| Picture Credits |
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| Preface |
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| Introduction |
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| CHAPTER ONE |
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| The Origins of Photography (to 1839) |
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| Before Photography |
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| Technological and Artistic Forebears |
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| The Invention of "Photographies" |
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| Antoine Florence and the Question of Simultaneous Invention |
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| The Problem of Permanence: Wedgwood and Davy |
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| The "Sun Writing" of Niépce |
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| The Collaboration of Niépce and Daguerre |
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| Daguerre and the Latent Image |
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| Responses to the Announcement of the Daguerreotype |
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| Bayard's Direct Positive Process |
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| Herschel's "Photographic Specimens" |
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| Talbot's Photogenic Drawing |
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| The Politics of Invention |
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| Focus: The Stranger |
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| Philosophy and Practice: Nature's Automatic Writing |
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| CHAPTER TWO |
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| The Second Invention of Photography (1839-1854) |
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| The Second Invention |
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| Focus: Iron, Glass, and |
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| Photography |
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| Talbot and The Pencil of Nature |
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| Bayard: The Doubting Camera |
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| Photography and the Sciences |
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| The Microscope and the Telescope |
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| Biology |
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| Anthropology and Medicine |
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| Focus: Photography, Race, and Slavery |
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| Performing History? The Dr. Morton Controversy |
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| Recording Events with the Camera |
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| War and Photography |
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| Imaging War |
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| Focus: The Mexican-American War |
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| British Conflicts in Asia |
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| Expeditionary and Travel Photography |
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| Egypt and the Holy Land |
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| The Historic Monuments Commission |
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| Portraiture and the Camera |
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| Coloring the Image |
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| The Photography Studio |
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| Celebrity Photography |
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| The Firm of Southworth and Hawes |
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| The Calotype Portrait: Hill and Adamson |
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| Focus: The First Police Pictures? |
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| Photography and Fiction |
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| Philosophy and Practice: A Threat to Art? |
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| CHAPTER THREE |
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| The Expanding Domain (1854-1880) |
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| The Stereograph |
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| The Carte-de-Visite |
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| Photographic Societies, Publications, |
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| and Exchange Clubs |
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| Art and Photography |
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| Art Reproduction |
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| The Photographer and Fine Art |
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| High Art Photography |
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| Women Behind the Camera |
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| Women as Amateurs |
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| Portrait: Julia Margaret Cameron |
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| Women as Professionals |
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| War and Photography |
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| The Crimean War |
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| Roger Fenton |
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| Focus: The Valley of Death |
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| James Robertson |
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| The American Civil War |
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| The Effect of the War on Photography |
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| Portrait: Mathew Brady |
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| The Civil War and Remembrance |
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| Portrait: Alexander Gardner |
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| The War of the Triple Alliance, South America |
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| The Franco-Prussian War and the Paris Commune |
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| "Small Wars," Colonial Expansion,and Photography |
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| India |
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| China |
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| Japan |
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| Photography in the Middle East |
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| Topographical Surveys and Photography |
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| The Abyssinian Campaign, or the Maqdala Expedition |
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| Désiré Charnay and Expeditionary Photography |
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| The 49th Parallel Survey |
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| Government Surveys in the United States |
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| Photography and the Transcontinental Railway |
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| Timothy O'Sullivan and Survey Photography |
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| Preservation of the Wilderness: Yellowstone and Yosemite |
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| War and the Photography of Native Americans |
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| The Modoc War |
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| The Fort Laramie Treaty |
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| Little Big Horn |
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| Photography and Science |
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| Medical Photography |
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| Photomicrography and Astronomical Photographs |
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| Photographic Studies of Human Expression |
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| Duchenne de Boulogne |
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| Darwin |
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| Charcot |
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| Photography and the Social Sciences |
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| Ethnographic Studies and Display |
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| Orientalism |
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| "Dying Cultures" |
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| Popularizing Ethnic and Economic Types |
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| Philosophy and Practice: "Superseded by Reality" |
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| Focus: Lewis Carroll's Photographs of Children |
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| CHAPTER FOUR |
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| Photography in the Modern Age (1880-1918) |
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| The Challenge for Art Photography |
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| Naturalistic Photography |
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| Pictorialism |
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| Movements and Magazines |
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| The Photo-Secession |
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| Portrait: Alfred Stieglitz |
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| Portrait: Edward Steichen |
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| The Nude and Pictorialism |
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| Women in the Pictorialist Movement |
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| Portrait: Gertrude Käsebier |
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| Anthropological Pictorialism |
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| Non-Pictorialist Visions |
