7574386

              Index
Abbott, Berenice, 254-57
Abstract Expressionism, 422, 477
abstract photography, 273, 276, 292,
542
abstract painting and, 288-89, 29°
contextual references denied in,
466—69
Adam and Eve (Eugene), 219
Adams, Ansel, 22, 223, 352, 368,
377-80, 420, 442, 489
on importance of equipment and
technique, 378-79
on previsualization of image, 379—
380
straight photography advocated
by< 3 7 7 . 378
Adams, John Quincy, 204, 206
Addams, Jane, 243, 469
"Aesthetic in Camera" (Hess), 422
"Afield with the Wet Plate"
(Blanchard), 207-9
Agassiz, Louis, 171, 178, 204
Agee, James, 358, 359, 360, 509
Agha, Mehemed Fehmy, 370-76
Alexander, John White, 2 36
"Alfred Stieglitz: An American Seer"
(Norman), 271-72
Allan, Sidney (Sadakichi Hartmann),
232-37
allegorical photography, 141, 144-
145, 146-47, 180, 182, 183-84,
187, 230
abstract quality central to, 220
as directorial mode, 487-88, 489
facial expressions in, 132, 220
figure and accessories merged in,
132, 219-20
ambrotypes, 148, 202
Amemya, Yosei, 337
"America, Seen Through
Photographs, Darkly" (Sontag),
506-20
America and Lewis Hine
(Trachtenberg), 238-53
American Photographs (Evans), 359
Americans, The (Frank), 400-401, 496
547
548 INDEX
Animal Locomotion (Muybridge), 188
"Annals of My Glass House"
(Cameron), 180-87
Annan, J. Craig, 215-16, 227, 372
Anthony, Edward, 72-73
Antonioni, Michelangelo, 501
Aperture, 394, 467
"Apology for Art-Photography, An"
(Rejlander), 141-47
Arago, Fran,cois, 63, 69, 97
Daguerre's patent and, 31-35, 58-
60
Arbus, Diane, 367, 413, 506, 510-20
anti-humanist message conveyed
by,510-11
as auteur, 519-20
frontality and direct eye-contact in
portraits by, 513-14
gentility reacted against by, 517—
519
oddity sought by, 511-12
pain sought rather than felt by,
5H
private vs. public pathology
photographed by, 516-17, 518-
519
subjects as unconscious of
suffering, 512-13
suicide of, 514-15
Archer, Scott, 80
architecture, 330, 348
ornament in, photographs as
records of, 64, 91, 96, 98
progressive photographs of
construction and, 83-84
Arendt, Hannah, 319
Arp, Jean, 477
art:
aesthetics of finding in, 476-78
authenticity of, 322-24, 326-27
beauty in, 262, 263
criticism vs. public's enjoyment of,
330-31
culture or society vs. individual in,
448-49
cult vs. exhibition value of; 327-29
as domain of imagination and
dreams, 123, 125-26
embedded in tradition, 325-27
evocation of brotherhood and love
as goal of, 471-72
exact reproduction of Nature as
goal of, 123-24, 188-89, 190,
191—96, 462
experience transformed in, 262-
264,265-66
ideality in, 468
industry vs., 461-62
modernist, closure effected
around, 467-69
photography as, see photography as
fine art
as product of genius, 463-64, 472-
473, 500
progress in, 51-52
"pure," 326, 334
real world vs. artist himself as
subject of, 265
ritual vs. politics as function of,
326-27
suppression of queasiness as goal
in, 515-16
verbal vs. visual responses to, 449"
450
see also painting; sculpture
art, mechanical reproduction of,
321-34, 381-83, 461
F a s c i s m a n d , 3 2 7 3 3 2 - 3 4
impact lessened by, 382-83
manual reproduction vs., 322-23
as means of study, 389-90, 392-93
origin of, 321
reaction of masses changed by,
330-31
ritual function destroyed by, 326-
327
surface details in, 392-93
unique existence in time and space
lost by, 322-24, 325
see also halftone printing;
photoengraving
Art and Technics (Mumford), 381—83
INDEX 549
"Art Motive in Photography, The"
(Strand), 276-87
art-photography, see allegorical
photography; combination
printing; pictorialism
Associated Press Wirephoto network,
301
Atget, Eugène, 239, 254-57, 329,
366, 374, 405, 540, 544
portrait photographs by, 256
reflections in shop windows
photographed by, 255
transcendence in photographs by,
362-63
Auld, 228
aura:
of art works, 322-24, 325-26
contemporary decay of, 324-25
defined, 325
Aurelia (Nerval), 131
Auriol, Vincent, 528
Autumn (Robinson), 160, 162
Avedon, Richard, 474, 478-79, 501
Badger, Garry, 499-500
Balzac, Honoré de, 20, 127-28
Barnum, P. T., 72, 203-4
Barrett, Arthur, 297
Barthes, Roland, 452, 521-33
on denotative vs. connotative
functions of photography, 455,
523-33
on "polysémie" character of
photographic image, 457, 523
Bartholomé, Paul-Albert, 235-36
Baudelaire, Charles Pierre, 464, 465,
475
Evans influenced by, 358, 360-61,
369
photography disputed as fine art
by,21, 123-26
synthesia and, 467
Bauhaus, 339, 425, 482
Beato, Felice A., 163
Beaton, Cecil, 372
Becquerel, Edmund, 57-58
Bede, Cuthbert (Edward Bradley),
79-87
Beethoven, Ludwig van, 233-34, 437
Bell, Clive, 466, 469
Bellocq, E. J., 540
Benjamin, Walter, 319-34, 461, 521
Bennett, James Gordon, 202
Berres, Joseph, 65
Berry, Miles, 60-61
Besnard, Paul Albert, 235, 236
Bierstadt, Albert, 172, 173, 174, 176
'Bijou' of Montmartre (Brassai), 519
Bischof, Werner, 300
Blanchard, Valentine, 207-9
Blind Woman (Strand), 288, 367
Bloch, Ernest, 272, 466
Blow-Up (film), 501
Bolas, Thomas, 297
Boucicault, Dion, 74-75
Bourdin, Guy, 501, 504
Bourke-White, Margaret, 434
Bradley, Edward (Cuthbert Bede),
79-87
Brady, Mathew B., 199-206, 366
Civil War photographs by, 199,
200, 204-6, 238-39, 249, 538,
539
Crystal Palace Exhibition and, 71,
72-73, 202
daguerreotype portraits by, 71,
72-73, 199, 200-204, 205-6
Brandt, Bill, 401, 506
Brassai (Gyula Halâsz), 404-15,
417-19, 431, 484, 506, 513, 519
artifice in lives of subjects of, 408-
409, 414
background of, 405, 409, 414-15
café pictures by, 406, 407-11
camera and lights available to, 408,
414-15
dialectical approach to figures and
setting of, 409-10, 411,415
fascinated by light patterns, 406
graphic sensibility of, 406, 407,
411-12
high-angle shots by, 406-7
550 INDEX
Brassai (Gyula Halâsz) continued
mirrors in photographs by, 409-10
posing in photographs by, 408-9
sentimentality in later work of,
411-12
Bravo, Manuel Alvarez, 484
Brenda (Robinson), 182-83
Breton, André, 477
Bridge, The (Crane), 359
Brigman, Anne, 489
bromine chloride, sensitivity of
iodine film and, 58, 80
Browder, Earl, 526
Brown, Mrs. Albert, 297
Brown, Eliphalet, Jr., 72, 73-74
Brown, Frederick, 137
Brown, Milton, 288-90
Browning, Tod, 514
Bruehl, Anton, 374
Bruguière, Francis, 425
Bruner, 531
Bunuel, Luis, 511
Caffin, Charles FL, 218-22
Cage, John, 477
Callahan, Harry, 420-21
Calmette, André, 256
calotypes, see Talbotypes
Camera and the Pencil, The (Root),
148-51
Camera Craft, purist-pictorialist
schism in, 489
camerae obscurae:
as aid in painting and engraving,
26, 28, 32, 46
exposure time and image size of,
45-46
faint images of, 37-38, 54
process for, perfected by Niépce
and Daguerre, 27-30, 31-35
sculptures copied by, 46-47
Talbot's experiments with, 36, 45-
47
Wedgwood's experiments with,
37-38- 54
Camera Notes, 481
cameras, 297
Bergheil Voigtlander, 408
"candid," 384
"detective," 214, 215
Ermanox, 298
hand, introduction of, 214-17
Leica, 384
with lens on side, 276, 289-90
as metamorphosing machine, 396,
442-43
previsualization and view finders
255~56» 3°3
selection of, 215-16
Speed Graphic, 414, 415, 416
