Table of Contents

Chapter 1: Advancing towards Photography: The Birth of Modernity A Desire for Visual Representation Perspective Thinking of Photography Camera Vision The Demand for Picture-Making Systems Proto-Photographers: Chemical Action of Light Modernity: New Visual Realities Louis Jacques Mande Daguerre Optical Devices Images through Light: A Struggle for Permanence Joseph Nicephore Niepce John Herschel William Henry Fox Talbot Anna Atkins Other Distinct Originators Hippolyte Bayard Mungo Ponton Hercules Florence Chapter 2: The Daguerreotype: Image and Object What is a Daguerreotype? Samuel Morse The Daguerreotype Comes to America The Early Practitioners Early Daguerreian Portrait Making Post-Mortem Portraits Technical Improvements Expanding U.S. Portrait Studios Albert Sands Southworth Josiah Johnson Hawes Matthew Brady The Art of the Daguerreian Portrait Daguerreian Portrait Galleries and Picture Factories African-American Operators Rural Practice The Daguerreotype and the Landscape The Daguerreotype and Science John Whipple Chapter 3: Calotype Rising: The Arrival of Photography The Calotype Early Calotype Activity David Octavius Hill Robert Adamson William Newton Thomas Keith Calotypists Establish a Practice Louis Desire Blanquart-Evrard Thomas Sutton Gustave le Gray Charles Negre Calotype and Architecture: Mission Heliographique Jean Louis Henri le Secq Edouard Denis Baldus Charles Marville The End of the Calotype and the Future of Photography Chapter 4: Pictures on Glass: The Wet-Plate Process The Albumen Process Frederick Scott Archer The New Transparent Look The Ambrotype Pictures on Tin The Carte-de-Visite and the Photo Album Andre Disderi John Mayall The Cabinet Photograph: The Picture Gets Bigger The Studio Tradition Nadar Camille Silvy Antoine Samuel Adam-Salomon Napoleon Sarony Retouching and Enlargements The Stereo Craze Oliver Wendell Holmes Chapter 5: Prevailing Events/Picturing Calamity Current Events Early War Coverage Roger Fenton James Robertson Felice Beato The American Civil War Matthew Brady Alexander Gardner Timothy O'Sullivan George Barnard Andrew Russell How Photographs Were Circulated Chapter 6: A New Medium of Communication: Art or Industry? Lady Elizabeth Eastlake Discovering a Photographic Language Lewis Carroll Oscar Gustave Rejlander Henry Peach Robinson Julia Margaret Cameron Americans and the Art of Nature Positivism Hugh Welch Diamond Thomas Barnardo Chapter 7: Standardizing the Practice: A Transparent Truth Mechanical Photography The Traveling Camera Maxime Du Camp John B. Green Auguste Salzmann John Shaw Smith Francis Frith Robert MacPherson Fratelli Alinari Bisson Brothers Picturing Industrialization Phillip Delamotte Robert Howlett Joseph Cundall Edouard Baldus Camille Silvy Samuel Bourne Urban Life John Thomson Thomas Annan The Other The American West: The Narrative and the Sublime Carleton E. Watkins Timothy O'Sullivan William Henry Jackson Eadweard Muybridge Chapter 8: New Ways of Visualizing Time and Space The Inadequacy of Human Vision Locomotion Thomas Eakins Etienne-Jules Marey Ottomar Anschutz Transforming Aesthetics: Technical Breakthroughs The Hand Held Camera and the Snapshot Time and Motion as an Extended Continuum Moving Pictures Color Chapter 9: Suggesting the Subject: The Evolution of Pictorialism Roots of Pictorialism Pictorialism and Naturalism Peter Henry Emerson The Development of Pictorial Effect George Davison The Secession Movement and the Rise of Photography Clubs The