock,
4^1
35
Addison N. (1885-
),
565,
by, S76
T., 185-86
),
558,
494
(G.
N.J.
and Pickpocket
Sommer), 230, 233
479;
(Nadar),
Si
Nine Parts
motion
Drowned Man
620, 622
works
between people
and land, 530, .fi/; of rural folk,
365, 366; sexual imagery in, S4-2,
relationship
A. Bragaglia), 398, 5P
Smyth, C. Piazzi, 109-10
.f2(J
promotion
points
in, 260,
260-61
Henrv Hunt,
569-70,
S7I
iti
Flijiht
Anshiitz),
253, 2S7
Setala,
work
social
353-54;
art-document dichoto-
my
with, 193-94
(Wilson),
//,;
108, 230
),
577,
Countryside
(Panunzi), 344,
commissioned by
government agencies, 357,
597, 606-7;
(unknown),
documentation,
558-59. See also
lenges
in,
of
mentation and,
371, 37.5-77.
move-
420, 422
soft focus,
Solio,
falsification
of images,
352; first
60
442
Sommer, Frederick (1905-1999),
583; work bv, .ffc
Sommer, Giorgio (1834-1914), 115,
233; work by, 230
solar projection enlargers,
112
humor
in,
Neal (1941-
nous peoples
133, 335
),
605;
work
by, 60S
slides. Sec diapositives; lantern
anti folk
),
570;
by, S73
3sS,
customs,
work
bv, 72
South
life's
work
108;
by, ///
Africa:
daily
documentation of
170-72; photojour-
life in,
nahsm
approach
S43;
in,
527-30,
.(27-50, 543,
.since 1950,
S3S
569;
535, S3S,
),
Sea (Thorne-Thomsien),
S7S
moments summing up
slides
work
544-47, S44-48;
Slavin,
of landscape,
Sonpis of the
studies;
S2S,
nude
and photography's
bv, 214-15;
520-25,
305; in
542-43,
in,
societies,
Sketch, S02
(D. O. Hill), 78
210
309
la,
cameras, 625
<,42,
pornography
Seymour, David. See Chim
Shahn, Ben (1898-1969), 366, 379,
382, 383; works by, 379, 3S1
122
[6mm
375,
6s
works
Aaron (1903-1991),
518-19; work by, S20
de Photojjraphie, 34,
American culture
(Cameron),
342, 361
photographic, 297;
for amateur photographers,
viewing
Siskind,
Skoein, Martin,
J4f
619;
raphy), 372
Soctete Franfaise
Sizcranne, Robert de
by, 409
543
George, 478
74, zr
ofStorh
.f27-.;o,
Silk,
eclipsed by avant-garde
Series
photojournalism
527-30,
images and,
532;
also
and
S70-72; typological
in,
536, 547;
documentation, 274;
"before" and "after" images,
3.S2, 3S2, 3S3; by amateur photog-
social
appended to images
37.1
stv'le of,
texts
235
Porterfield),
social
52(S;
of,
sensitometry, 239,
S26;
September Alominjj
442
448
36s,
40
Patzsch), 410,4//
40, 40
silhouettes, 39,
551
Silvy,
Snelling,
597;
Silver Strand,
(Bayard), 32, 33
self-portraits, 32, 33, Si, 401, 402,
447
Jeanloup,
Sieff,
Siegel,
Self-Poitrait/Compositc,
4S9
history of,
565, s66,
(Cunningham), 420,
Self-Portrait
529,
),
by, 604
work
work
Reichardt),2^.?
Second
599, 60a;
,576
Shoeshine
400
Scars, Roebuci;,
553, SS7,
sso,
documen-
South Wall,
Mazda Motors
(Baltz),
529-30, .yo
34S-47;
Smile Eye-Drops
works
INDEX
691
Sio
29s;
Evrard), 103
Steinert,
141,
580;
180
400, 403,
work
by, S79
August von,
modernism
photojournalism
cameras
/!,?,
genre images,
23s,
551-52, SSJ
548, S49,
Still Life
and Wildfowl
with Deer
work
Camera (Gray-Stirn
Stirn Secret
work
Stonebreakers,
SIS
511,
sn-13
109-10,
documentation, 346-47,
war
social
80
enigmas, 260-61
Bellocq), 267,
spatial
photoreportage,
sive or
in,
metaphoric meanings
in,
in,
198-99
metric design
372, 475;
Der
Spiejjel,
work
),
by, 373
478
"spirit" images,
Stereoscopic
2_i<;,
(Henderson),
236-37
St.