as toys, 214-15
Camera Work, 276, 288, 468, 481,
482, 508, 541-42
as framing device, 458-59, 462,
463-66, 469
photographs displayed as precious
objects in, 458-59
as source for photographic
tradition, 278, 282, 286, 287
Cameron, Julia Margaret, 133, 180-
187
allegorical photographs of, 132,
180, 183-84, 187, 488
portraits by, 132, 180, 186, 187,
488, 512
candid photography, 220-21, 276,
288, 289-90
hand cameras and, 214, 276, 289-
290, 298-99
Capa, Robert, 300
captions, see texts and captions
Car Horses (Stieglitz), 465
Carlyle, Thomas, 186
Carroll, Lewis (Charles Dodgson),
115-18, 119-22
carte-de-visites, 129
as mass communication, 138, 460-
461
multiple-lens cameras for, 130
Cartier-Bresson, Henri, 300, 384-86,
439. 476. 484. 492. 528
INDEX 551
cropping of negatives avoided by,
384, 386
flux of life captured by, 384-86,
443
Carvalho, Solomon N., 72, 75
Cassatt, Mary, 424
Casseres, Benjamin de, 463-64,
466
Cazotte, Jacques, 124
Cézanne, Paul, 375, 424
Champfleury, Jules, 133
Champs Délicieux, Les (Ray), 269
characteristic curves, 197
Charities and the Commons, 243, 245,
469-70
Charles Sheeler: Artist in the American
Tradition (Rourke), 273-75
Chelsea Girls (film), 518
Cheselden, William, 104-5
Chevreul, Michel-Eugène, 133-34
China:
photographers in, 20, 163-65
superstitions in, 163-64
Chittendon, L. E., 77-78
Christabel (Cameron), 187
Christo, 543
Church, Frederick Edwin, 172, 173,
174, 178
cinema, see film
Cinéma ou l'homme imaginaire, Le
(Morin), 527
Civil War, U.S., 538-39
photographs of, 199, 200, 204-6,
238-39, 249, 538, 539
Claude Lorrain, conventions of
landscape photography derived
from, 173-74
Claudet, Antoine Francois Jean, 58,
80, 89, 93
Clemens, Samuel (Mark Twain), 205
Coburn, Alvin Langdon, 20, 223,
372. 425
Cochrane, Archibald, 229
Cohen-Séat, G., 531
Cole, Thomas, 173
Coleman, A. D., 480-91
collages, aesthetics of finding in,
476-78
Collen, Henry, 62
Collier, John, 353
color photography, 229-30, 262
combination printing, 141, 142-45,
442, 444-48
different planes in focus in, 142,
156
as directorial mode, 487-88
double exposure vs. "negative
sandwich" in, 444
as fine art, 1 4 1 , 1 4 3 - 4 4 , ! 4 5 > l 5 5 ~
156, 190
of group portraits, 142-43, 160
"impurity" of method in, 155
landscape added to portraits by,
159-60, 161
negatives reused in, 448
of panoramic views, 158
photomontage vs., 425, 426, 442
reality of medium vs. unreal
effects in, 141, 161-62
registration of negatives in, 160-61
sky added to landscape by, 141,
156-58, 162
time and space relationships in,
445- 450
Communism, 334
continuing rays, 57
contrast, lessening of, in nature, 193
Cooper, James Fenimore, 203
Cooper, Thomas, 432-41
Cosmos (Humboldt), 174
Country Doctor, The (Smith), 437, 438
Crane, Hart, 359, 361
Crane, Stephen, 538-39
Crimean War, photographs of, 199
Crissman, J., 169, 170
Critic, The (Weegee), 417
Croce, Benedetto, 468-69
Crystal Palace Exposition (1851), 71,
72-73, 74, 142, 202
Cubism, 276, 375, 409-10, 477, 482
Cumming, Robert, 491
Cummings, E. E., 365, 368
552 INDEX
Dada, 267, 268, 373, 425
Daguerre, Louis Jacques Mandé, 88,
124, 201, 462
contract with Niépce signed by,
25, 27-30, 33-34, 55
French purchase of process
invented by, 31-35, 58-61, 68-
69
images made permanent by, 25,
31» 32' 33-34» 36. 54- 55
sensitivity of plates increased by,
56-57
daguerreotypes, 49, 54-61, 142, 152,
173, 201-2, 293
accuracy of detail in, 22, 56, 67,
454-55
"American process" for, 71
aura of suspended time in, 537
enamelling of, 201
exposure time for, 56-58, 77, 78,
79-80
fear of, 127-28
fetishism and spiritualism of, 459-
460
invention of, see Daguerre, Louis
Jacques Mandé; Niépce,
Nicéphore
patents for, 31-35, 58-61, 68-69
in photoengraving, 65-66
popularity of, 36, 70-76
posing for, 77-78, 79-81
as reflection of U.S. spiritual
concerns, 71, 74-76
Talbotypes vs., 67-68, 70
technological vs. agrarian society
in U.S. and, 71
as unique images, 68, 70, 459,
537
U.S. cultural nationalism and, 71-
74
Daily Mirror (London), 296-97
Dallmeyer, Thomas Ross, 228
Darwin, Charles, 132, 178, 180
Darwinism, 177-78
Daudet, Alphonse, 133
Daumier, Honoré, 139, 364
Davy, Humphry, 37-38, 43»., 47,
53
Day, F. Holland, 219, 220, 227, 489
Daybooks of Edward Weston (Weston),
303-14
"Death of Naturalistic Photography,
The" (Emerson), 197-98
Decisive Moment, The (Cartier-
Bresson), 384-86
Delacroix, Ferdinand Victor Eugène,
135-36
Delamotte, Philip, 83
Delano, Jack, 352
Delaroche, Paul, 20, 63
Delius, Frederick, 437
Democritus of Abdera, 100, 101
Depression, Great, photographs of,
349-54» 355-57. 358> 492, 493»
539
depth of field, facial features
manipulated by, 134
depth perception:
learning in, 104-5
with one vs. two eyes, 105-6
see also stereographs; stereoscopes
Devon, Stanley, 300
Diamond, Paul, 491
Diorama, 34
"Directorial Mode, The" (Coleman),
480-91
Dirty Monk (Cameron), 187
Disdéri, André-Adolphe-Eugène,
129, 130, 138
documentary photography, 96-97,
238-53. 254. 261, 349-54. 364-
365, 400-401, 432-41, 469-73,
521-33
aestheticism in, 526, 528
art photography as polar opposite
of, 472
awareness of world heightened by,
242-43
on battlefield, 86-87, 199, 200,
204-6, 238-39, 249, 432, 435—
436, 514-15, 538-39
candid, see candid photography
INDEX 553
connotative functions of objects in,
526, 527, 532
culture and knowledge in cognitive
connotations in, 530-32
in Depression, 349-54, 355-57,
358, 492,493, 539
directorial activity in, 485, 486
educational value of, 353
empirical vs. spiritual rhetoric in,
470-71
ideological or ethical connotations
in, 532
of immigrants, 238, 239, 243-45
inherent realism in, 247, 252
as journalism, 353
of labor conditions, 238, 239, 240-
242, 244, 247-52
language as perceptive connotation
in, 531
of living conditions among poor,
238, 241
moral conscience vs. moral
intelligence in, 241
for newspapers, see newspaper
photography
overstatement in, 352
photogenia and connotation in,
526, 527-28
photojournalism vs., 434
picture story vs. photo essay
format in, 438
posing and connotation in, 526-
527. 532
social results vs. aesthetic
experience in, 239-40
as sociology, 352-53
story communicated by, 252,
« 3 5 1 "survey" format in, 246-47
syntax and connotation in, 526,
528-29
texts and captions as
accompaniments of, see texts and
captions
as theistic mode, 483-84
traumatic, 532-33
trick effects in, 526, 532
of urban nightlife, 402-3, 404-19
dodging, 378
Dodgson, Charles (Lewis Carroll),
115-18, 119-22
Donné, Alfred, 65
Doremus, Robert Ogden, 201
double exposures, 444
Draper, John W., 72, 74, 201
Dreiser, Theodore, 361
Driffield, Vero Charles, 197, 198
Duchatel, Charles-Marie-Tanneguy,
60
Dumas, Alexandre, 124, 133
Durand, Asher Brown, 175
Dynamic Symmetry (Weston), 485
Eastlake, Lady Elizabeth, 21, 88-99
Eastman, George, 214, 285
Eckhart, Meister Johannes, 177, 398
Edinburgh Review, The (January
1843), 49-69
Eisler, Fanny, 203-04
Elementary Education Act (Britain;
1870), 296
Eliot, George, 471
Eliot, T. S., 365, 368
Elliott, Charles, 203
Emerson, Peter Henry, 22, 190-96,
297-98, 487«.
