Clarke, Graham

The Photograph

Clarke, G. (1997) The photograph. Oxford: OUP


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QuotesContentsIndex


Quotes

text


Contents

What is a Photograph?

How Do We Read a Photograph?

Photography and the Nineteenth Century

Landscape in Photography

The City in Photography

The Portrait in Photography

The Body in Photography

Documentary Photography

The Photograph as Fine Art

The Photograph Manipulated

The Cabinet of Infinite Curiosities

Notes

List of Illustrations

Bibliographic Essay

Timeline

Glossary

Index


Index A-C

A

Abbas 156

Abbott, B. So, 87, 89

Columbus Circle 87, 88, 89

abstraction 187

Adams, A. 53, 62, 175,177,185

JV!oon and Mount N!cKinley 65, 67

Picket Fence 173,174

Adams, R.:

Garden ojthe Gods 66

Los Angeles, Spring 66, 68

Adamson, R. 106

Baiting the Line rn7-8

Agee,]. 153

albumen print 19, 226

Aldrin, B. 218

Alindcr,J. 156

Center of the United States 62

Plymouth Rock 6z

amateur/professional photography, distinction

between 18

ambrorype 226

Annan, T. 79, 147

Anon: U11titledlllustrntio11fro111 Picture Post

135,135-7

Arbus, D. 22, 35, III, n7, 155,203; city photography 85, 98; Family on Their Lawn One Sunday; Identical Twins 28-30, 142; manipulated photography 195; Naked Man Being a Woman r19; social identity

Archer, F. S. 17

Arnold, E. 145,156

art photography 19, 20, 31, 43

Ash-Can School 80

Atget, E. 77, 87, 89-90, 167, r97

4r Rue Broca 90, 91

Atkins, A. 51

Avedon, R. n7, r2r; Self-Portrait 120

B

Bacon, F. 109

Baldwin,]. r2r

Barbari: Birds-eye View of Venice 75

Barbey, B.: Left-Wing Riot Protesting the Building of NnritoAirport, Tokyo 157

Barbizan School 55

Barbot, E. 91

Barker, R.: No·vel View of the City and Castle of Edinburgh 75

Barthes, R. 19, 23, 25, 30, 36, 39, 2n; Camera Lucida 32

Battista della Porta, G : Natural Magic 12

Baudelaire, C. P 21, 27

Bayard, H. 49, 89; Hat, The 46; Overturned Pot 46

Bayer, H. 189, 203; Lonely Metropolitnn 201,202

Beato, F. 48

Beaton, C. rn9

Beljou, S. 1 40

Bellmer, H. 142

La Poupie (The Doll) 136-7

Bellocq, J. 135,136,1 39; Prostitute, New Orleans 134

Benedict Jones, L. 140

Benjamin, W. 15, 105, 204

Berger,]. 20,123, 2r3 1 220; Ways of Seeing 138

Berman, Z. 183, 185l Untitled 182-3

Betjeman,J . 109

Bierstadt, A 59

Bing, 1. 91

Bischof, W. 145,156,157

Blumenfeld, E. 200

body in photography 123-43; action/motion 127, 129; brothel photography 133-5; female body 137, 141; female passivity 124,138; gender ideology 14 3; homo-erotic photography 139; male body 39; male gaze 132,133,136,140; nudes 123, 130, 143; photographer/subject relationship 124; pictorialism 125; pornographv 123,124; power 133; scopophilia (pleasure of looking) 130, 133; sexual difference and identity I30, 132; sexual fantasy and desire 124-5, 130-r, 137,139; stereotyping of female identity 125, 127,n 9,131; voyeurism/fetishism 133

Bolranski, C. 204; Monuments (Les Eirfants de Dijon) 205

Bourke White, i’vl. 148,149,159; Sharecropper’s Home 149-50

Bourne, S. 48

Brady, M. ro3, ro4, 159; General Robert Potter and Staff 1-5; John Henry. A We/I-Remembered Servant 35-6

Bragaglia, A. G. 197

Brandt, B. 69, 98, ro9-ro, 143,197; Northumberland Miner at His Evening Meal ,64, 165; Rene Magrittewith His Picture ‘The Great War’no

Braque, G. 187

brass cameras 17

Brassa’i (Gyula Halasz) 77, 84, 85, 91, 92,133,215; Paris After Dark, No. 27 92, 93; Secret Life of Paris in the I93os 92