Stereoscopic Vim\<:
Lawrence
Stern, Grete,
600
510;
Greg, 536
work
Stieglitz, Alfred
work
by, los
(1864-1946), 248,
Starn,
State
Statue
Davis),
335;
334,
531, $3'
of,
hand camera
96
Statue of Liberty: photograph of
334-35;
(Halffter), 20,22,
photograph
Photo-Secession and,
325, 534;
267
335;
statues,
mammoth: documenta-
The
work
607
(Stieglitz),
b\',
174
Still Life
(Daguerre),56, 37
Still Life
(Gilpin),
692
INDEX
400-403, 401-4;
39,
in,
335,
547; profile
438-40; works
3S6,
street
work
by, S49
(Puyo), 309-15,^/4
in,
drawn
to, 261-67,
S2
Sunday Afternoon
(Stettheimer),
357-58
endiusiasts
Summer
Sumner, Charles,
100, 100
Street
551
112
4SS
street
sublime,
450, 628-29
of,
modenie, 499
218,
220
"subjecti\e realism," 548,
132-33, 133
style
unusual \antage
still-life
(1879-1973),
No.
Still Life
Edward
Still Life
405
Steichen,
Study of Clouds,
2iis
(Muray), 49S
(Witzek), 316
StUl Life of Fruit Fenton ), 224
Still Life of the Wasbcnvoiunn
333,
33S
Stilifried,
401, 402
Study for '"Figures De'coratives,"
modernism);
2.fO
of, 330;
Mahomet
525-27,
by, S09
(see also
Study
400-441
by, 328
Thomas, 569
Stryker, Roy E., 366,
403-5, 404,
reflections in,
(Hamburg), 54S
work
Wales,
544-47
Sternfeld, Joel,
45()
Staatliche Landesbildstelle
Staats,
ofNonhcrn
189
137, 141
(Morgan), 432,
in,
Roberts),
Struth,
Studies of Foreshortening;
580; allu-
dental distorti(_)n
624.
(Spender), i7i
to, 263,
work
Stoiyville Portraits
Spartali, Marie,
women drawn
3S6, 357
268
portage
267-70
photore-
and, 267;
by, 129
4-6<:
by, 120
167-86,
515;
351
259; large-scale
in, S27,
171, 172,
2c?f
226
128;
259-61;
277,
212;
95
stereographs,
II,
278-79;
World War
172,
223-26;
by, 47
211, 236;
postwar trends
work
in,
(Braun),22rf,
32
techniques and,
Still Life
Stella,
1894), 44;
319;
by,
Steinhali, Carl
in, 398;
work
37; directorial
since
an
Chalotis
337,
4S7
Camp de
Souvenirs du
Ralph (1899-1986),
Steiner,
Sunday on
the
Countiy
in the
.fO!),
510
(Cartier-Bresson), 487
Sun
31
Sun's
Rays Paula,
Berlin
Surratt,
graph
Mary
E., 200;
photo-
of, zos
5''o, 5'"9,
photography
.CO.;,-
modernist
photography and,
;9?, 40i,
+03,
photography and,
SSS,
i?~, '43,
134-35, W-j'*.
132,
work
451-53
work
4^2;
Tenerijfe
112;
photojournalism
in,
sH
322, 534,
510, 548
Szarkowski, John,
158, 527,
Szilasi,
New
543;
work
by, 72
Talbot, Constance,
31, 52,
54;
Teske,
Edmund,
536,
(1800-1877),
32,
27-31,
Traveller's
travel
351,
112
(l')oisneau), 4S9
holography, 629-30
,544,
344
18-",
ivi
Down theAvetme
An Alcn
),
531-32;
2S-,
449
of the
162
Seattle
Her Halloween
(Mark),
),
588;
work
(Cunningham), 430,
431
Trolley,
New
Ubbas
583,
585;
prints, 172,
344, 558
Ulmann, Doris (1882-1934), 323,
Umbo
work
by, 326
(Otto Umbehrs)
work
by, 347
in
photographers
272-74, 369,
photography
about nature
Autochrome
in, 275;
in, 32;
(Homer),
in,
S2S
187, 190
in, 128,
137-40;
calotypes
daguerreotypes
in,
23-24,
2S-27, 32,
documen-
umentation of tribal
European refugees
Turbeville,
work
(1815-1894), 103;
J.