Emerson, Ralph Waldo, 74, 75, 171,
175. 177' 17®» 5°°
Emmerich, 227-28
engravings, 321
photographs of, 84-85
shadow-pictures of, 47-48
after works of art, 392-93
see also photoengraving
Epicurus, 100
Equivalents (Stieglitz), 271-72, 395,
396, 423, 466
"Era of Exploration: The Rise of
Landscape Photography in the
American West, 1860-1885,"
172
5 54 INDEX
Ernst, Max, 425, 477
Ethical Culture School (New York),
241-42, 245
Eugene, Frank, 219
Evans, Frederick H., 223, 224
Evans, Walker, 239, 349, 350, 352,
358-69, 400, 401, 500, 508, 519,
539
abstract qualities and composition
in photography of, 362, 509
on editing and printing, 363-64
impersonal affirmation of
humanity in photography of,
508, 509
on importance of technique in
photography, 367-68
influenced by French literature,
358, 360-61
on photography as document vs.
art, 364-65
on status of art in America, 365—
366
on straight vs. manipulated
photography, 363-64
subway photographs of, 508, 513«.
on transcendence in photography,
362-63, 365
exciting rays, 57
exposure, photographic:
brightness of sky and, 88-89
chloride of iodine or bromine and,
58, 80
duration of, for daguerreotypes,
56—58, 77, 78, 79-80
electrifying plates and, 56-57
of foreground vs. background, 95-
96
gradations from pure white to pure
black and, 192
of highlights, 192-93
image size and, in camerae
obscurae, 45-46
long, passage of time visualized
by. 541
moving subjects and, 133-34, 2 '6
negative density and, 197
rapid, instinct vs. intellection and,
408, 414-15
for shadow detail, 193
of sky vs. land or sea, 94, 141,
156-57
solar spectrum and, 57-58, 89-90
under vs. over, 216
"zone system" for, 377
Fading Away (Robinson), 488
"Family of Man," 501-11
Farm Security Administration
(FSA), Historical Section of,
349-54. 358. 539
F a s c i s m , 3 2 7 3 3 2 - 3 4
fashion photography, 267, 269
sex and sadism in, 501, 502, 504-5
Faulkner, William, 451
Fellig, Arthur, see Weegee
Fenton, Roger, 83, 199
Fifth Avenue, Winter (Stieglitz), 216-
217
film (movies), 329, 343, 348, 544
as imitation of life, 536
as logical outgrowth of
photography, 321-22
mass audience response to, 330-31
mechanical reproduction and
distribution in, 362».—27«.
newsreels, 297, 300-301
perception heightened by, 3 31 - 3 2
traditional value of cultural
heritage liquidated by, 324
films, evanescent, emitted from all
surfaces, 100-101
Finette, 137
Fiske,John, 178
Fitzgerald, F. Scott, 361
fixing:
asphaltum in essential oil of
lavender used for, 55
Daguerre's experiments with, 25,
3 1 . 32. 33-34. 36' 54. 55
Niépce's experiments with, 25, 27,
3 1 . 33-34. 55
INDEX 555
Talbot's experiments with, 38, 39-
42, 54
Wedgwood's and Davy's
experiments with, 37-38, 53, 54
Fizeau, Hippolyte Louis, 80
Flaubert, Gustave, 358, 360, 361
focus:
of different planes, in combination
printing, 142, 156
viewer's eye directed by, 190,
194-95, 228
focus, sharp, 318, 374
indifferent planes, 193-94, 228
flój. and, 303
as intrinsically photographic
phenomenon, 304, 482
see also straight photography
focus, soft, 228-29, 24°> 293_94'
303, 304, 489
artistic beauty as goal of, 92, 180,
182, 227, 364
human vision approximated by,
190,191, 193-96
as intrinsically photographic
phenomenon, 446
lenses designed for, 180, 228, 280-
281, 293-94
line and texture destroyed by,
280-81, 304
see also pictorialism
Fouque, V., 25-30
Fourier, Fran,cois Marie Charles, 461
Frank, Robert, 23, 367, 492, 496,
519, 520,539
conventional symbols of 1950s
and, 492, 493
documentary style of, 400-401,
484
Freaks (film), 514
Freud, Sigmund, 331, 373, 398
Friedlander, Lee, 367, 419, 490, 506
"From Pigment to Light" (Moholy-
NagyX 339—48
Fry, Roger, 469
FSA, see Farm Security
Administration
"FSA Collection of Photographs,
The" (Stryker), 349-54
f!6i, 303, 489
Fuller, Buckminster, 486
Futurism, 333-34
Gallatin, Albert, 203
Gance, Abel, 324
Gardner, Alexander, 485, 539
Garibaldi Wounded, Supported by Hope,
Pointing to Rome (Rejlander),
146-47
Gauguin, Paul, 123
Gautier, Théophile, 461, 462
Gay-Lussac, Louis-Joseph, 59-60,
69
gelatin dry plates, 207, 214
genre photographs, see allegorical
photographs
Gerbner, 530
Gernsheim, Helmut, 138
Gibson, Ralph, 491
Gifford, Sanford Robinson, 174
Goddard, 80
Going to Cburcb (Stieglitz), 221
Goldberg, Vicki, 501-5
Goncourt, Edmond de, 461-62
Goncourt, Jules de, 461-62
Gorky, Arshile, 427
Gossips, The (Stieglitz), 221
Goya, Francisco de, 364
Grant, Ulysses S., 204-5, 206
Graves, Frederick, 228
Greco, El, 275
Greeley, Horace, 71
Greenough, Horatio, 71
Green River, Colorado (O'Sullivan),
176
Grimme, Hubert, 328«.
Grossman, Sid, 484
Grosz, George, 425
Grotz, Paul, 361
Groupe Printed from Three Negatives
(Rejlander), 142
Guggenheim, William, 469
556 INDEX
gum prints, 20-21, 279, 280
see also pictorialism
Gutman, Judith, 471
Halâsz, Gyula, see Brassai
halftone printing, 295, 296
origin of, 388-89
as symbolic communication
without syntax, 389
see also art, mechanical
reproduction of; photoengraving
Hall, Norman, 300
"Hand Camera—Its Present
Importance, The" (Stieglitz),
214-17
Hand of Man (Stieglitz), 465
Hardy, Bert, 300
Harrison, Gabriel, 73
Hartland, Hartford, 297
Hartmann, Sadakichi (Sidney Allan),
232-37
"Has Photography Gone Too Far?"