Brigman, A. 51

brothel photography 133-5

Brownie, see Kodak

Bruguiere, F. 185

Buffo n,B .- L., Comte de 45

Burgin, V. 27, I93, 205; Office at Night 20-2, 204; Thinking Photography 204

Burrows, L. 165

C

Caldwell, E. 149

Caldwell, T. r49

Callahan, H. r79, 181-2, 185,193; KansasCity180-I; Lake M ichiga11 181; New Co/or (Photographs 1978-87) 180

calotypes 16, 18-19, 41, 194-5, 226

camera lucida 12, 15, 55, 226

camera obscura 12-13, 226

Camera with a Purpose 149

Camera Work 167

Cameron,]. M. 47, 51, 105-7, 108; MmyHillierPortmitro5, ro7; Sir]ohn Herschel 105, J06

Camp, M. Du 48

canon of photography 23

Capa, C. 156

Capa, R. 145, 156; Death ofa Loyalist Soldier r57

Carroll, L. 53

carte-de-visite 50, 226

Cartier-Bresson, H. 145,156,157,197, 207-9; Madrid, Spain 207,208; Paris, Gare St Lazare 208, 209

categorization 19

Chevalier, C.: view of Paris 75

chronology 222-5

chronophorographs 197

Church, F. E. 59

city photography 75-99; Glasgow 79; isolation/loneliness 85, 86; London 75, 77, 86, 98; New York 75-89 passim, 95-7; panoramas 75-6, 83; Paris 75, 77, 89-97 passim; street figures 85, 96; street-level 76-7, 79, So, 92

city scapes 45

Clift, W. 73

Coburn,A . L. 18,7 8, So,9 8,r 67,1 87-8; Vortograph I88

codes and conventions 33-4

collages 194, 197-8, 200, 203

collodion process q, 227

colour 23-4

combination printing 226

commercialization 18

Communa,·d,in their Coffins (anonymous) 146

composite photography 43

Comte, A. 45

connotative 39, 42, 2n

Constable,]. 56

Constructivism 189, r9r, 192,194

Courbet, G. 167

Crane, S. 80; Maggie 47

Crimean \/1/ar 45

Cross, A.: BarbicanAfier the Blitz 75

Cubism nr, 182, 187, r88

cultural types 41

Cunningham, I.: Unmade Bed,74, 175

Curtis, E. 163, 164

Cuvier, G. 45


D-L

D

da Vinci, L. r2

Dadaism n 1,187,194, I96, 197, 199, 215

Daguerre, L.-J.-M. 15-17, 75, 77; Boule-vard du Temple, Paris 13, 15; Interieur d’un Cabinet Curiositi (Photogmpher Studio) I3, 221; Shells and Fossils 45, 46

daguerreotype IJ, 15, 18-19, 29, ro3-4, 218,226

Damisch, I I. 24

Dance, L.: London.from the Nat West Tower75

Darwin, C. ro5

Davidson, B. 145, 156; East 100th Street 79

Davies, J, Agecroft Power Station, Pendlebury, Salford, Greater Manchester 69, 70; Drurridge Bay No. 3 Northumberland 69

Davis, S.: Lucky Strike215

Davison, G.: Onion Field, Mersea Island, Essex 53

Davy, Sir H. 12

De Zayas, M. 167

definition of photograph n-25; art photography 19, 20; calot:ype 16, 18-19

can1era lucida 12, 15; can1era obscura 12, 13

colour 23-4; commerciali7.ation 18; daguerreotype IJ, 15, 18-19; light 11; negative/positive process 15, 16; photogenic drawings 16; portrait photography 15; power 11; size/shape 21-2; surface and depth 21, 23; technology advancement r7

Delacroix, E. 13, 20, 124, 167

Delamotte, P. H. 98

Delano,]. 165

Demoiselles d’A-vignon 37

Dennett, T.: Industrialization IJ9-40

denotative 30-1, 39,421 211

depth 21

Dickens, C. 76

digital processes 19

diorama 75

documentary photography 19, 23, 31, 64, 79, 80, 87, 145-65; Africa 156, 158; British life in 1930s 165; censorship 159; codes and symbols 150; Europe 156; Falklands War 159; London Blitz 158; Magnum 156-7; mobility and speed 156,159; photo-journalism q8; South America and Asia r56, 158; space r50; symbolism 155; technology 159; United States 147-56 passim, 164; Vietnam War 159-63

