Wolf, Sasha

Photo Work

Wolf, S. (2019) Photo Work: forty photographers on process and practice. New York: Aperture Foundation



The Questions

1. What comes first for you: the idea for a project, or individual photographs that suggest a concept?

2. What are the key elements that must be present for you when you are creating a body of work? (Social commentary, strong form, personal connection, photographic reference …)

3. Is the idea of a body of work important to you? How does it function in relation to making a great individual photograph?

4. Do you have what you might call a “photographic style”?

5. Where would you say your style falls on a continuum between completely intuitive and intellectually formulated?

6. Assuming you now shoot in what you would consider your natural voice, have you ever wished your voice was different?

7. How do you know when a body of work is finished?

8. Have you ever had a body of work that was created in the

editing process?

9. Do you associate your work with a particular genre of

photography? If yes, how would you define that genre?

10. Do you ever revisit a series that has already been exhibited or published to shoot more and add to it?

11. Do you ever revisit a series that has already been exhibited or

published and reedit it?

12. Do you create with presentation in mind, be that a gallery show or a book?

Alejandro Cartagena

I think in layers. The more layers a project has, the more possibility there is that one of those layers will relate to someone. Something like this: the project needs to be aesthetically, technically, conceptually, and historically relevant; have a personal connection; pull toward some kind of social commentary; be able to show personal and artistic vulnerability; and so on.

Q2 p.24
Kelli Connell

I strive for a complex reading of my work. It is really hard for me to take one picture and think that it is finished. So, creating layers of meaning within a single image is something that is important. And if these layers of meaning have a hierarchy …
I think that my photographs lie as documents yet tell greater truths as images

Doug DuBois

I’ll never forget seeing the first US iteration of Gerhard Richter’s Atlas

Intro p.61

Bettina Lockemann, a very smart photographer and scholar from Germany, wrote a quite accessible essay with the intimidating title “A Phenomenological Approach to the Photobook.” She borrows and expands upon Allan Sekula’s distinction between a photographic series, where images relate to each other in terms of themes and variations. but do not demand a specific order or number of images to articulate the idea of the work, and a sequence, which specifies an order and a number of images to fully engage the idea(s) of the work.

Q3 p. 63

Todd Hido

Yes, having a body of work is important. But I have a very simple policy regarding my photographs: “All killer, no filler.” Each and every image that I make (whether it is a stand-alone or made to exist within a series) will not see the light of day unless it meets my very stringent criteria, which is that each picture needs to be able to stand by itself.

Q3 p, 102

My style is fundamentally intuitive. I’m not so sure if I trust the idea of an intellectual construct of a style. For me, style is such a personal and spontaneous thing-when you formulate it in advance, instead of allowing it to occur organically over time, it can become thin and flimsy.

Q5 p.103

That [creating a body of work through editing the archive] is an excellent question because of the serial nature of photography. As photographers, we go out and shoot make new images, gather and collect and obsessively repeat the same motions over and over again.

Q8 p. 104

Reconsidering a series with the benefit of the passage of time enriches the existing images beautifully. Stephen Shore’s expansion of Uncommon Places [1982, 2004, 2015] and Rineke Dijkstra’s recent WO MEN [2017] are two excellent examples of this.

Q11 p. 105

There are three parts of photography: shooting, selecting, and presenting. They are all equally important, but I never take a picture thinking about how it is going to hang on a wall. When I get to the organization and selection of images, at that point, I absolutely do that part with presentation in mind.

You ask about photobooks as well, and though I’ve had some gallery and museum show installations of which I am incredibly proud, for me the photobook is the purest form of presentation.

Q12 p. 105
Justine Kurland

[On ‘natural voice’] I distrust the word natural, especially in relation to photography. One of photography’s most insidious characteristics is how it tends to naturalize what it describes as fact. I believe in nurture before nature. My education came through John Szarkowski’s canon of mostly white men, their syntax and grammar. Adrienne Rich describes the problem and inevitability of speaking in the language of the oppressor in her essay “When We Dead Awaken.” I both love and reject my voice.

Q6 p.121

Andrew Moore

It’s necessary in order to create a broad emotional spectrum as we well as offer the viewer a sense of totality or completeness of vision. But within a body of work there must exist a few “great” pictures that can summarize the whole project.

Q3 p.144

I see my work as a hybrid of fine art documentary, and journalism, in that I am blending both narrative and formal modes of picturemaking. In an art historical context I see myself as a post-documentarian color photographer, bridging the gap between fact-oriented objective photography and more subjective and digitally processed image creation.

Q9 p. 145
Kristine Potter

For me, it is increasingly important to avoid treating my initial concepts as a formula or something to illustrate. These ideas are necessarily loose and the magic usually happens at the margins.

Q1 p. 172

Arguably, a great individual photograph is always the endeavor. For me, it is the thrill of using the camera in the real world and trying to make all the elements work in a single instant. But context affects how that photograph works in the world, or for the viewer, and putting a box (even a nuanced one) around a group of photos gives them a way to influence and complicate one another. As with most things, I resist overexplaining my work.