(Thurber), 335-38
Hawes, Josiah Johnson, 132
Hawthorne, Nathaniel, 74
Hayden, Ferdinand Vandeveer,
survey led by, 166, 168-70
Heade, Martin Johnson, 172, 174
Heartfield, John, 425
Heart of the Andes (Church), 172
Heath, Dave, 484
Hefner, Hugh, 458
Hegel, Georg Wilhelm Friedrich,
ì27n-> 533
heliography, as "sun drawing," 25,
26, 454
Helmholtz, Hermann von, 190
Hemingway, Ernest, 361
Herschel, John, 132, 186-87
Herskovits, Melville, 454
Hess, Thomas, 422
Heyman, Therese Thau, 172
"Hiawatha's Photographing"
(Carroll), 119-22
Hill, David Octavius, 20, 139, 284-
285, 286, 315
Hill, Paul, 432-41
Hine, Lewis, 238-53, 508, 509, 519
artist viewed as witness by, 251-
2 5 2 , 472
Ellis Island photographed by, 239,
243-45,246-47
figures set in social space by, 245,
246-47
frontality in portraits by, 244-45,
470
labor as concern of, 238, 239, 240-
242, 244-52
montage posters by, 250-51
on National Child Labor
Committee, 245, 247-52, 469,
470
photography democratized by,
252-53
Pittsburgh Survey and, 239, 245-
247
as realist mystic, 470-72
reform vs. revolution as goal of,
245,469,470
social results vs. technical
perfection as goal of, 239-40
as sociologist, 469-70
as teacher, 241-43
see also Immigrants Going Down
Gangplank, New York (Hine)
Hine, T. J., 170
Hirsch, Stefan, 359
"Historical Letter, An" (Chittendon),
77-78
History of Photography, The (Newhall),
23, 489».-90».
Hitchcock, Edward, 75
Hobsbawm, E. H., 136, 137
Hofmann, Hans, 477-78
Holbein, Hans, 262
Holmes, Oliver Wendell, 100-114,
188, 319
Home of a Rebel Sharpshooter (Gardner),
485
Hopkinson, Tom, 295—302
Horgan, Stephen H., 296
Horsley-Hinton, Alfred, 228
INDEX 557
Hosoe, Eikoh, 490-91
House, Ned, 205
Howells, William Dean, 361
How the Other Half Lives (Riis), 243
"How The Steerage Happened"
(Stieglitz), 464-66
Hugo, Victor Marie, 252
Human Figure in Motion (Muybridge),
188
Humboldt, Alexander von, 174
Hunt, Robert, 89
Hurter, Ferdinand, 197, 198
Ibbetson, Boscawen, 66
Idea of God as Affected by Modern
Knowledge (Fiske), 178
Illuminations (Benjamin), 319
Illustrated Daily News, The, 296
Illustrated Hue and Cry, 81-82
Illustrations of China and Its People
(Thomson), 163-65
Immigrants Going Down Gangplank,
New York (Hine), 455-58
as embedded in political argument,
470
neutral reading of, 455-57
Impressionism, 127, 138, 225,409-
4!0, 475
Indians, American, photography
feared by, 167
"In Our Image" (Morris), 534-45
iodine chloride, sensitivity of iodine
film and, 58, 80
Ionesco, Irina, 491
Irving, Washington, 203
"Is Photography Among the Fine
Arts?" (Pennell), 210-13
Ives, Frederick Eugene, 389
Ivins, William M., Jr., 20, 387-93,
476, 483- 521
Jachna, Joseph, 490
Jackson, William Henry, 166-67,
168-70, 172-73, 174, 175
Jacquemart, Jules Ferdinand, 390
James, Henry, 429
Jarché, James, 297
Jewell, Edward Alden, 336, 337-38
Johnson, J. R., 160
Johnson, Samuel, no
Jomard, Edmé Fran,cois, 66
Josephson, Ken, 490
Joyce, James, 368
Kael, Pauline, 540
Käsebier, Gertrude, 489
Katz, Leslie, 358-69
Kean, Charles, 96-97
Kee-Koo-Too-Yem (Water Asleep) Mirror
Lake, Valley of the Yosemite
(Muybridge), 174
Keiley, Joseph A., 220
Kellogg, Florence, 241
Kellogg, Paul, 245
Kennedy, John F., 526-27
Kensett, John Frederick, 174
Kertész, André, 404, 405, 406, 484
King, Clarence, 177
Kirstein, Lincoln, 359
Kirstel, Richard, 490-91
Klee, Paul, 448
Kodak, 214
Kozloff, Max, 129-40
Krims, Les, 486, 490
Kuhn, Heinrich, 280, 372
landscape painting, 172-75
conventions and clichés in, 173—
174, 176
sublime in, 172, 174
synthetic nature of, 172, 174
waning of, 172-73
"Landscape Permuted: From
Painting to Photography"
(Novak), 171-79
landscape photography, 171-79
added to portraits, 159-60, 161
anonymity in, 173
artistic vs. scientific truth in, 192-
196
chiaroscuro of leaves in, 94-95
conventions and clichés in, 173-76
558 INDEX
landscape photography continued
exploration of West and, 166-67,
168-70, 171, 176-77, 460
God and nature in, 177-78
gradations of distance in, 95-96,
193-96, 228
instant of time recorded in, 64-65,
66, 172, 174, 176
landscape vs. sky in, 94, 141, 156—
»57
panoramic views in, 158, 195
pictorial luminism in, 173
seascapes vs., 94
silence and solitude in, 174-75,
x77
sky or clouds added to, 141, 156—
158, 162
spiritual insight sought in, 75, 172,
174» !75> 177-79
tonal range in, 192-93
U.S. nationalism and, 72
Lane, Fitz Hugh, 172, 174
Lange, Dorothea, 349, 350, 355-57,
439.539
Lartigue, Jacques-Henri, 513
Las Cases, Emmanuel de, 66
Laughlin, Clarence John, 490
Lawrence, Thomas, 195
Leaves of Grass (Whitman), 506-7
Levitt, Helen, 379
Lee, Robert E., 204-5, 2°6
Lee, Russell, 349, 351, 539
Leipziger Illustrierte, 296
Lemaître, 27, 28
Lenbach, Franz von, 235-36
lenses:
anastigmatic, 225
Dallmeyer-Bergheim, 228
exposure time and focal length of,
80
vs. eye, as viewing instrument,
274~75
fast, 298
magnification and focal length of,
56».
