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| Katkey: | 7197004 |
| Volltext: | INDEX Page references in italics refer to illustrations. Abbott, Berenice, 15, 23, 27 Abstract Expressionism, 60 Adams, Ansel, 23, 54, 146 Adams, Kerstin, 147, 148, I58nn.i3, 14 Adams, Robert, 9, 10, 18, 144-60 The American Space, 146 The Architecture and Art of Early Hispanic Colorado, 1570.5 denver, 144, 149-50, 152-53, 154-55, 159nn.26, 35, 36 developing and printing procedures of, 149-50, 1580.19 Evans as possible model for, 147, 1570.10, 1580.12 From the Missouri West, 146, 1570.8 Guggenheim Fellowship of, 144, 149, 150, 152, 155, 1590.36, 1600.38 light quality in prints of, 145-47 The New West, 144, 145-49, 152-53, 156, 1570.9, 1580.18, 1590.27 nineteenth-century photography and, 146, 154-55, 157-580.12 Our Lives and Our Children: Photographs Taken Near the Rocky Flats Nuclear Weapons Plant, 1590.28 ratio of negatives to pictures-in-books for, 150, 152, I59n.26 sequencing of photographs by, 152-53 Sheridan Boulevard, Lakewood, 1970-72, 12), 149 square-format camera used by, 145, 152, I57n.i2, I59nn.27, 37 Untitled, ca. 1973, 124, 153 What We Bought: The New World, I44 r52 153-5G 157n.11, i59nn.26, 27, 31, 36, 37, 1600.38 White Churches of the Plains, 145, i57nn.8, 10 Aeschylus, 9 "Aesthetics or Truth, " 141-43 Alvarez-Bravo, Manuel, 23 Anxiety of Influence, The (Bloom), 73 Aperture, 50, 51, 58, 64 Aperture magazine, 6 Arbus, Diane, 59, 60, 61, 62, 63, I57n.t2 New Documents and, 83, 132, 145, 172 Sontag's critique of, 134, 135 archive-making, 23-24, 151, 1580.24-25 Arnheim, Rudolph, 86 Art and Illusion (Gombrich), 135 Art Institute of Chicago, 66 art photography, 143 Atget, Eugène, 9, 14, 15-29, 30, 31, 40, 59, 76, 86, I57n.i2, 172 Balcon, ty rue du Petit-Pont, 1913 (Vol. II, The Art of Old Paris, PI. 66), 24-25 Boulevard de la Chapelle, 18th, 1921 (Vol. IV, Modern Times, PI. 34), 27 Coin du quai Voltaire et rue de Nevers, March 1926 (Vol. II, The Art of Old Paris, Pl. 92), 27 early years of, 16, 30 finances of, 24, 25 Krauss's "Photography's Discursive Spaces" and, 17, 18, 21-24 Naturaliste, rue de l'Ecole de Médicine, 1926-27 (Vol. IV, Modem Times, Pl. 103). 27 Oranger, before 1900 (Vol. I, Old France, Pl. 1), 17-19 Parc de Sceaux. June, Morning, 7:00, 1925 (Vol. III, The Ancien Regime, Pl. 46), 28 Parc de Sceaux. March, Morning, 7:00, 1925, 28-29, 97 Parc de Sceaux. March, Morning, 8:00, 1925 (Vol. III, The Ancien Regime, Pl. 104), 28 picture-frame-as-narrative-container in works of, 20—21 Pommier, 1898 or before? (Vol. I, Old France, PI. 8), 18-19 postwar work of, 11, 19, 25-29 14 rue Mazet, 1925 (Vol. IV, Modern Times, PI. 69), 26-27 180 Rue Descartes, April 1926 (Vol. II, The Art of Old Paris, Pl. 86), 27 Saint-Cloud, 1926 (Vol. I, Old France, PI. 118), 26 Saint-Cloud, 1926 (Vol. I, Old France, PL 119), 26 Saint-Cloud, August 1922, 25-26, 98 Saint-Cloud, June 1926 (Vol. Ill, The Ancien Regime, PI. 89), 27 Saint-Cloud. March, Morning, 9/00, 1926, 27, 102 sewing-together of foreground and background in works of, 19-20, 21 tree studies by, 26 Trianon, 1910—14 (Vol. Ill, The Ancien Regime, Pi. 34), 26 Trianon, 1919-21 (Vol. Ill, The Ancien Regime, Pi. 35), 26 Versailles, 1905 (Vol. Ill, The Ancien Regime, PI. 7), 19 Versailles, Cyparisse par Flamen, 1902 (Vol. Ill, The Ancien Regime, PI. 9), 20-21 Versailles, escalier de l'Orangerie, 103 degrés, 20 metres de largeur, July 1901 (Vol. III, The Ancien Regime, Pl. 6), 21 Versailles, parc, 1901 (Vol. III, The Ancien Regime, Pl. 2), 19-20 Versailles, parc, July 1901 (Vol. III, The Ancien Regime, Pl. 5), 20 Atget, Jean-Eugène, 16 Athenian wars, 9 Auden, W. H., 26, 76, 85, 151, 178-79 Avedon, Richard, 60, 62 B Babel, Isaac, 88 Baltz, Lewis, 146, 153, 156 Park City, 15 70.9 Balzac, Honoré de, 87, 91 Barnack, Oskar, 34 Barthes, Roland, 172, 174 Baudelaire, Charles, 45, 47, 72 Beardsley, John, 63 Becher, Bernd and Hilla, 155, 156 Becker, Howard S., 141-42, 143 "Before the Gold Rush: Photography and Photographers at the Time of the Miracle, " 22, 45-49 Benjamin, Walter, 46, 48 Benson, Richard, 166-68 Newport, Rhode Island, 2009, 122 Biblical allusions, 52, 163, 175-76 black-and-white prints, 59 Bleak House (Dickens), 141, 143 Bloom, Harold, 73 Brackmann Associates, The, 80 Brandt, Bill, 23, 65, 67, 75n.8, 172 Brassai' (Gyula Halâsz), 39, 40-44, 48, 54, 58, 59, 86, 136, I57n.i2, 164, 171-72 Camera in Paris, 43, 45 Un costume pour deux, au bal des invertis du "Magic-City" (A Costume for Two, Magic City Drag Queens' Ball), ca. 1931, 42, 101 La Fille au Billiard Russe, Paris, 1933, 42, too Henry Miller: The Paris Years, 42 Letters to My Parents, 42 MoMA retrospective (1968), 54, 136, 171, 172 Picasso and Company, 42, 164 The Secret Paris of the '30 s, 42 "Brassai: Reflections on a Word, " 40-44 Brinnin, John Malcolm, 37 Brodovitch, Alexey, 37, 60, 62, 63 Ballet, 62 Design Laboratory of, 62 Buddhism, 37-38 Bunnell, Peter, 149 c Calder, Alexander, 86, 119 Calmettes, André, 25 calotype, 47 Cameron, Julia Margaret, 48 Capa, Robert, medal, 139 Cartier-Bresson, Henri, 7, 9, 23, 30-39, 40, 42, 53, 62, 76, 133, 135, 140, 172, 173, 174 Alicante, 1933, 35 Bougival, near Paris, 1956, 38, 123 Buddhism and, 37-38 The Decisive Moment, 31, 35, 53, 66, 80 early years of, 30-32 Frank's feelings about, 66, 69 Leicas used by, 13, 32, 33, 34 Madrid, 1933, 35 INDEX 181 Papageorge's encounter with, 39 photographs of 1930s, 32-35 postwar work of, 10— 11, 37-39 Scrap book, 33 Seville, 1933, 35 Valencia, 1933, 35 wartime experiences of, 35-37 wide-angle lens used by, 33 Woman Under Water, Italy, 1933, 32, 99 Cary, Joyce, 153 Cézanne, Paul, 30, 79, 146 Chaplin, Charlie, 13, 49 close-ups, 46 Collier's, 82 collodian-on-glass (wet-plate) technology, 18, 22, 45, 47-48, 146 Compagnon, Valentine, 11, 16, 17, 25 computer, 49, 51, 57 Conversations in Vermont, 73 Crewdson, Gregory, 137 Croner, Ted, 60 Crosby, Harry and Caresse, 31 Cuban missile crisis, 9, to, 82-83 Cubism, 70 D Daguerre, Louis-Jacques-Mandé, 45, 47 daguerreotype, 47 Dante, 83 Daumier, Honoré, 45 Davidson, Bruce, 60 Central Park, 162 Davis, Tim, 137 Deal, Joe, 156, 1600.39 Degas, Edgar, 45 Delpire, Robert, 65, 139, 140 Design Laboratory, 62 Dickens, Charles: Bleak House, 141, 143 Dickinson, Emily, 24 diCorcia, Philip-Lorca, 137 digital prints, 59 Divine