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| Pictorialism: A Conservative Avant-Garde |
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| Photography and the Modern City |
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| Social Reform Photography |
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| Portrait: Jacob Riis |
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| The Ideal City |
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| Science and Photography |
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| The Photography of Movement |
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| Focus: Photography and Futurism |
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| Photography and the Invention of Moving Pictures |
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| The X-Ray |
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| Focus: Worker Efficiency: The Gilbreths' Time and Motion Studies |
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| Photography, Social Science, and Exploration |
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| Photographing Africa |
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| Focus: The National Geographic |
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| Photographing the Pacific Paradise: Samoa |
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| Criminal Likenesses |
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| War and Photography |
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| The Spanish-American War |
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| World War I |
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| The Russian Revolution |
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| Philosophy and Practice: The Real Thing |
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| CHAPTER FIVE |
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| A New Vision (1918-1945) |
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| Revolutionary Art: The Soviet Photograph |
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| Dada and After |
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| Focus: Photomontage or Photocollage |
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| Moholy-Nagy and the Bauhaus |
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| Dada and Paris |
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| Dada and the Machine Age in New York |
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| Surrealist Photography |
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| Focus: Film and Photography |
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| Experimental Photography and Advertising |
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| Experimental Photography as Style |
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| California Modern |
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| Social Science, Social Change, and the Camera |
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| The Origins of Documentary |
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| The Farm Security Administration |
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| Portrait: Margaret Bourke-White |
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| Transforming the Social Documentary |
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| Portrait: August Sander |
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| Worker Photography |
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| Popular Science |
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| World War II |
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| Philosophy and Practice:The "Common Man" and the End of Media Utopia |
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| CHAPTER SIX |
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| Through the Lens of Culture (1945-1975) |
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| The Family of Man |
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| Cultural Relativism and Cultural Resistance |
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| Focus: Making an Icon of Revolution |
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| Latin America |
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| Brazil and Argentina |
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| Mexico |
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| Portrait: Manuel Álvarez Bravo |
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| Africa |
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| Asia |
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| India |
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| Japan |
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| Portrait: Shomei Tomatsu |
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| Focus: Photographing the Atomic Bomb |
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| The West and the Cold War |
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| Annihilation, Alienation,Abstraction: America |
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| The Americans |
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| On the Streets |
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| The Social Landscape |
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| Suburbia |
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| Technology and Media in Postwar America |
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| Color Photography and the Polaroid Process |
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| Television, Photojournalism, and National Events |
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| Photography in Art |
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| Philosophy and Practice: Photography "Born Whole" |
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| CHAPTER SEVEN |
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| Convergences (1975-2) |
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| Photography, Nature, and Science |
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| Post-Photography |
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| The End |
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| Everything Old is New Again |
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| Face Value |
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| The Predicaments of Social |
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| Concern |
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| Portrait: Sebastião Salgado |
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| The Color of Concern |
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| Neutral Vision |
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| Focus: The Cambodian Genocide |
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| Photographic Database |
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| The Look of Politics |
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| The New Social Documentary |
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| Thinking Photography |
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| The Postmodern Era |
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| Postmodernist Photography |
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| Art Photography and |
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| Photography-by-artists |
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| Blurring the Subject |
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| Feminism and Postmodern |
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| Photography |
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| Constructed Realities |
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| Focus: Culture Wars |
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| Family Pictures |
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| Extended Family |
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| Focus: Looking at Children |
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| Nature and the Body Politic |
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| Philosophy and Practice: |
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| The Passing of the |
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| Postmodern |
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| CHAPTER EIGHT |
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| Into the New Millennium |
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| Past and Present |
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| Slide Show |
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| The Medium of the Moment |
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| Photographic Practice and |
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| Globalization |
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| Global/Local 006 |
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| The Arab World |
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| Focus: China 060 |
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| Youth and Beauty |
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| Snapshot Diarists |
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| Science and Society |
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| The Animal Kingdom |
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| Platforms |
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| War and Photography |
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| Philosophy and Practice: Seeing and |
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| Being Seen |
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| Glossary |
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| Timeline |
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| Notes |
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| Bibliography |
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| Index |
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