on side of camera, 276, 289-90
soft-focus, 180, 228, 280-81, 293-
2 94
stereographs and standard focal
length for, 113
telephoto, 226
wide-angle, 225, 492, 493
Leonardo da Vinci, 318, 330-32
Lerebours, Noël-Marie-Poymal, 66
Leroy, Jean, 254
Lesy, Michael, 541-42
Let Us Now Praise Famous Men (Agee
and Evans), 358, 509
Levy, Louis Edward, 389
Lewis, Furley, 224, 227
Life, 299, 352, 353, 402, 432, 434-
435. 438
Life in Photography, A (Steichen),
291-92
"Light Sensitive Mirage, The"
(White), 394-97
light sources:
artificial, Nadar's use of, 140
depth rendered by, 194
flash bulbs as, 350, 402, 414
"flashlights" as, 298, 408
mirrors for, 80, 134
see also sunlight
Lincoln, Abraham, 199, 204, 537
Lincoln, Mary Todd, 204
Lind, Jenny, 203-4
lithography, 321
Look, 299, 353
Lucretius, 100-101
Lumière, Auguste, 230
Lumière, Louis Jean, 230
Lyell, Charles, 177
Lynd, Bob, 352
Lyte, Maxwell, 142
McCormick, Dick, 205
Mademoiselle de Maupin (Gautier), 461
Madonna Aspettante, La (Cameron),
182
Madonna of the Cbair (Raphael), 242
Madonna of the Tenements (Hine), 470,
471
INDEX 559
Maeterlinck, Maurice, 234, 235
magazines, illustrated, 299-300, 329,
350, 437
surfeit of pictures in, 351-52
texts and captions in, see texts and
captions
wide influence of, 438
see also documentary photography;
newspaper photography; specific
magazines
Magnum, 439
Magritte, René, 476
Mailer, Norman, 494-95
Maldonado, Adal, 490-91
Mallarmé, Stéphane, 326
Malraux, André, 401
Mandel, Mike, 491
Manet, Edouard, 135, 137, 475
"Man in the Crowd, The"
(Rubinfien), 492-98
Mannahatta (film), 273
Manny, Frank, 242, 243, 247
Marey, Etienne Jules, 134
Marinetti, Filippo Tommaso, 333-34
Market, Luzzara, The (Strand), 289
Marx, Karl, 320
Match, 299
Matisse, Henri, 424, 475
Mauriac, Fran,cois, 527
Mayall, John Jabez Edwin, 74, 138,
187
Meatyard, Ralph Eugene, 490
"Mechanism and Expression" (Roh),
425
Meisenbach, Georg, 296
Meissonier, Jean Louis Ernest, 390
Men at Work (Hine), 238, 240
Mencken, Henry Louis, 361
Mental Institution, New Jersey, 1924
(Hine), 519
Menzel, Adolph Friedrich Erdmann
von, 390
Messer, William, 484
meteorology, photography used in,
67, 86
Meyerowitz, Joel, 419
Michals, Duane, 490
Michelangelo, 391
microscopes, photographs made
through, 43-45, 54, 86
"Midwife" (Smith), 437-38
Migrant Mother (Lange), 355-56
"Migrant Mother: 1936" (Taylor),
355-57
Millet, Jean Fran,cois, 221, 472
Mill on the Elbe (Emmerich), 227-28
Mills, F. W., 297
Minamata (Japan), photographs of
mercury-poisoning victims at,
436, 438, 440-41
Miro, Joan, 477
Mirror Image: The Influence of the
Daguerreotype on American Society
(Rudisill), 70-76, 454-55
Misonne, Léonard, 372
"Modern Spirit—American Painting
1908-1935 at the Hay ward
Gallery, London, The"
(Badger), 499-500
Modotti, Tina, 306-7
Moholy-Nagy, Lâszlô, 22, 267, 339—
348, 374, 375'425
Molinier, Pierre, 490
Monet, Claude, 176, 409
Moran, Thomas, 166, 169, 172-73,
176
Morandi, Giorgio, 519
Morgan, J. P., 476
Morin, Edgar, 527
Morris, Wright, 534-45
Morrissey, Paul, 518
Morse, Samuel F. B., 19, 199,201,
204, 454-55
Mortensen, William, 489
Mountain Nymph, Sweet Liberty
(Cameron), 187
movies, see film
Mr. and Mrs. Christopher Ward
(Newton), 504
Müller, Johannes Peter, 104-5
Mumford, Lewis, 381-83
Munkacsi, Martin, 433
560 INDEX
Muybridge, Eadweard:
as landscape photographer, 173,
174, 188
physical action studied by, 134,
188-89, 221-22
Mydans, Carl, 350, 434
"My Life as a Photographer"
(Nadar), 127-28, 140
Nadar (Gaspar Félix Tournachon),
127-28,129-40
abstract backgrounds used by,
133' Gì
aerial photographs by, 129, 139,
140
as caricaturist, 130, 139
depth of field in portraits by, 134
intimacy and spontaneity in
portraits by, 133-34, 135
lighting techniques of, 129, 134,
140
ordinary commercial portraits by,
137-38
Paris sewers photographed by,
129, 140
republic of mind of, 136-37
Naef, Weston, 172
Naked City (Weegee), 414, 418
Napoleon III (Louis Napoleon), 136,
138, 139
National Daguerreotype Miniature
Gallery, 72-73
National Press Photographers'
Association, 300
Naturalistic Photography (Emerson),
190-96
Natural Theology (Paley), 178
Nauman, Bruce, 491
negative images, positive images vs.,
446
negatives:
chiaroscuro reversed in, 103-4
density of, 197
enlarging portions vs. entirety of,
217, 363, 386
paper, 36, 47-48
"negative sandwich," 444-45
see also combination printing
Neil Gallagher, 'Worked Two Years in
Breaker, Leg Crushed Between
Cars, Wilkes Barre, Pennsylvania,
November, 1909 (Hine), 470-71
Nerval, Gerard de, 131-32, 140
"New Figures in a Classic Tradition"
(Smith), 422-30
Newhall, Beaumont, 23, 489».-90«.
Newhall, Nancy, 197
Newman, Barnett, 478
newspaper photography, 84, 295-
302, 321, 388, 521-33
awareness of world and, 295-96
candid camera in, 298-99
credits given to, 297, 300
illustrated magazines and, 299-
300
origins of, 296-97
picture-features in, 300
texts and captions in, see texts and
captions
wire transmission in, 301-02
see also documentary photography;
magazines, illustrated
newsreels, 297, 300-301
Newsweek, 434
Newton, Helmut, 501—5
alienation between sexes in
photographs by, 504-5
as photographer-voyeur, 502
trappings of pornography adapted
by. 503
Newton, William, 92
New York Daily Graphic, 296
New York Times, 296
Niagara (Church), 172
Niépce, Isidore, 31, 34, 55, 59, 61
Niépce, Joseph Nicéphore, 54-55.
59, 201, 295
camera obscura constructed by,
25-26
contract for daguerreotype
invention signed by, 25, 27-30,
33-34. 55
INDEX 561
images made permanent by, 25,
27> 31' 33~34' 55
Nietzsche, Friedrich Wilhelm, 284
"Night Light: Brassai and Weegee"
(Westerbeck), 404-19
Nixon, Richard M., 494
Norman, Dorothy, 271-72
Novak, Barbara, 171-79, 500
nudes, photography of, 236-37, 375
censuring of, 141, 144-45, 146-47
self-consciousness of models in,
219, 229
Octave of Prayer (White), 467
Octoroon, The (Boucicault), 74-75
Offenbach, Jacques, 137
O'Keeffe, Georgia, 395, 542
On Photography (Sontag), 506, 534
"On the Art of Living One Hundred
Years" (Nadar), 133-34
"On the Invention of Photographic
Meaning" (Sekula), 452-73
"On the London Exhibitions"
(Shaw), 223-31
Origin of Species (Darwin), 178
O'Sullivan, Timothy, 174, 175, 176,
177
Outerbridge, Paul, 374
Pacelli, Cardinal (Pope Pius XII),
528
Paese, Un (Strand), 485
Page, William, 201
painting, 277-78, 331, 343, 424
abstract, 288-89, 290, 431
accuracy of, tested by
photography, 145-46, 173, 188—
189, 221-22
act of seeing in, vs. photography,
254-55' 274~75
American, transcendent experience
in, 172, 174, 499-500
on glass, shadow-pictures of, 37,
42-43>53
imitated by photography, see
pictorialism
landscape, see landscape painting
modern, photographers influenced
by, 288-89, 424-25, 427-28
photographic methods vs., 211-13
photographs as preliminary
sketches for, 32, 46, 63, 146,
150-51, 153
photography as replacement of,
20, 63, 223-31
portrait, 20, 475
representation vs. nature of color
as issue in, 340
simultaneous viewing of, by large
public, 330-31
see also art; specific movements
Paley, William, 178
Panthéon Nadar (Nadar), 139
Pantoscope (Jones), 72, 73
Papageorge, Tod, 419, 493-94
paper, printing, glossy vs. textured,
310-11, 312-13, 318, 489
Paris de Nuit (Brassai), 405-7, 411,
412
patents:
Daguerre's, bought by French
government, 31-35, 58-61, 68-
69
for Talbotypes, 62, 69
Payne, John Howard, 202
Peace and War (Rubens), 145-46
Peale, Charles Willson, 200, 206
Pennell, Joseph, 210-13
"Personal Credo, A" (Adams), 377—
380
Pfahl, John, 490
photoengraving, 84-85
daguerreotypes used for, 65-66
Niépce's experiments with, 25-26,
28, 54-55
origin of, 388-89
Talbotypes used for, 66
see also art, mechanical
reproduction of; halftone
printing
"Photo-Eye" (Roh and Tschichold),
425
562 INDEX
photogenia, theory of, 526, 527-28
photograms (Rayographs), 267-70,
346
Moholy-Nagy's experiments with,
267, 339, 344, 345
painterly effects in, 269
Ray's discovery of, 267-68
Schad's experiments with, 267,
268
"Photograph and the Mental Image,
The" (Santayana), 258-66
"Photographic Message, The"
(Barthes), 521-33
Photographic Pleasures (Bede), 79-87
Photographic Society, 86, 88, 92
photography:
abstract, see abstract photography
accidents vs. decisions in, 255-56,
303, 311-12, 313, 316, 317, 379
as act of seeing, 254-55
aesthetics of finding in, 476-78
agnostic mode in, 484
anonymous as genre in, 540-41,
543
art-, see allegorical photography;
combination printing;
pictorialism
arts aided by, 49, 52, 63-66, 83-
85, 144, 145-46, 150-51, 152,
153, 264
atheistic or directorial mode in,
484-91
aura of subject lost by, 322-25
beauty vs. ugliness redefined by,
507, 509
cameraless, see photograms
candid, see candid photography
color, 229-30, 262
color relations and chiaroscuro in,
89-90, 192, 344-45
concept of authenticity in, 326-27
as copying device, 85-86
denotative vs. connotative
functions in, 523-33
descriptive illusion vs. capacity for
allusion in, 426-27, 428-29, 430
displaced by criticism, 539-40
documentary, see documentary
photography
eight varieties of vision in, 346-47
essence of subject vs. inner feelings
of photographer revealed in,
395' 398' 54I-42
essences of nature and man
revealed in, 74-76
exhibition vs. cult value of, 329
external world as given vs. raw
material in, 484-85
fashion, see fashion photography
as fetish objects, 459-60, 467, 469
foreign lands experienced through,
100, 108-10, 149-50, 165
form divorced from matter by,
112-14
ghostly layers stripped from body
by, 20, 127-28
as "heliography" (sun drawing),
25. *6, 454
historiography of, 482, 486-87,
489, 491
importance conferred by, 507-9
instantaneousness of, 64-65, 66,
172, 174, 176, 274-75, 384-86,
443, 483, 541
"literacy" in, as learned behavior,
454- 53°~32
manipulated, see pictorialism
man's history as image-maker and,
535- 537
mechanical, non-manual aspects
of, 211-12, 313, 483
memory imitated by, 258-60,
263-64, 266
as mirage or metaphor, 394, 395-
397
as mirror with memory, 100-102,
395-96
mythical truth value of, 454-55,
460, 482-83, 485, 486
neutral reading of, 455-57
as norm for appearance of things,
391-92
INDEX 563
of nudes, see nudes, photography
of
as "pencil of nature," 454-55
perception heightened by, 345-46,
348
pictorial expression vs. pictorial
reportage differentiated by,
390-91
"polysémie" character of, 457
postvisualization vs.