Comedy, The (Dante), 83 documentary photography, 132-33, 143, 163 Donaghy, Don, 60 Donne, John, 164 dry-plate technology, 45, 46 Durden, Mark, 132-37 E Eastman, George, 18, 45 Eastman, George, House (Rochester, N.Y.), 156 Eliot, T.S., 23, 41, 61, 73, 94, r63, r64 Emerson, Peter Henry, 20, 46 Erwitt, Elliott, 140 "Eugene Atget: A Photographer's Photographer, " 15-29 Euripides, 9 Evans, Walker, 10, 13, 14, 23, 42, 53, 59, 6r, 62, 157-580.12, 172 American Photographs, 64-75, So, 147, 157n.ro, 162 Frank influenced by, 64-75, 8r, 104-13 Let Us Now Praise Famous Men, 141 Many Are Called, 65 Minstrel Showhill, 1936, 64, 106 Negro Barber Shop Interior, Atlanta, Georgia, 1936, 69, 71, 75ml, no photographs of street debris by, 157ml 1 as precedent for R. Adams, 147, 157nn.ro, rr, I58n.r2 Roadside View, Alabama Coal Area Company Town, T935, 69, 108 Stamped and Crushed Tin Architectural Fragment of Ionic Capital and Acanthus Leaf Motifs, t929, 64, 70, 7 72 View Down Main Street with World War I Monument in Foreground, Mt. Pleasant, Pennsylvania, 7935, 73, 69, 704 Winogrand's response to, 80-87, 890.2, 93, r 57m72 F family albums, 72 Family of Man, The (New York, 7955), 65, 80 Faurer, Louis, 60, 63 Favrova, Anna, 140 "Figure a Poem Makes, The" (Frost), 90 Fischl, Eric, 5 5 Flaubert, Gustave, 72 flexible film, invention of, 45 Fortune, ro Foundation of Lower Saxony, 744 Franck, Martine, 39 182 Frank, Mary, 56 Frank, Robert, 9-10, 14, 35, 37, 53, 55-56, 59, 60, 62, 76, 91, 134, 157n.i2 The Americans, 23, 56, 61, 63, 64-75, 80, 81, 133, 161, 162 Barhershop Through Screen Door— McClellanville, South Carolina, 1955' 71. 111 Brandt's influence on, 65, 67, 75n.8 City Hall, Reno, Nevada, 72 Evans's influence on, 64-75, I04~!3 as filmmaker, 56, 73-74 Fourth of July—Jay, New York, 1955, 64, 69, 113 Guggenheim Fellowship of, 65, 67, 80 photography left by, 73 St. Francis Gas Station and City Hall— Los Angeles, 1956, 71, 103 Santa Fe, New Mexico, 1955, 109 Trolley—New Orleans, 1955, 64, 69, 107 Winogrand's response to work of, 81, 82, 93-94, 1570.12 Friedlander, Lee, 23, 54, 1570.12 New Documents and, 83, 132, 145, 172 Frost, Robert, 53, 58, 86, 90, 95 Fujica camera, 57, 170-71 G Galassi, Peter, i6on.4o "Garry Winogrand, " 90-95 "Garry Winogrand: Public Relations, " 7-8, 76-89, 161 Genet, Jean, 86, 134, 135 Gibson, Ralph, 5 5 Goethe, Johann Wolfgang von, 43, 179 Gohlke, Frank, 156, i6on.39 Goldsmith, Arthur, 80 Gombrich, Ernst, 135, 179 Got, Edmond, 16 Gowin, Emmet, 149 Goya, Francisco de, 45 Grand Prix de la Photographie, 138 Green, Jonathan, 6 Greenberg, Clement, 84 Griffith, D. W., 13 Grossman, Sid, 60, 62, 63 Grove Press, 64, 65 Guggenheim Fellowship: Adams and, 144, 149, 150, 152, 155, 1590.36, 1600.38 Frank and, 65, 67, 80 Papageorge and, 50, 132, 169, 170 Winogrand and, 56, 58, 77, 83, 84, 93, 94. T33 Gursky, Andreas, 156, 1600.40 Guys, Constantin, 45 H Hackford, Taylor, 139 Hambourg, Maria Morris, 15, 16, 17, 22, 23 Harper's Bazaar, 37, 62 Hasselblad camera, 156-570.5 Haydn, Franz Joseph, 890.7 Helmholtz, Hermann von, 46 "Henri Cartier-Bresson: Two Lives, " 30-39 Henry Miller: The Paris Years (Brassai), 42 Herzog, Werner, 179 Hill