Clarke, Graham – BAPhot References

The Photograph

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

A – B – C – D – E – F – G – H – I – J – K – L – M – N – O – P – Q – R – S – T – U – V – W – XYZ

Quotes – Contents – Index

Quotes

text

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

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