| Acknowledgments |
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xi | (2) |
| Introduction |
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xiii | |
| Photography and Its Impact on World Events--An Overview |
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| Photography as a Scientific Tool |
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| Photography as a Political Tool |
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| Photography as a Sociological and Emotional Tool |
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| Conclusion |
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1 From Photo-Graphy to Photography: 500 B.C. to 1840 A.D. |
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3 | (12) |
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Alternatives to the Camera Obscura |
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Arresting a Purely Photographic Image |
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Niepce and Daguerre--A Collaboration |
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The Daguerreotype--A Startling Invention |
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William Henry Fox Talbot--The Calotype |
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Negatives and Positives--Calotypes Versus Daguerreotypes |
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Hippolyte Bayard--A Losing Latecomer |
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Sir John Herschel's Early Contributions |
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2 Photography: Inventions, Problems, and Solutions--1840s to 1990s |
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15 | (7) |
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Fuzzy and Fragile--Early Technical Problems |
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Portrait Mania Versus Long Exposures |
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Experiments with Emulsions |
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Collodion--A Quick but Awkward Solution |
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The Ambrotype--An Affordable Method |
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The Tintype--Fast and Affordable |
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The Carte-de-Visite and Cabinet Photograph |
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Early Photographic Printing Methods |
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Gelatin Dry Plates--Quick and Convenient |
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Hand-Held Cameras--Popular but Problematic |
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Early Experiments with Color |
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Breakthroughs in Color Photography |
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Early Artificial Flash--Dangerous and Unpredictable |
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Flash from the 1880s to the 1930s--Significant Improvements |
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Looking Forward--Photographic Technology from 1960 to 1990 |
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3 Camera and Canvas--The Alliance between Painters and Photographers |
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22 | (19) |
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Sketching Methods Using Photo-Graphic Tools |
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Portraiture--Painters Versus Photographers |
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The Photograph as a Visual Reference |
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Photographic Assistance to Form-in-Motion |
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Photography Affords "Too Much Truth" |
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Paintings and Photographs--Nonliteral Representation |
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Photographs and Paint--Sharing the Same Surface |
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Painters and Photographers--A True Collaboration |
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4 Social Documents--Photography and Social Culture |
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41 | (16) |
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Laborers and Living Conditions--1850 to 1905 |
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The Social Culture of the Workplace |
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Social and Cultural Uses of Photography |
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Jacques Henri Lartigue--A Privileged Social Culture |
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An Emerging Black Subculture--New York City--1920 to 1950 |
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The Social Culture of Economic Change--America--1929 to 1939 |
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A Social and Political Landscape--Europe and Japan--1930 to 1940 |
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The Modern American Social Culture--1955 to 1990 |
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A Global Social Culture--1950 to 1990 |
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57 | (18) |
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Talbot, Science, and Documentation--1834 to 1844 |
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Landscapes, Monuments, and Topographics--1850 to 1860 |
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Burdens and Improvements: The Technical Process--1850s |
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The American West: Fact and Vision--1860s and 1870s |
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Landscape: Art, Science, and "Truth"--1840 to 1900 |
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Integrated Landscapes--1840 to 1930 |
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Classic Landscapes--1920 to 1990 |
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The Landscape of American Society--1970 to 1990 |
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75 | (16) |
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Portraiture Prior to 1840 |
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Early Photographic Portraiture |
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Expressive Portraits--1870s to 1920s |
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Portraiture for the Printed Page |
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The Portrait as an Allegorical Document |
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Dematerialization and the Computer Portrait |
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91 | (14) |
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The Photographic Halftone Process |
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Photojournalist Crusades--1868 to 1924 |
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Newspapers and Photographs |
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Smaller Cameras, Smaller World |
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Photojournalism in Europe--1925 to 1934 |
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The Decline and Resurrection of Life |
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Color Reproduction in Photographic Journals |
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New Technologies--1960 to 1990 |
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8 Alfred Stieglitz and the Photo-Secession |
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105 | (14) |
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Snapshooters, Scientists, and "Artists"--1864 to 1890 |
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Stieglitz's Early Years--1881 to 1890 |
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Stieglitz and the Camera Club--1890 to 1902 |
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The Photo-Secession--1902 to 1917 |
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Edward Steichen and Gertrude Kasebier |
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The Little Galleries of the Photo-Secession and "291" |
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The Buffalo and Armory Exhibitions, Modern Art, and Dada |
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Stieglitz's Later Years--1917 to 1946 |
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9 Farm Security Administration (FSA) |
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119 | (14) |
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Economic Politics of the Depression |
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Economic Rehabilitation Programs and the Formation of the FSA |
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Roy Stryker and the Formation of the Photographic Corps |
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Assembling the FSA Photographic Corps |
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The Twilight of the FSA Historical Section |
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133 | (12) |
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The Search for Photographic Form |
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New Ideals--Design for the Printed Page |
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Design in 35-mm Photography--1930s to 1960s |
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Controlled Design: Fabrications and Computer Assistance--1980 to 1990 |
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11 Photography and Combat |
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145 | (16) |
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Roger Fenton, Felice Beato, and the Crimean War--1855 |
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Technology and Change--1880 to 1947 |
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War Photography and Propaganda |
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American War Coverage and Life Magazine |
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Robert Capa and the MAGNUM Picture Agency |
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David Douglas Duncan and the Korean War |
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The Vietnam Conflict and Other Undeclared Wars |
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161 | (16) |
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Early Photographic "Artifice" |
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Combination and Collaged Imagery |
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Oscar Gustave Rejlander and Henry Peach Robinson |
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Divorce from Reality--The Pictorialists |
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Photomontage and the Collapse of Photographic Space |
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Manipulation of Exposure--Edgerton and Mili |
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Surreal Manipulated Visions |
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Nineteenth Century Techniques, Twentieth Century Interpretations |
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Fabricated to be Photographed |
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Computer-based Manipulation |
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| Notes |
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177 | (4) |
| Bibliography |
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181 | (1) |
| Photographic Credits |
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182 | (3) |
| Index |
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185 | |
Other versions by this Author