and Adamson, 48-49 Hine, Lewis, 62, 15 7m 12 Hockney, David, 1560.2 Hokusai, 45 Horse's Mouth, The (Cary), 153 J James, Henry, 25, 178, 179 "Josef Koudelka, " 138-40 Joyce, James, 52-53, 153 K Kafka, Franz, 76 Keaton, Buster, 13 Keats, John, 15, 77 Ode on a Grecian Urn, 86 Kerouac, Jack, 66, 750.3 Kertész, André, 13, 31, 34, 172 Kirstein, Lincoln, 14, 70, 71-72, 75n.i4 Klein, William, 60, 134 Tokyo, 61 Koudelka, Josef, 9, 10, 32-33, 134, 138-40 Exiles, 139 Gypsies, 139 In the Old Town Distria, 1968, 116, 139 Krauss, Rosalind, 17, 18, 21-24, 25, 172 Krauss camera, 31 Kundera, Milan, 139 INDEX L Lange, Dorothea, 76, 157-580.12, 172 large-format cameras, see view cameras Leica camera, 13-14, 80, 17t Cartier-Bresson's use of, 13, 32, 33, 34 Papageorge's use of, 8, 56, 136, 173, 176 Leiter, Saul, 60 Letters to My Parents (Brassai), 42 Levertov, Denise, 142 Levin, Richard C., 167 Levinstein, Leon, 60, 63 Levitt, Helen, 34, 60, 62 New York, 1971, 63, 121 A Way of Seeing, 63 Lhote, André, 30 Light Gallery (New York), 51 Livingston, Jane, 60-63 Lowell, Robert, 53, 54 Lubow, Adrienne, 79, 80, 82 Luce, Henry, 10 M MacArthur Foundation, 166-67 Mack, Michael, 163 Magnum, 36, 140 Malcolm, Janet, 75n.io, 172 Malraux, André, 75n.8 Mamiya Press camera, 171 Mandelstam, Osip, 83 Manet, Edouard, 171 Mann, Thomas, 6 Marvillc, Charles, 18-19 McCain, John, 132 McDonough, Paul, 54 Mead, Margaret, 142 Me and My Brother, 56, 74 medium-format cameras, 54-55, 57, 136, •37. i7°-7i Melville, Herman, 8, 92 Merwin, W. S., 154, i59n-32 Meyerowitz, Joel, 54, 55 Miller, Henry, 41, 42 Model, Lisette, 60, 62, 63, 1570.12 Mohini, Ratna, 34 moral imperatives, 7, 88, 134-35 motion pictures, 13, 32, 48-49 Munkacsi, Martin, 32 Museum of Modern Art (New York), 8, 51, 55. 59. 83, 161 R. Adams and, 145, 149, 1580.18 Atget and, 15, 16, 17, 19, 22-23 Brassai retrospective at (1968), 54, 136, 171, 172 Cartier-Bresson and, 37, 38 Evans and, 66-67, 75n-6, 157n.11 New Documents exhibition at (1967), 83, I32_33 145. I57H-I2, 172 Papageorge's curating of Winogrand show at, 7-8, 58, 133-34 Nadar, 48, 49 narrative-like meanings: in Atget's work, 19, 20-21 in Papageorge's Passing Through Eden, 52, 162-63, 175-76 wide-angle lens and, 81 in Winogrand's work, 87-88, 93, 94 Naturalistic Photography for Students of the Art (Emerson), 46 negatives: invention of, 47 in process of photographic picture-making, 151 New Documents (New York, 1967), 83, i32. 145. T57n-12. i72 Newhall, Beaumont, 37 New Topographies: Photographs of a Man- Altered Landscape (Rochester, N.Y.; 1975). H6 New Yorker, 172 New York Review of Books, 171 New York School: Photographs, 1936-1963, The (Livingston), 60-63 New York School of painting, 60 Niépce, Nicéphore, 45 nineteenth-century photograph)', 12, 18, 22 45-49 Adams's indebtedness to, 146, 154-55, 157ml.8, 12, 1590.33 wet-plate (collodian-on-glass) technology and, 18, 22, 45, 47-48, 146 Nixon, Nicholas, 156, i6on.39 184 o Obama, Barack, 132 Ode on a Grecian Urn (Keats), 86 On Photography (Sontag), 134 Papageorge's unfinished poem in response to, 130-31 Orlovsky, Julius and Peter, 5 5 O'Sullivan, Timothy, 18, 22, 48, 146, 155, I57nn.8, 12, 1590.33 