Aesthetic Club Movement Working Pictorially: A Variety of Approaches Robert Demachy Heinrich Keuhn Frederick Evans Pierre Dubreuil American Perspectives Alfred Stieglitz The Photo-Secession The Decadent Movement and Tonalism Frederick Holland Day Alvin Langdon Coburn Women Pictorialists Gertrude Kasebier Alice Boughton The Pictorial Epoch/The Stieglitz Group Edward Steichen Adolf de Meyer Frank Eugene Clarence Hudson White The Decline of Pictorialism Chapter 10: Modernism: Industrial Beauty Modernism Cubism High and Low Art Futurism Anton Giulio Bragaglia Arturo Bragaglia Time, Movement, and the Machine Frank B. Gilbreth Lillian M. Gilbreth Towards a Modern Practice: Distilling Form Alvin Coburn Paul Strand Dada Exploring Space and Time: The Return of the Photogram Man Ray Laszlo Moholy-Nagy Surrealism Collage Max Ernst Raoul Hausmann John Heartfield Hannah Hoch Suprematism Aleksandr Rodchenko Art, Technology, and a New Faith Bauhaus Morton Schamberg Charles Sheeler Paul Strand and Straight Photography: Purity of Use Chapter 11: The New Culture of Light Teaching Modernism: The American Impulse Paul Outerbridge Margaret Bourke-White Stieglitz's "Equivalents" Steichen Goes Commercial Form as Essence Edward Weston Straight, Modernistic Photography Group f/64 Ansel Adams Imogen Cunningham William Mortensen Film und Foto & New Objectivity Albert Renger-Patzsch Karl Blossfeldt Jean Eugene Auguste Atget Experimentally Modern New Vision Florence Henri Gyorgy Kepes Pathways of Light: Time, Space, and Form Barbara Morgan Frantisek Drtikol Francis Joseph Bruguiere Surrealistic Themes Hans Bellmer Georges Hugnet Man Ray Raoul Ubac Chapter 12: Social Documents An American Urge: Social Uplift Jacob Riis Lewis Hine Ethnological Approaches Adam Vroman Edward Curtis Francis Benjamin Johnston E.J. Bellocq Tina Modotti Emerging Ethnic Consciousness Horace Poolaw James Van Der Zee Eudora Welty The Physiognomic Approach August Sander The Great Depression: The Economics of Photography Dorthea Lange Walker Evans Arthur Rothstein Russell Lee Ben Shahn Gordon Parks Marion Post Wolcott The FAP Project: Changing New York Bernice Abbott Mass Observation Mass Observation The Film and Photo League Sid Grossman Aaron Siskind Chapter 13: Nabbing Time: Anticipating the Moment Realizing a Moment Jacques-Henri Lartigue Erich Salomon Andre Kertesz Brassai Henri Cartier-Bresson Bill Brandt Manuel Alvarez Bravo Lisette Model Helen Levitt Wright Morris Harold Edgerton Chapter 14: Photography and the Halftone Pictures and Printers Ink The Photo Magazine John Heartfield The Separation of Art and Commerce: Advertising and Fashion Lejaren a Hiller Nickolas Muray Cecil Beaton Horst P. Horst Martin Munkacsi Alexey Brodovitch Irving Penn Richard Avedon Philippe Halsman Yousuf Karsh Arnold Newman Newspapers Weegee War Reportage Robert Capa William Eugene Smith Cornell Capa Don McCullin Larry Burrows Eddie Adams The New Subjective Journalism Mary Ellen Mark Sebastiao Salgado Bytes and Halftones Chapter 15: The Atomic Age Ansel Adams The Surrealistic Metaphor Clarence John Laughlin Frederick Sommer Val Telberg The Photograph as Spirit Minor White Photo Education as Self-Expression Harry Callahan Aaron Siskind Fotoform Family of Man Photography and Alienation Robert Frank William Klein Mario Giacomelli Making a Big Jump Henry Holmes Smith Richard Hamilton Wallace Berman The Subjective Documentary Robert Doisneau Roy DeCarava Eliot Porter The Terror of Riches Chapter 16: New Frontiers: Expanding