M. W.,
128,
346;
Turner,
535, _sr
in,
315
tography
),
.;(i()
prints, 602
502;
"Tinv" in
(Bourke-White), 369,
Type-C
155
Square, Beijing
(Burri), 4S2
Tien
Tremaux, Pierre, 99
Tress, Arthur (1940-
21S,
351
Tice,
28, 30, $6
112, 114-15,
116, 117-22
tripods, 43
615, 616
116; for
(Parada),
),
229,
337, 365;
photography, 96,
Trianpiles
Thorne-Thomsen, Ruth
1943- ), 579; work by,
digital, 631;
Frith
by, S90
Boat at Ibrini
116, 121
30
Thousand Centuries,
(Torso)
S7i
(Garnett), $23
by, 90
Ms
armchair travelers,
L()cherer), 162,
35mm
work
by,
585
Trees on
centurv), 84;
portrait of, sb
work
275;
Two
S2
99
b\',
/'.,
315,
510
291
20th century),
Nordlund Knudsen),
work
77, 83;
The
York,
York), 305,
by, 7/
texts:
),
by, S44
Szubert, Awit (active 1870s), 72;
work
Tenninal,
work
Teriade, 491
Teny
599
S79,
387
(New
112, 117
ff^,
Torjjhatten,
(Ikko),
Secession)
sSfi
72, 344;
(Stieglitz), 264,2(5(5
in
(Smyth), 109-10
Sutcliffe,
19-^
v^8;
594
Frank M. (1853-1941),
239, 299, 309; works by, 239, 312
),
by, SS7
by, 399
140
;,'y,
Suscipj, Lorenzo, 23
Sweden,
Tomoko
559
West, 131-32-
photomechanical pruning,
by, 103
220
cific
305-8
in,
venues); exploration
of West
genre themes
23s;
167-68,
171, 172,
263, 264-67,
Roche, 193
Tir a' Mhurain (Davidson and
Tuskegee
scape photography
440
Titzenthaler, Wakfemar Franz
Herman (1869-1937), 359; work
Tiphaigne dc
la
Strand),
b\',
L. A.
in,
Villajje,
519-20,
medical
413-22, 41S-26,
photography
424
611, 616
modernism
426-30,
in,
documentation
624-25, 626
3S9
542-43
Tomato Fantasy (Nettles),
Institute, 365
INDEX
693
g6, 97,
panoramic views
photographic commentary on
culture and society of, 520-25,
S2S-26,
journalism
in,
+63-64, 464,
474,
Huu
X'letor
Victoria,
in
324,327; instantaneous
Framavork of Tube
views, 167-68,
69-73,
6s, 69,
postwar
mod-
96, 98,
21,
panoramic,
309,
social
documentation and,
358,
535,
Utah
United
Series
No.
Hieroglyphic
10,
Parowan, Utah
Pass, Opposite
Technolojjtes (Maisel),
496
Hawes),
ViJTjinin (Engle),
Unmaslmig
(Meyer),
2rto,
in the Square,
546,
The
Untitled (Clark),
Soldiers)
(Fenton),
W2
(Day), 304,
Roman
.?06
France
(Sil\')'),
Shadow of Death
Hoyningen-Huene), 499,
500
3'2
Melzi (Talbot), 2
182
181,
Violon d'lnjjrcs
(Courtis), 177,
Amedee
Philippe:
work
500,
j'/fi,
577
Untitled (Cloud
(Ueismann),
Room)
rcdutc, 115
585, 5S6
Veiled Reds,
),
497
(Vogt),579
Daxidson), $12,535
Untitled Portrait
(unknown),
Upatnieks,
Versailles.
59
Juris, 630
Upper Deck (Sheelcr), 418,4/0
694
INDEX
35,
97
Neptune Basin
graphic
183,
184; in
463-64,
476-79, 476-82.
work
195
by, 418
112, 115
Waterfront (Scurlock),
273, 274
Water Lillies (de Meyer), 530
Water Palace at Udaipur, The
(Murrav),
Water Rats
123, 125
98, 132;
works
(Muybridge),
492;
133, 134
112;
work
by, 116
255,
b\', 49,?
Wendy
(1943-
):
w'ork
406
1
work
Watriss,
35-7
by, 390
(Coburn),
405.
320;
work
by, 322
romantiqiics
en I'ancienne France,
(Heinecken),
232
35
339;
585, 587
Verifaxing, 611
century
igi,
Watkins, Herbert,
Vernet, Horace,
Civil
work
315,
by, 316
103, 141,
32, 99,
196
of American
509
verisimilitude: art-photography
in,
(unknown)
5-9;
Le Voyeur/Robbe-Gtillet #/
274
),
by, 579
Voyages pittoresijues
(
Untitled (postcard)
1946-
406
Velox, 442
431,4?,?
507,
Vortoejraph No.
The Avedon
481;
187.