Overseas Press Club, 139 Owens, Bill: Suburbia, 141 Papageorge, Tod: American Sports, 1970, or, How We Spent the War in Vietnam, 50, 58-59, 132, 133-34, 136, 137 Belmont Stakes, Belmont Park, Elmont, New York, 1970, 120, 136 Durden's interview with, 132-37 Father Combing Son's Hair, Central Park, New York, 1980, J27, 176-77 Garry Winogrand and Diane Arbus in the Museum of Modem Art near the time of the New Documents exhibition, New York, 1967, //5 Guggenheim Fellowship of, 50, 132, 169, 170 Largo Carlo Goldoni, Rome, 2009, 128 Lee Friedlander, Rockefeller Center, New York, ca. 1967, 114 Leicas used by, 8, 56, 136, 173, 176 Man and Eye Chart, Central Park, New York, 1989, 126, 163 medium-format camera used by, 54-55. 57. 136. 137. i70-7i Passing Through Eden, 50-51, 52, 57-58, 136-37, 162-63, I(H. l( 9~77 Soth's interview with, 161-65 wide-angle lens used by, 58-59, 134, 173-74 Woodward's interview with, 50-59 Pentax, 152 "personal" camerawork, 46-47 photography: archive-making and, 23-24, 151, 1580.24-25 debates about status as art, 46 first half-century of, 45-49; see also nineteenth-century photography human act of perception and, 46 picture-state of, 135 poetry compared to, 7, 142, 151, 162, 169-70, 173 process of photographic picture-making and, 149-52, i58n.22 relationship of thing described to, 14, 24, 85-86, 95, 134-35, i4!-42.163-64 "Photography's Discursive Spaces" (Krauss), 17, 18, 21-24 photojournalism, 60, 65-66, 80, 82 Photo-Secessionists, 46 Photoshop, 57 Physiological Optics (Helmholtz), 46 Picasso, Pablo, 42, 79, 164 Picasso and Company (Brassai), 42, 164 Pictorial movement, 46 Pix Photo Agency, 67, 79, 80 "Place" (Merwin), 154 Plato's cave, 13 Plaubel Makina camera, 171 Poe, Edgar Allan, 47 poetry, photography compared to, 7, 142, 151, 162, 169-70, 173 political art, 178-79 Popular Photography, 80 Powel, Gretchen, 31, 32 Powel, Peter, 31 presentness, sensation of, 20 Purtell, Sergio, 162 R Ray, Man, 24 Rembrandt, 45 Renoir, Jean, 34 Révolution surréaliste, La (Ray), 24 Reynolds, Jock, 1560.1 Richardson, John, 42 Richter, Gerhard: "Atlas, " 15 5 Rimbaud, Arthur, 30, 31, 32, 34, 37, 38, 67 "Robert Adams—What We Bought: The New World, " 23-24, 144-60 Rolleiflex camera, 145, 1570.5 Roma, Thomas, 39, 171 Rosen, Charles, 890.7 Ruscha, Ed, 15 5 INDEX s Salomon, Erich, 68 Schmidt, Michael, i6on.40 Schott, John, 156 Secret Knowledge (Hockney), 1 j6n.2 semiotics, 135 Service Photographique des Monuments Historiques, 25 set-up photography, 163 Shore, Stephen, 156, 161 Siciliano camera, 171 Simon and Schuster, 66 "Snapshot, The, " 6-7, 12-14, '* 3 "snapshot aesthetic, " 68 Snow, Carmel, 37 Sontag, Susan, 134-35, 172 On Photography, 134 Papageorge's unfinished poem in response to On Photography, 130-31 Sophocles, 9 Soth, Alec, 161-65 Spectrum International Prize for Photography, 144 Sprengel Museum (Hanover, Germany), 144 square-format cameras, 145, 152, 1570.12, 159nn.27, 37 Strichen, Edward, 65 Stendhal (Marie-Henri Beyle), 87 Sternfeld, Joel, 161 Stevens, Wallace, 90-91 Stieglitz, Alfred, 18, 46-47 Strand, Paul, 18, 34, 46-47, 54 Time in New England, 162 street photography, 55, 56-57, 134, 135, 137 Surrealism, 