Dos Passos, J.: Manhattan Transfer 80

Dreiser, T. So

Drrikol, F. 124 -5, 143

Duchamp, M. 195; Large Glass 175; Nude Descending a Staircase 197

Durand, A. B.: Kindred Spirits 61

Durieu, E. 124

E

Eastlakc, Lady E. 47, 53

Eastman, G. 18

Eco, U.39

Edwards,]. P. 174

Eggleston, VV. 185

Black Bayou Plantation 18_,

El Lissitzky (Eliezer Markowich) 189, 197

Comtructor 189, 191, 204

Film 1111d Poto exhibition 191

electronic processes 19, 218

Eliot, T. S. 25,201

Emerson, P.H. 51-3, 167,185; Gathering WaterLi!lies52; Life and Land,cape on the Nor/oil, Broad, 52; Naturalistic Photography 52

Emerson, R. \1V.:Nat11re63

Erwitt, E. 156

Eugene, F. 125

Evans, Sir F. 53

Evans, W. 148; American Photogmphs 153,155; Graveyard, Houses and Steel Mill, Bethlehem 154; Let Us Now Praise Famous Men 153, 154; Many Are Called86, 87, n4

exhihitionisn1 85

Existentialism 202

Expressionism III, 177

F

F.64 Group 65, 66,174, 175, 182

Faurer, L.: Goggle-Eyer/Man 96, 97

Fenton, R. 45, 53, 58, 60, 67,159; city photography 46-7, 98; Fruit -18; landscape images 46-7; Mill at Hurst Green 56-7, 69; still lifes 46; Terrace and Park at HarewoodH ous,57

fine art photography 20, 41, 53, 167-85; Americaqo; colourr79, 180-1; form 172; galleries 172; intensity and surprise 174; light 181; movement and reflection 179; New York 175-7; pure photography 167-9, 172; straight photography 168; studio 173; surface textures 177,179

Fox, A.7r

Frank, R. 156,195; Parade-Hoboken, New jersey 155; The Americnm 67, 15-1, 155

Freed, L. 145, 156

Freud, S. 133, 202

Friedlander, L. 62, 1+3, 155, 203; Albuquerque 38-9; Route 9 WNew York 37-8

Frith, F. +8, 58, 73, 75; Entrance to the Great Temple, Luxor 49-50; Visits to the Middle East 48

FSA (Farm Security Administration) 148, 149, 153, r61, 165

Futurism 187,192

G

Gainsborough, T. 56, ro3

Gardner, A. 36, 159

Sharpshooter:, Last Stand 163

gelatin drv plate 17

gelatin-silver print 19

Gilpin, \f\l. 56

Glinn, B. 156

Gloeden,C ount von 125

Godwin, F.; Forbidden Land67; Land67, 68; Reedy Loch abo·ve Stmthan 68, 69

Grav, G. Le 73

Grosz, G. 200

H

Haas, E. r45; Peeling Pai11t on Iron Bench, Kvoto 179, r8o

Haeberle, R.: People About to Be Shot r6o-1

Hamilton, R. 203; Just what is it that makes todays houses so different, so appeali11g? 202

Hanawa, G.: Object 203,204

Hardy, T. 57

Hauron, L. D. du 188

Haussmann, Baron R. 77,197, 199

Ha warden, Lady C.: Cle111mti11a Nlaude 50-1

Hawes,J.J.: Operation Under Etherr46; see also Southworth, J\.. S.