(Krone),
Vorticism,
(Umbo),
115
523
184,
War,
413;
112, 333,
44
597
math of
Hermann Wilhelm
work
(Ray),,?v4
611,
by, 620
Vojjiie,
work
330, 331,
modernism
619;
Vogt, Christian
by, 193
191
(1897-1990),
551
Vogel,
The
439
Wapplington, Nick,
Vitruxius, 192
exhibi-
tions,
qualitN' in,
works
Viva, 554
V-mail, 246
178, 325
and Smoke)
Roman
357, 357
Eugene Emmanuel,
portrait of, SS
12-';
372, 481;
215,
115
adventures and,
Room (Negre),
Vishniac,
217
(A_(jen)
100,
17, 19
Valley of the
nt Le Gras
Vieiv of the
Linen
105, 108
547
(Niepce),
Viollct-le-Duc,
383
261
Window
50, 53
Sitbjea, Roanoke,
419, 422
Walther, Jean,
of uplifting tone
443
Villa
533
VinrofAnjjoulcme, France
53S
305, 339
captured with,
life
Wanamaker Photographv
Vienna Secession,
465; street
in
of
55
Victoria Bridne,
267,
in,
35,
171, 172;
(Carjat), 67, 92
queen of England,
248;
work
c.
1866),
by, 249
Wedding
Dress. Alodeled by
Lee Worttmuf,
299
Helen
(de Meyer),
499
L., 132
Sky, Detroit
WeedAffainst
(Callahan), 518, _u
Wecgce (Arthur
33S
Hellig)
work
work
siy;
by, 4S9
views and, 97
Wiener Kamern Kb dj.
.f7,5
Weiner, Dan,
37-',
485
1st Schtm,
Bcatitifiil)
Is
(Renger-Patzseh), 411
Weltrtmdschan, 46"
Werge, John, 96
West (American): artists accompanying explorations of, 2;3-35;
ciocumentation of tribal life in,
137, 143, I4S, 172-78, 176, 177,
420-22,424,42^; 19th-century
scenic views of, 128, 131-3.S, 132,
tiS-iS,
441; works
Veil,
Paris
Rlumenfeld), 431,
261, 26J
J 04
WJmt's Hnppcnmcj
mth Aloinma?
(Shgh), 570,573
248;
work
by, 27
Whistler, James
Abbott McNeill,
projects,
new photographic
tunities for
women,
320-21;
mtnement, 320;
postmodern approaches used
by, 577; in
Williams, H.
I.,
551.
sv2
postwar Europe,
women
woodblock
259;
work
graph
and H.
Window
Display, Bethlehem,
Window
in the
Rain (Sudek),
548,
527, 566;
work
by, 527
s63
),
588;
by, 590
Wolcott, Alexander
S.,
196,
47; camera
198
(Thomson),
125, 126
Wu
Yinbo, 560
Wvant, Alexander, 323
Xu Yong,
562;
work
(photojjhptie), 34,
es, 67,
357; techni-
197-98
17
531
Yellowstone Scenic
Jackson),
Wonders
135
(Negre),
220,
220-21, 242
Mirror Reflection
(Hawarden), 230
Young Singers (Echagiie), 319
Yoiinri Girl with
Zavattini, Cesare,
early color
Zeiss, Carl,
Woman
342-44, 353-54
Workmen
Seated
Companion (Muvbridge),
250, 2S2-S3
Woman
Woman
Beato
[attrib.]), 2S4
Villeneuve), 217
women:
tries,
in
photographic indus-
447;
Pictorialists' depic-
Catacombs
uS
373,
447
Zelma, Georg\', 470
Zhang Shuicheng, 560
374
The Renger-
Is Beautiful,
Patzsch), 490-91
World War
I, 331,
photoreportage
World War
II,
560;
work
by,
SS9
Zille,
work
371, 378
World
378
(WPA),
Woman
"Work
Zeiss-Ikon
440
447
in the Paris
(Nadar), 248,
36s,
in
0/
361, 362
Yavno, Max,
Woman
by,
155,
by, s6o
Woodburytv'pes
work
372-74
von, 195
Wii-Shan Goirjc, Szcchiian
529
73, 172,
519,
565,
X-rays, 249
of, soo
mentation and,
Winningham, Geoffrey,
347, ^47
xerograph\', 61
by, 113
of a (jiban
workers: documentation
Pomty
photojjraphers
women
496
Wretched
Pictorialist
Willeme, Francois, 65
\['dtiat Pear (Brihat), 592,
of, 477,
Underwood),
Japan,
l")eal
ph<nojournalists, 320; in
501,507
559
366, 369;
in
<;67;
New
photoreportage
life
517-18;
4-'8, 4'X.
338-39
(J. F.
Dater
work
434
501,
panoramic
S7</;
process
Wet
daily
4S0
photographers:
559-60; in
women
Other 'isions
and Welpott I, 5(16
c/
b\',
Women and
by,
2b<,
zincography, 453
zoetrope, 253
Zola, Emile (1840-1902), 260-61;
portrait of, 89;
work
by, 260
Zoopraxiscope,
of,
246,
465
375, 515,
work
253,
25.;
by, 413
INDEX
695
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ISBN 0-7892-0329-4
U.S. $40.00
54000
9
780789"203298
IRD EDITION
'//'
Rosenblum