10, 32 Szarkowski, John, 7, 8, 14, 36, 51, 54, 92, 135, 1580.18, 161-62, 172-73 Atget and, 15, 19, 23 The Face of Minnesota, 162 The Idea of Louis Sullivan, 161-62 New Documents and, 132, 172 T Talbot, William Henry Fox, 45, 47 35 mm cameras, 12-13, 50, 54, 57, 58, 81, 136 35 mm lenses, 33, 173-74 see also wide-angle lenses Titicut Follies, 55 Tobey, Mark, 1590.33 Toulouse-Lautrec, Henri de, 45 "Tribute: Richard Benson, A, " 166—68 Trilling, Lionel, 88 truthfulness issue, 141-43 28 mm lenses, 33, 134 see also wide-angle lenses u Ulysses (Joyce), 52-53, 153 Unbearable Lightness of Being, The (Kundera), 139 Underground Gallery (New York), 5 5, 76 "Unfinished Poem in Response to Susan Sontag's On Photography, An, " 130-31 upside down pictures, 164-65 U.S. Camera Annual (1958), 67 V Vertov, Dziga (David Kaufman), 13 Vestal, David, 60, 63 videos, 57 Vietnam War, 9, 10, 85, 146, 147-48, 174, 175 Papageorge's American Sports and, 50, 58-59, 132, 133 view cameras, 13, 14, 58, 91, 1590.26, 161, 171, 172 Adams's use of, 145, 146, 1570.8 Atget's use of, 18, 19-20, 30 Evans's use of, 69-70, 81 Voigtländer camera, 171 w "Walker Evans and Robert Frank: An Essay on Influence, " 64-75 war, impact on photographers of, 9-11 see also specific conflicts "Was There a New York Look?", 60-63 Watkins, Carleton, 48 Weegee (Arthur Fellig), 60, 61, 1570.12 Weiner, Dan, 67, 80 Wessel, Henry, Jr., 156, 1600.39 Weston, Edward, 13, 18, 23, 46-47, 54, 144, I57n-i2 Jean and Zohmah Chariot, 1939, 13, 103 wet-plate (collodian-on-glass) technology, 18, 22, 45, 47-48, 146 186 White Nights, 139 Y wide-angle lenses: Cartier-Bresson's use of, 33 Frank's use of, 81 Papageorge's use of, 58-59, 134, 173-74 Winogrand's use of, 81, 82, 83-84, 134 Yale University Art Gallery, 144, 156ml Yale University School of Art, 8, 161, 163, 165, 166-68 commencement talk at, 178-79 tribute to Richard Benson, 166-68 Williams, Tom, 53 Yee, Yu-Ben, 5 5 Winogrand, Garry, 9, 10, 40, 59, 76-95, 135— 36, 150—51, 161, 165, 172, 173, 174 94, "7 catalog essay about Evans's work written by, 89n.2 demeanor of, 77-78, 80 development of, between i960 and 1963, 82-83 early career of, 78-80 Evans's influence on, 80-81, 93, 157^12 Fort Worth, Texas, 1974-77, 92, 118 Frank's influence on, 81, 82, 93-94, i57n.i2 Guggenheim Fellowships of, 56, 58, 83, 84 93, 94, 133 last work in Los Angeles ("The Unfinished Work"), 90-91, 94 Los Angeles, California, 1969, 135-36 New Documents and, 83, 132, 145, 172 1964, 56, 94 Opening, Alexander Calder Exhibition, The Museum of Modern A r t , New Y o r k , 1 9 6 9 , 8 6 , 7 7 9 Papageorge's first meetings with, 53-54, 55, 76-77 photographic voice of, 85-89, 90-95 Public Relations, 7-8, 58, 84-85, 97-93, 94, 133-34 Stock Photographs: The Fort Worth Fat Stock Show and Rodeo, 91 -92, 94 wide-angle lens used by, 81, 82, 83-84, 134 Wiseman, Frederick, 55 Wolf, Daniel, 51 Wood, Brian, 35-36 Woodward, Richard B., 50—59 "Words For Pictures, " 164, 169-77 World War I, 9, 11, 25 World War II, 9-10 Cartier-Bresson's experiences in, 10, 35-37 The Animals, 83, 94-95 Bronx Zoo, New York City, 1963, INDEX 187 |
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