Hawthorne, N. 15, 27

Hearrfield,J. 197,203; Hurrah, the Butters Finished’ 199,200,201

Heath, S. 123-4

heliography 12,226

heliot:ype 19

Hemingway, E. 157

Herr, M.: Dispatches 161

Herschel, Sir]. 16

high-art photography 43

Hill, D. 0. 53, ro6, 107, ro8; Baiting the Line 108

Hine, L. 77,147,169,176; Bowe1y MissionBreadline 82, 83,148

Hoch,H.199; Cut with the Cake K11ife197, r98

Holmes, 0. \IV. 15, 27

homo-erotic photography 139

Hopper, E. 21, 85, 15-1; Office at Night 204

horizontal pole 76

Hung Cong (‘Nick’) Ur: Accidental Napalm Attack160

Hunt,H.44

I

idealism 42

Imes, B.: Blume and Mary Will Thomas, New Years Eve 165

Impressionism 55

J

Jabez Hughes, C. 43, 44

Jackson, W. H.: Grand Canyon oft he Colorado

60-1

James, H.: Portrait ofaLady1ro

James, \f\1. 159

Japan 217-18

Jeffrey, I.: The Photograph:A Concise History7

Johns, J. 204

Jones, C.R.: Garden Implements 46-7, -19

Jones Griffiths, P. 156, 165

Jovce, J .: Portrait oftheArtist asa Young Nian 110

K

Kafka, F. 185, 20I, 202

Kandinsky, W.: The Spiritual in Art 170

Kar, I.: Ionesco 109

Karsh, Y. IOI

Georgia O’Keejjen4-15

Kennard, P. 203

Brittan in 200

Cruise JV!is.riles 200

Defended t0De111h 200

Kertesz, A. 92, 97

JV!eudon 95, 97

0-v.:rhead Crosswalk with Clock 94, 95

Se!f-Portrait i11 the Hotel Beaux-Arts 92, 95

Kilburn, VV. E.: Great Chartist JV!eeting 011

Ke1111ingto11Co111111011146

Killip, C.: 111 Flagrante72

K lein, W. 86, 97, 98, 156

Klute133

Klutsis, G. r92

Kodacolor film 24

Kodak Brownie camera 18, 103-4, 226

Kodak print 22

Kracauer, S. 21

Kruger, B. 125-6, 127-8, 133,139

JV!y Face is Your Fortune 127, 128-9

Kubota, H. 145, 156

L

Larnarck,J. C. de 45

Land oft he Free1 49

landscape (frame) 22

landscape photography 31, 45, 55-73; Britain 56-8, 67-73; panoramas 62; picturesque 56-7; space, sense of 61, 62; United States 58-67

Lange, D. 148; Migrant Mother 51-2, 153, 213

Larrigue,J. I I. 91

Laughlin,C .J . 205

Le Secq, H. 89

Lee,R . 148; I11terior ofa Black Farmer’s House 150-,

Leger, F. 197

Leica camera 159,227

lenses 17

Lesey, M.: Wisconsi11 Death Trip 164

Levitt, H.: Untitled 98

Linked Ring Group 53,167,227

Literal photography 43

Luchas z8o


M-R

M

McCullin, D. 67-8, 98,159,163

Shellshocked Soldier 162

Maddox, R. L. 17

j\,fagnum 156-9, 207,227

j\iJan Ray 14, m, 175, 188, 197

Glass Tears 195,I 96

Le Violon d’Ingres 195

JVl.an 195

Rnyogrnms 19-1-, 195

manipulated photography 187-205

calotypc 194-5

collages/photo-montages 194, 197-8, 200,

203

Constructivism 189, 191, 192, 194

distortion 188, 197

ostranenie 193-4

photograms 194-5

psychological perspective 194-5

pure photography 187

realism 189

representation 189

space 192, 197, 203

Mapplethorpe,R . m, 139

Apollo 101,102, n6

Self-Portrait u6-17

Marchant,A . 98

Marcy,!. 197

Marlow, P.: Rhodesian Refugees in a Camp,

Zambia 219, 221

Marville, C. 77, 89

Mayne,R .98

Meade, C.R.: Portrait oJDaguerre 10-1

mechanical photography 43, 44-5

Mciselas, S. 156

Cuesta Del Plomo 2I8, 220

Mellor, D. 162

Messager,A.: JVl.es Tieux(l\lly Wishes)Ip

Meyerowitz,.T.: Broadw11y1111d West 46th Stred,

New York 89, 90, 97

Miller, L. 159

244INDEX

minian1re 22

Model, L. 30, 85, 121

modernism rr1,1 87

moderni t)’ 53

Moholy-Nagy, L. 192,194,197

Abo·ve the Shooti11g Gal/e1y 193

jealousy I93

Pai11ti11g Photography Film 192

j\tfonath, I. 101

Moore,R .: D111nfriesshire70-1

Morath, I. 145

Morris, VI/. 155

Mumford, L. 80

Murrv,J. 48

Muybridge, E. 24, 75,197; Nude Men, Motion Study 129,130

N

Nadar rn8-9

Nash, P 68-9

negative film, flexible 17-18

negative/positive photographic process 15, 16

Negre, C. 89

Organ Grinder77

Neidich, VI/.:

A111erica11 Histo1y Reinventec/164

Contra-Curtis; Early American Cover-

Ups 1􀃭7, 164

Newhall, B. n, 149

Newton, H.: 137

Newton, V\I. 47

Niepce,J. N. 13, 16; View fi·om a Wndow at Gras 12,221

nineteenth-centurv photography 41-53, 197; British culture 43-4; mechanical photography 44-5; pictorialisrn 51-2; portraiture 50-1, 53; specific locales 50; still lifes 45-6, .;8; travel photography 48-50

Ni1neteenth-Cent111y Nude (anonymous) 131

O

ostranenie 193-4

O’Sullivan, T. 36, 60, 61, 159; Desert Sand Hills Near Sink of Carson, Nevada59; Insrriptio1n Rock, New Mexico 58, 59

Owens, B. 156, 202

P

panoramas 62, 75-6, 83

Parker, 0.: Bose 23, 24-5

Parr,M.; Glasto11b111y Tor71; New Brighton series 71, 72

Penn, I.: Cigarette No.37 214-15

perspective 22

Petzval lens 17, 227

photo-montage 194, 197-8, 200, 203

photogenic dra,vings 1-1, 16, 19,188

photograms 194-5, 227

photogravure 19,227

physionotrace IOJ

Picasso, P 187

pictorialis1n 51-2, 125

picturesque 56-7, 58

pinhole camera 53

Pinter, H. rn9

platinotype 227

Poe, E. A. 15, 27

polaroid 19, 218, 227

Pollock,J. 65

Ponting, H. G. 48

Porter, E. 177, 179; Pool in a Brook q8-9

portrait (frame) 22

portrait photography 15, 85, rnr-21; action 105; character revelation 101; covers ro3; daguerreotype rn3-4; difference rn5, rn-12, n3-r4; identity u5, 121; interactions 102; literal nature no-n; mirror-in1age 103; non-studio-based rn6-8; oil painting, equation with rn3; representation 105,111; reversal of conventions 1q; self-portraiture rn9; sexual stereotypes in Victorian Britain rn5-6; silhouette and physionotrace IOJ; society portraiture 108-9; space ; street portraiture r12-13; studio-based rn6, rn9; symbolic motifs rn9; technology103-4

portraiture 31, 45, 50-1, 53, r88

positive/negative process, multiple IOJ

postmodernism 37, 66,185,220

Pound, E. 188

Primoli, Count G. 99

p1111ct11m 32-3, 36

pure photography 53, 167-9, 187

Q

R

Rauschenberg, R. 204

Ray-Jones, T.: Gly11deboume73

rayographs 188

reading photography 27-39; codes and conventions 33-4; connotative 30-r, 39; denotative 30-1, 39; difference 30; point of view 29

realism 23,4 2,7 9,189; see also documentary

Rejlander, 0. G. 125,188 Two Ways of L ife 43, 44

Renaissance perspective 22

representation 189

Reynolds, Sir ]. 43, rn3; Discourses 41

Riboud, M.:Japanese Photo Workshop 2r7

Riesman: Lonely Crowd 156

Riis,J.77,79; How the Other HalfL ives So,1 47

Robinson, H.P. 43, 51; FadingAway44

Roche, F. T. de la n

Rodchenko, A. M. 191-2, 197; Pioneer with a Horn 190, 192

Rodger, G. 98,145,156; Bergen-Belsen Concentration Camp 189-; KorangoNuba Tribesman, Victor ofa Wrestling Contest 158

Ronis, W. 91

Rosenfeld, P. 172

Roscnthal,J.: Marines Raising Flag: Mount Suribachi, lwojima 163

Ross,J.J.: Untitled 142-3

Rothstein, A. 148

Royal Photographic Society 20

Ruskin,]. 55


S-Z

S

Salgado, S. 145,156

Child being Weighed 208, 2ro, 2n-12

Sander, A. n3-r4

Smalltown!Vlan and Wifen4

Sarony, N. ro9

Sartre,]. P. rn9

Schneemann, C. 140

Schwitters, K. 189, 215

Sen kin, S. 192

Seymour, D. (Chim) 156

Seymour, S.: BemardBeremon at the Borghese,

Rome 132, 133

shadow 25

Shahn, B. 165

shape 22

Sheeler, C. 154

Sherman, C. n5, 119, 131-2

Untitled 130, 131-3

Untitled Film Stills n7

Untitled No. 122119-20

silhouette IOJ

Silvy, C. 50-r

Sirenson,J. 149

Siskind, A.:

Degraded Sign 177

Oil Stains on Paper 177

Peeling Paintr77

size 21-2

Smith, A : Street Life in London 85

Smith, W. E. 156, 159

‘Country Doctor’ series 165

snapshot 218

Southworth, A. S.: Operatio11 U11der Ether 146

see also Hawes,J.J.

space 22, 37, 61, 62

city photography 82

documentary photography 150

manipulated photography 192,197,203

portrait photography m

Spano, .iVI.: Street Scene 97

Spence,]. ‘.19

l11d11strialization ,39–10

square format 22

Steele-Perkins, C. 156

Steichen, E. 78, 80,125,153,172

Family efMa11 Exhibition 33, 156

Self-Portrait ro9

Stepanova, V. 192

srereograph 227

Stevens, \11/. 37

Stieglitz, A. 21, 52, 65, 81, 83-5, 147,177, 185; Camera Work 172, 187; Cityjimn Arross the Ri-ver So; city photography 81, 83, 85; Dancing Trees 170; Equivalents 170,179; fine art photography 167-70, 172, 173; Flat iron 78, 79; From the Shelton, Looking Hli,st So, 81; galleries 172; Lake George images 62; landscape photography 52, 65; Music 170; Old and New New York So; Steerage, The 168,169, 217; Torso 125, ,26, 127 291172, 187; and wife Georgia O’Keeffe n5-,7; still lifes 45-6

Stock, D. 145

Stoddart, T.: Chi/d in a Romanian lmtit11tion 212, 213

Strand, P. 21, 77, 86,169,172, 175-7; Blind Woman III, n2-13; Pa!ladian Window, JVIaine 176-7; Wall Street, New York 175-6

Stryker, R. 148

studium 32

Sudek,J.: Chair I11Jandcek’s House ,8-1

Sund, H.: Yosemite Valleyjiwn Wawona Tunnel 73

surface 21, 23

Surrealism rn, 137,187, 194-5, 215

Sutcliffe, F. JVI. 53

symbolism -I], 76,109,213

T

Tagg,]. n

Talbot, W. H. F. 16-17, 18, 43, 44, 45, 47, 19-1; camera lucida 55; city photography 98; Haystack42; Ladder, Thq2; landscape photography 72-3; Latticed Window,6; Libra,y, Thq6?; Ne!wn’., Column 77; Open Door 42, -19; Pencil efNature 17, 41; photogenic drawing 1-1; photogenic drawings 188; positive/negative process, multiple 103; Street Scene (Paris) 77

technology 17, 103-4, 159,218

Tennyson, A. Lord 47, 48, 105

Thomson,J. 45, 48, 58

Independent Shoe Black 86

Street Incidents 85

Street Life in London 85

T horeau, H. 64

Walden63

tinting 24

Trancendentalism 63

Turbeulle, D. 140

Turner, P. 7

twentieth-century photography 36

Tzara, T. 195

U

Ulmann, D. 165

U(vsses 37

V

Vandivert, \Iv. 156

Vandykn3

Edward, P rince if Wales and Lloyd George m- 12, 112

vertical pole 76

visual story 44

Voigtfander 17

Vorticism 188

W

war photography 34-6, 159-63

WasteLand37

\i\/atkins, C. 66, 73

Cape Hom near Celi lo, Oregon 62, 6-1

Cathedral Spires, Yosemite 62

Panorama ofYosemite Va!!eyji-0111 Sentinel

Dome61-3

Storm 011 Lake Tt,ho 62

Yosemite Valley: Photographic Views of the Fall and the Valley 6i

Wedgwood, T. 12

Weegee (Arthur Fellig) 30, m, 217; Murder in Hell’.< Kitchen 84, 85; NakedCityS5

Weston, B. 174

Weston, E. 21, 62, 65,174, r75, 185; Dunes, Oceano (Th,e Black Dome) 63-4, 65; Nude IJI, 172, 173; Point Lobos 64, 66

wet-plates 159, 227

White, C. 167; Chiffo11ie1; The 12-1, 125

White, M.65-6, 174;Portland IJ8-9

Whitman, Vv. 64

Wilke,I-1.140

Williams, E. 179

Williams, W. C. 92, 173-4

Wilson, R. 56

Winogrand, G. 62,156,217; Cirde Line Feny, New York 216-17; Woman with lce-Cream Cone 220, 221

wooden cameras q

Wordsworth, \IV. 76

XYZ

You Have Seen Their Faces r49

Zola,E. 147