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
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 17, 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