Boundaries Structuralism: Reading a Photograph The Found Image: The Beginnings of Postmodernism Robert Rauschenberg The Rise of Pop Art William Burroughs Andy Warhol Marshall McLuhan Challenging the Code Art Sinsabaugh Syl Labrot The Social Landscape Garry Winogrand Lee Friedlander Diane Arbus New Journalism Bruce Davidson Danny Lyon Multiple Points of View Duane Michals Nathan Lyons Ray Metzker Jerry Uelsmann Robert Heinecken The Rapid Growth of Photographic Education Chapter 17: Changing Realities Alternative Visions Robert Fichter Sonia Landy Sheridan Thomas Barrow William Larson Turning the Straight Photograph on Itself Ken Josephson Joseph Jachna Barbara Crane Personal Accounts: Documentary Fiction Ralph Eugene Meatyard Les Krims Lucas Samaras Ralph Gibson Larry Clark Michael Lesy Eugene Richards The Snapshot Emmet Gowin Judy Dater Bill Owens Post-Structuralism/New Topographics Edward Ruscha Lewis Baltz Robert Adams The Rephotographic Survey Project/Time Changes Color Rising William Eggleston Joel Me yerowitz Artists' Books Reconfiguring Information Ruth Thorne-Thomsen Critical Writing Chapter 18: Thinking about Photography Conceptual Art: The Act of Choosing Nam June Paik John Baldessari Performance Art Bruce Nauman Arnulf Rainer Anselm Keifer Gilbert and George William Wegman A Return to Typologies Bernhard and Hilla Becher Robert Cumming Postmodernism Bart Parker Paul Berger MANUAL Deconstructing Myths Richard Prince Sherrie Levine Michael Mandel and Larry Sultan Barbara Kruger Victor Burgin Gender Issues Judith Golden Cindy Sherman Eileen Cowin Laurie Simmons Fabrication James Casebere Sandy Skoglund Olivia Parker Joel-Peter Witkin Patrick Nagatani and Andree Tracey Altering Time and Space Jan Dibbets Eve Sonneman Lew Thomas Hollis Frampton and Marion Faller Mike Mandell Barbara Kasten David Hockney Michael Spano Holly Roberts Doug and Mike Starn Investigating the Body Andres Serrano Robert Mapplethorpe John Coplans David Wojnarowicz Nan Goldin Sally Mann Multiculturalism: Exploring Identity Dinh Q. Le Jeffrey Henson Scales Stephen Marc Guerrilla Girls Jo Spence Terry Dennett Annette Messager Jolene Rickard Clarissa Sligh Carrie Mae Weems Lorna Simpson Krzystof Wodiczko The Digital Future Nancy Burson Tyrone Georgiou Pedro Meyer Philip Lorca diCorcia Jeff Wall

About the Author

Robert Hirsch is an artist, author, curator, and educator. Hirsch is the author of Seizing the Light: A History of Photography; Exploring Color Photography: From the Darkroom to the Digital Studio published by McGraw-Hill and Photographic Possibilities: The Expressive Use of Ideas, Materials, and Processes published by Focal Press. He is a former associate editor for Photovision magazine and is a contributing writer for Afterimage, Digital Photography (UK), exposure, Ilford Photo Newsletter, and The Photo Review. He was the Executive Director and Chief Curator of the Center for Exploratory and Perceptual Art (CEPA Gallery) in Buffalo, NY. Hirsch is on the art faculty of SUNY Buffalo and teaches history of photography online through Eastern New Mexico University. Recently his images have been shown at: University of New Mexico, Albuquerque, NM; Vermont Center for Photography, Brattleboro, VT; Artspace, New Haven, CT; Corcoran Gallery of Art, Washington, D.C.; George Eastman House, Rochester, NY; Williamsburg Art & Historical Center, Brooklyn, NY; Albright-Knox Art Gallery, Buffalo, NY; Contemporary Museum, Baltimore, MD; and Stefan Stux Gallery, NY, NY.