previsualization in, 442, 447,
450
primitive tribes and, 454
quality in, as question of design
vs. narrative capacity, 456-58
"reading" vs. looking at, 539
Renaissance perspective
institutionalized by, 483
sciences aided by, 49, 52, 67, 86,
151, 277,424
semantics of, as intrinsic to image
vs. contextually defined, 452-73
sequences and series in, 348, 394,
399, 421, 528-29
straight, see straight photography
as substitute for reality, 534, 535-
536, 538-39
superstitions and fear of, 163-64,
167
surface textures and chiaroscuro
in, 90-91
teaching of, 241-43, 255
theistic mode in, 483-84
transcendental vs. informative
function of, 460, 466-69, 472-
47 3
as unique vs. infinitely
reproducible images, 68, 70,
459-62, 537
as vehicle for explicit political
argument, 327»., 332-34,452,
461, 469-70, 473
Photography as a Fine Art (Caffin),
218-22
photography as fine art, 21, 91-99«
210-13, 218-22,223-31,236,
255, 262-66, 276-87, 292, 347,
352, 372, 480-84, 487-89, 539,
54°
artistic vs. scientific truth in, 190-
196, 221-22
chance vs. previsualization in,
25S"56« 3°3> 311-12, 313, 316,
317« 379
color lacking in, 291, 225
combination printing and, 141,
143-44, 145« 'Î5-56« '9o
craftsmanship in, 458-59, 462-63
devolution of, into mystical trivia,
466-67
documentary photography as polar
opposite of, 472
exact reproduction of Nature as
essence of, 123-24, 462
experimentation in, 340-48
iconography denied to, 452, 455-
469
idealism as goal in, 264-65
imagination and dream lacking in,
123, 125-26
imitation of art forms in, see
pictorialism
limited control of tonal values and,
197-98
materials and qualities intrinsic to,
277, 279-82, 283, 285, 287, 304,
3i6~i7, 340"41
mystery and completeness vs.
superabundant detail in, 91-96,
98
photography as manual slavery
vs., 96-99, 125
physical and mental imperfections
of model in, 219-20
respect for tradition in, 278-79,
282-83
revival vs. interpretation of
experience in, 263-65
rhetoric of romanticism and
symbolism in, 462-69
rules for composition and design
in, 283-84, 312, 384-86
564 INDEX
photography as fine art continued
soul or designing intellect lacking
in, 152, 153-54
studies and analysis in, 221
training and professionalism
lacking in, 210-11
see also art
"Photography Extraordinary"
(Carroll), 115-18
photojournalism, see documentary
photography; magazines,
illustrated; newspaper
photography
photomontages (photo-pictures), 425,
426, 442
see also combination printing
photo realism, 21
Photo-Secession, 239-40, 291, 372,
489, 510, 520
see also pictorialism
Physiological Optics (Helmholtz), 190
Piaget, Jean, 531
Picasso, Pablo, 20, 409, 418, 424,
431,448,477
Picasso and Company (Brassai), 418,
431
Pictorial Effect in Photography
(Robinson), 155-62
pictorialism, 488-90
defined, 488
gums and oils in, 20-21, 279,
280
painting imitated in, 20-21, 212-
213, 224, 226-28, 274, 278-79,
280, 281, 283, 285, 287, 315,
347. 363—64, 373, 481
photography merely a means in,
488
Photo-Secession and, 239-40, 291,
372, 489, 510, 520
signifying itself as art, 528
soft-focus as tool in, see focus, soft
straight photography vs., 22, 210,
212—13, 274. 276, 279-82, 293-
294. 3°3> 3I0> 313. 3'5-I6,
335-38. 370-76
textured vs. glossy paper used in,
310-11, 312-13, 318, 489
wrong art imitated by, 278, 282,
373,424, 425,481
see also allegorical photography;
combination printing; straight
photography
Picture Post, 299
Pittsburgh Survey, 239, 245-47
Plath, Sylvia, 514
Poe, Edgar Allan, 202, 455, 464, 475
Poiret, Paul, 267, 268, 269-70
Pollock, Jackson, 477
Port of New York (Rosenfeld), 508-9
portrait painting, 20, 475
portrait photography, 65, 91, 129-
140, 256
awareness of being photographed
in, 474, 478-79, 512—13
character vs. expression in, 131-32
distortions in, 93
exposure time and suitability for,
79-80
frontality and direct eye-contact
in, 244-45,
of great men, educational value of,
149
group, combination printing in,
142-43, 160
inner character of sitter revealed
in, 72, 74, 76, 180, 186, 200,
235-36
landscapes added to, 159-60, 161
life-size, 93-94
light and emotional associations in,
478
as multiplicity of inexact
likenesses, 475-76, 478
personality of sitter and staging
devices in, 478
in police work, 81-82
portrait painting vs., 475
posing and connotation in, 526-
5 2 7 , 532
posing vs. normal activity in, 133—
134
INDEX J65
proportions of detail in, 92-93
props and scenery in, 132-33, 135
as remembrances of loved ones,
148-49, 258, 260, 329
role-playing in, 130-31, 133
self-disclosure in, 474-75, 513-14
shadow-pictures as, 42, 53
snapshots and posing in, 474, 475
social affiliations vs. personality of
sitter in, 129, 135, 137
tinted and colored, 98-99
U.S. national character and, 72-73
"Post-Visualization" (Uelsmann), 447
Pound, Ezra, 479
Prelude, The (Wordsworth), 405-6,
412
pre-Raphaelites, 191-92
preserving processes, see fixing
Principles of Geology (Lyell), 177
printing, invention of, 321
Prints and Visual Communication
(Ivins), 387-93
Proserpine (Cameron), 187
Proust, Marcel, 365, 368
Pseudo-Impressionism, 195
"Public Relations" (Winogrand), 493
Quand j'étais photographe (Nadar), 127-
128, 140
Quest of Continual Becoming
(Uelsmann), 447
Racecourse at Nice (Lartigue), 513
Raphael, 242, 328».
