| Volltext: | 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 |