Rauschenberg, Robert, 21, 495
Ray, Man, 254, 267-70, 338, 375
photograms (Rayographs)
discovered by, 267-68
Reich, Wilhelm, 515
Rejlander, Oscar G., 115, 141-47,
190, 442, 445, 487-88
first combination print by, 142-43
religious photography, see allegorical
photography
Rembrandt (Rembrandt
Harmenszoon van Rijn), 49, 62,
91, 93, 262, 275
Renaissance, 326, 331«.-32«., 483
Renger-Patzsch, Albert, 375
Renoir, Auguste, 20, 431
Riding, Laura, 540
Riegl, Alois, 324
Riis, Jacob, 238, 241, 243, 251, 469
Rilke, Rainer Maria, 543-44
Robinson, Henry Peach, 22, 155-62,
182-83, I9°> 442' 487-88
Rock Tree (Uelsmann), 448
Rocky Mountains (Bierstadt), 172
Rodin, Auguste, 232, 235, 236, 424
Roh, Franz, 425
Room No. 1 (Uelsmann), 445-46
Root, Marcus Aurelius, 20, 73, 148—
151, 223
Rosenberg, Harold, 427, 428, 474-
479
Rosenfeld, Paul, 508-9, 520
Rothstein, Arthur, 349, 350, 485,
539
Roualt, Georges, 475
Rourke, Constance, 273-75
Roxby,230
Rubens, Peter Paul, 146
Rubinfien, Leo, 492-98
Rudisill, Richard, 70-76, 454-55
Rudolph, Paul, 428
Ruscha, Ed, 491
Ruskin, John, 152-54
Russell, A. J., 174
Ryder, James F., 72, 75-76
Saint-Simon, Claude-Henri, comte
de, 461
Salomon, Erich, 298-99
"Salon of 1859, The" (Baudelaire),
123-26
Samaras, Lucas, 490
Sand, George, 139
Sander, August, 506
Santayana, George, 258-66
Sapt, Arkas, 296-97
Scene in Shanty Town, A, 296
566 INDEX
Schad, Christian, 267, 268
Schneider, Pierre, 130
Schopenhauer, Arthur, 284
Schwitters, Kurt, 477
Scoop, Scandal and Strife: A Study of
Photography in Newspapers
(Hopkinson), 295-302
Scott, Winfield, 200, 202, 205
Scripture Reader (Rejlander), 144
sculpture:
assemblage in, 476-77
camera obscura delineations of,
' 46-47
machine-made reproductions of,
52
photographs as preliminary
sketches for, 84
see also art
Secret Paris of the '30s, The (Brassai),
404, 405-6, 407, 411, 418
Sekula, Allan, 452-73
Self-Portrait (Friedlander), 490
Self Portrait (Ray), 267-70
Selle, Gustav, 230
Seven Last Words (Day), 220
shadow-pictures:
of engravings and drawings, 47-48
from paintings on glass, 37, 42-43,
53
for portraits, 42, 53
Talbot's experiments with, 36-39,
41,42-43
Wedgwood's experiments with,
37- 53-54
Shahn, Ben, 349, 350, 352, 359
Shaw, George Bernard, 21, 223-31
Sheeler, Charles, 273-75
Shell and Rock (Arrangement) (Weston),
485
shutter speed, see exposure,
photographic
Sievers, Ed, 490-91
silver muriate, 43
silver nitrate:
changed by sunlight, 36-37, 40,
53
fixing images and, 37, 40
sensitivity of, 43-45
Simultaneous Intimations (Uelsmann),
446
Sinclair, Upton, 361
Siskind, Aaron, 271, 422-23, 426-
430. 477
art as influence on, 427-28, 429-
430
descriptive illusion vs. capacity for
allusion in photographs by, 427,
428-29, 430
selective emphasis in photographs
by, 428-29
Sistine Madonna (Raphael), 328».
Skolle, Hans, 361
Smith, Henry Holmes, 422-30, 443
Smith, W. Eugene, 300, 432-41,
472, 484
background of, 432-34
light vs. dark in photography of,
437
mercury-poisoning victims at
Minamata photographed by,
436, 438, 440-41
photo-essay format used by, 437—
438
World War II covered by, 432,
435-36
snapshots, 346, 474, 475, 543
Social Anatomy of the Romance
Confession Cover-girl (Gerbner),
53°
"Social Photography: How the
Camera May Help in the Social
Uplift" (Hine), 251-52
solarisation, 286
"Some Account of the Art of
Photogenic Drawing" (Talbot),
36-48, 61-62
"Some Humanistic Considerations of
Photography" (Uelsmann), 442-
451
Songs of the Skies (Stieglitz), 272
Songs of Trees (Stieglitz), 272
Sontag, Susan, 506-20, 534
INDEX 567
South worth, Albert Sands, 132
Sower (Millet), 2 21
"Spanish Village, The" (Smith),
438
Spiritual America (Stieglitz), 542
spotting, 378
Stanford, John Bennett, 297
"Statement" (White), 398-99
Steerage, The (Stieglitz), 455-58
Camera Work as framing device for,
458, 463
neutral reading of, 455-57
social or political meaning denied
to, 469
as symbolist autobiography, 464-
466
Steichen, Edward, 232-37, 273, 289,
375. 425. 507
experiments of, with tone, volume
and scale, 291-92
"Family of Man" exhibit organized
by, 51 o-11
nudes photographed by, 236-37
as painter, 232, 233-35
Photo-Secession and, 372, 394
pictorialism in early photography
of, 227-28, 280, 293-94
portrait photography by, 235-36
Smith and, 434
straight photography advocated
by, 280, 293-94, 394-95
Stein, Gertrude, 477
Steinberg, Saul, 368
Steiner, Ralph, 375
Steinert, Dr., 528
stereographs, 100, 106-14, 297
accuracy of details in, 107-10
colored, 111
far-off places experienced through,
100, 108-10
fictionalized photographs in, 487
future usefulness of, 112-13
glass vs. paper, 111
making of, 106-7
"Stereoscope and the Stereograph,
The" (Holmes), 100-114
stereoscopes, 102-3
function of, 104-6, 107
types of, 110-11
Stewart, Doug, 490-91
Stieglitz, Alfred, 21, 214-17, 232,
281, 284, 289, 310, 423-26, 430,
468, 520
aesthetic perfection as goal of, 239,
240, 362
Camera Work published by, 276,
282, 286, 458-59, 462, 463-66,
481, 482, 508, 542-43
cloud series by (Equivalents), 271-
272, 287, 395, 396, 423, 424-25,
466
complicated mechanisms disliked
by, 214, 216, 378
concept of equivalents of, 272,
426, 466
Evans and, 359, 362, 363
frontality in portraits by, 245
individual inspiration behind
photograph important to, 223,
394, 395, 422, 464-66, 508-9,
542
moving figures and composition in
photographs by, 216-17, 221
photographs equal to music as goal
of, 271, 272, 466
Photo-Secession and, 372, 394,
510,520
pictorialism advocated by, 481-82
straight photography advocated
by, 214, 218, 276, 285, 363,
423,425-26, 482
Strand and, 276, 288, 424, 482
see also Steerage, The (Stieglitz)
Still, Clyfford, 478
straight photography, 21, 218
capacity for allusion in, 426-27,
428-29, 430
defined, 423, 444
descriptive illusion central to, 425-
426
development of hand-held cameras
and, 214
568 INDEX
straight photography continued
directional activity in, 485, 486
glossy vs. textured paper used in,
310-11, 312-13, 318, 489
manipulated photography vs., 22,
210, 212-13, 274. 276, 279-82,
293-94. 3°3> 310. 313' 3I5~l6.
335-38. 370-76
modernist aesthetic and, 276
moral righteousness accrued to
purism in, 486
qualities intrinsic to photography
stressed in, 285, 304, 363, 482
as theistic mode, 483-84
see also pictorialism
Strand, Paul, 273, 276-87, 288-90,
367, 368, 377.424. 425.439'
473. 482
abstract photographs by, 273, 276,
288-89, 290
candid photographs by, 276, 288,
289-90
directorial functioning of, 485
idealist aesthetics of, 468-69
straight photography advocated
by, 240, 276-87
Strawberry Day (Uelsmann), 447
Street Life in London (Thomson), 163
Stryker, Roy Emerson, 349-54
Stuck, Franz, 235, 236
Study of a Head (Auld), 228
Sully, Thomas, 206
Summer Days (Cameron), 187
"sun drawing" (heliography), 25, 26,
454
sunlight, 103, 192-93
on cloudy vs. sunny day, 88-89
direct, Niépce on photographing
without, 25, 26
spectrum of, film sensitivity and, 57-
58, 89-90
time of day and, 88
Surrealism, 254, 267, 335, 373, 375,
4 2 5 . 477. 5W. 5 2 0
Survey, 469-70, 471
Sutton, 143, 144-45
Swedenborg, Emanuel, 174, 175
symmetry, 447, 448
Szarkowski, John, 476, 542
Talbot, William Henry Fox, 36-48,
61-63, 267, 295, 388, 454, 459
camera obscura used by, 36, 45-47
colors achieved by, 38-39, 42-43
paper negatives used for printing
by,36, 47-48
preserving process of, 38, 39-42,
54
sensitive paper made by, 43-45,
48
shadow-pictures made by, 36-39,
41,42-43,47-48
Talbotypes (calotypes), 49, 54, 61-
63, 202
daguerreotypes vs., 67-68, 70
improvements needed for, 62-63
as infinitely reproducible, 68, 70,
459
invention of, see Talbot, William
Henry Fox
painterly qualities of, 49, 62, 67
patent for, 62, 69
in photoengraving, 66
Taylor, Henry, 182, 183, 186, 187
Taylor, Paul Schuster, 355-57
television, 295, 296, 301
Telstar II, 301
Tenement Madonna, A (Hine), 242
Tennyson, Alfred, 115, 132, 180,
t87
Teske, Edmund, 490
texts and captions:
contextual framework provided
by, 247, 248, 250, 329, 470
effect of image altered by, 252
image loaded by vs. image as
illustration of, 529, 530
proximity of, to image, 529-30
structure of, vs. photographic
structure, 522, 529
Thiele, Reinhold, 297
Third Class Carriage (Daumier), 364
Thompson, Warren, 74
INDEX 569
Thorns, W. J., 85-86
Thomson, John, 20, 163-65
Thoreau, Henry David, 75, 171,
174-75- 178. 538
Three Brothers, 4,480 Ft., Yosemite
(Watkins), 173
Thurber, James, 335-38
Time Exposure (Jackson), 168-70
Time Exposures by Lewis Hine (Hine),
250-51
Times (London), 300, 301
Titan, The (film), 391
Titian, 145
Tocqueville, Alexis de, 178-79
Tolstoi, Leo N., 363, 471—72
Tournachon, Adrian, 127
Tournachon, Gaspar Félix, ree Nadar
Townsend, Geo. Alfred (Gath), 199-
206
Trachtenberg, Alan, 238-53
Tress, Arthur, 490-91
Truth Concerning the Invention of
Photography: Nicéphore Niépce, His
Life and Works, The (Fouque),
25-30
Tschichold, Jan, 425
Tugwell, Rex, 353
Turbeville, Deborah, 504
Turner, Joseph Mallord William,
174, 262
Turner, Peter, 197
Twain, Mark, 205
291 (gallery), 276, 288, 372, 424, 508
Two Ways of Life (Rejlander), 141,
144-45, 445, 488
Tydings, Millard, 526
Tzara, Tristan, 268-69, 270
Uelsmann, Jerry N., 442-51, 490
combination-printing experiments
of, 442, 444-48, 450
complexity and mystery favored
by,445-46
critics of, 442, 446
postvisualization as ideal of, 442,
447' 45°
"Unconscious in Art, The"
(Casseres), 463-64, 466
Underwood and Underwood, 297
Valéry, Paul, 319-20, 322, 331-32
Van Dyke, Willard, 489
Van Gogh, Vincent, 123, 424, 475
van Schaik, Charles, 541-42
Venus and Adonis (Titian), 145
Vermillion Creek Canyon, Utah
(O'Sullivan), 176
Verne, Jules, 139
Vernet, Horace, 66, 135
Victoria, Queen, 138, 141
vignetting, 143
in combination printing process,
!57-58' 159» 160
Village Romeo and Juliet, A (Delius),
437
"Visit to Steichen's Studio, A"
(Hartmann), 232-37
Vitali, Lamberto, 140
Vogue, 502
Volupté de Paris (Brassai), 405
von Wangenheim, Chris, 501
Walk to Paradise Garden, The (Smith),
436-37
Wallstreet (Strand), 289
Wand, Al, 205
Warhol, Andy, 21, 508, 516, 517,
5'8
Warwick Trading Company, 297
Watkins, Carleton E., 173, 174, 175
Watt, James, 52
Watts, George Frederic, 235, 236
Webster, Daniel, 132
Wedgwood, Thomas, 25, 47, 58
camera obscura experiments of,
37-38» 54
shadow-pictures made by, 37, 53-
54
unable to fix images, 3 7 , 5 3 , 5 4
Weegee (Arthur Fellig), 402-3, 404-
405, 412-19, 457, 506, 519
antagonism for subjects felt by,
413-14, 415
570 INDEX
Weegee (Arthur Fellig) continued
café society photographed by,
415—17
eyes and hands accentuated by,
416-17
improved equipment and
uncomposed photographs by,
4I4_I5i 4'7
Weegee by Weegee (Weegee), 402-3,
412, 413-14, 415
Wegman, William, 491
Weil, Mathilde, 229
West, Nathanael, 517
Westerbeck, Colin L., Jr., 404-19
Weston, Edward, 303-14, 315-18,
375. 378. 379. 395» 425' 442>
492-93, 499, 500, 541
artistic effects shunned by, 303,
304, 310, 312-13
cypress trees photographed by,
308-9
directorial elements in still-lifes
by, 485
glossy paper used by, 310-11,
312-13
images previsualized by, 303, 311—
312, 316, 317
inspiration behind photography
important to, 22, 223, 311-12,
313' 3'8
kelp photographed by, 309-10,
3"
shells photographed by, 306-8
toilet photographed by, 305-6
wet-plate photography, 115
in the field, 166, 168-69, 207~9
Wheatstone, Charles, 104
Wheelbarrow with Flower Pots
(Steichen), 292
Whipple, John Adams, 71, 72, 74,
103, 104
Whistler, James Abbott McNeill,
226, 228, 281, 424, 481
"Whistler's Hippopotamus" (Agha),
370-76
White, Clarence H., 220, 372, 489
White, Minor, 271, 394-97, 398-99,
422, 442
Aperture edited by, 394, 467
camera viewed as metamorphosing
machine by, 396, 442-43
mirroring of transcendent as goal
of> 394» 396-98' 443-44' 467
photographic sequences by, 394,
399
White Fence (Strand), 290
Whitehurst, Jesse, 71
"White Women" (Goldberg), 501-5
White Women (Newton), 501-5
Whitman, Walt, 174, 538
artist viewed as witness by, 251
democratic vista of, 506-8, 509-
5IO' 520
Wickhoff, Franz, 324
Winogrand, Garry, 419, 492-98, 506
attitude toward subjects of, 496-
498
discursive style of, 493-96
subjects of, as participants in
society, 494, 495-96
Wisconsin Death Trip (Lesy), 541-42
Wolcott, Alexander, 80
Wolf, 201, 206
Woman with a Veil on Fifth Avenue,
NYC, iç68 (Arbus), 513
Women Are Beautiful (Winogrand),
496
Wood, James, 172
Wood, Richard, 197
woodcuts, 321
Wordsworth, William, 405-6, 412
"Work of Art in the Age of
Mechanical Reproduction, The"
(Benjamin), 319-34, 461
World of Atget (Abbott), 254-57
World War II, photographs of, 432,
435-36
Yeats, William Butler, 365
"zone system," 377