Q3 p. 172

“Subjective documentary” is a phrase that gets used a lot around my work, and I suppose it comes close. Although, I can just as easily argue that the term is redundant. I feel as though I fit in among the grayer spaces of defined genres: I often employ a documentary language, I’m highly influenced by what some call Lyric Documentary (though I’m probably more conceptually driven than those artists). And I am increasingly comfortable with highly orchestrated pictures. Do we have a term for that yet?

Q9 p. 174
Richard Renaldi

I don’t think my work is any one thing. From time to time, when asked to comment on the genre my work fits into, I’ll have look on the internet to refresh my memory regarding how many genres are actually out there. According to a website I found, Top 15 Genres of Photography That You Need to Know, I shoot pretty much in every genre except “war” and “sports.” Wikipedia has an even more extensive lists of genres, many of which I have never heard of, such as “femto-photography” or “tele-snaps.” They sound intriguing.

Q9 p. 184
Sasha Rudensky

I want to simultaneously engage with indexicality and performance, truth and illusion, social document and fantasy, without the need to assent to a binary way of thinking.

Q5 p. 190
Brian Schutmaat

[On ‘natural voice’] This is a really fascinating question. I’m not sure any photographer really has a natural voice. Photographers train themselves to follow their tastes and visual interests, and so much influence is funneled through every click of the shutter that it’s hard to say what comes naturally and what is learned or imitated. I also don’t think our photographic voices and styles are rigid and immutable. I shot large-format for years, but then I grew tired of how static my pictures were. I wanted more gesture and movement so I did a short project shot loosely with a hand held camera, which marked a shift in my voice. Now I’m back to working on slowly composed large-format shots. Other artists and creative people do this as well. Bob Dylan changed his literal voice from one album to the next to save himself from boredom and to defy expectation. Experimenting is fun.

Q6 p. 203

Manjari Sharma

All of my projects stem from a personal connection, which I follow through with a visual strategy that echoes that connection. I’ll have the germ of an idea, but then to feed it and make it robust, I have to act on it quickly. One of my favorite quotes is from John Baldessari: “You have to be possessed, which you cannot will.” Ideas come and go all the time, but the ones that engulf you, sculpt you and refine your practice.

Q2 p. 208
Vanessa Winship

We all see things through our own prisms, so what I see and think I’m saying isn’t necessarily the same as what you might see. Even then, it’s not possible to describe in words-that’s the point. Pictures aren’t words, and they function differently, viscerally mostly.

Q8 p. 238

When I’m working toward making a book, I’m attempting to say something with the pictures, whereby one image speaks with or to another. If you’re lucky or skilled you can create a whole volley of pictures that together begin to almost make sentences. It’s like trying to describe music in words-how does one manage to do this, when music is so visceral? Words cannot begin to fulfil I what sounds feel like, and pictures are the same. Some are totally silent, and some are noisy; some draw you in slowly and some you see straight away. So if you consider a sequence of images as a score, then you can begin to figure out the best way to go. It isn’t necessarily a narrative as such, and it is often necessarily fragmentary.

Q12 p. 239


Questionnaire 6

Introduction 9

Robert Adams 12

Dawoud Bey 17

Alejandro Cartagena 22

Elinor Carucci 29

John Chiara 33

Kelli Connell 37

Lois Conner 43

Matthew Connors 49

Sian Davey 55

Doug DuBois 60

John Edmonds 68

LaToya Ruby Frazier 73

Paul Graham 78

Katy Grannan 83

Gregory Halpern 87

Curran Hatleberg 94

Todd Hido 101

Rinko Kawauchi 106

Peter Kayafas 111

Justine Kurland 118

Gillian Laub 124

John Lehr 130

Dana Lixenberg 136

Andrew Moore 143

Abelardo Morell 147

Zora Murff 151

Catherine Opie 155

Ed Panar 159

Matthew Pillsbury 164

Kristine Potter 170

Gus Powell 176

Richard Renaldi 181

Sasha Rudensky 186

Lise Sarfati 194

Bryan Schutmaat 200

Manjari Sharma 206

Dayanita Singh 213

Tiffany Smith 218

Alec Soth 224

Mark Steinmetz 229

Vanessa Winship 235

Index 243

Acknowledgments 253

Colophon 255

Index A-C


A (Halpern), 87, 88

Abelardo Morell (Morell), 147

Abramovic, Marina, 207

Academie des Beaux-Arts, Paris, 195

ActaEst (Sarfati), 195

Adams, Ansel, 16

Adams, Robert,

10, 12-16, 82, 88, 90,225

Agee, James, 111

Agfa Click III, 213

Agfa Rangefmder, 61

Alice’s Adventures in Wonderland

(Morell), 147

All the Days and Nights (DuBois),


Alvares Bravo, Manuel, 150

American Academy of Arts and

Letters, 13

American Images (Lixenberg), 140

American Photographs (Evans),

43,46, 81,189

Americans, The (Frank),

81, 83, 90, 95,101,131,189

Ametsuchi (Kawauchi), 107,110

And From the Coaltips a Tree Will Rise

(Frazier), 7 3

And Time Folds (Winship), 235

Angel City West(Steinmetz), 229,230

Animals, The (Winogrand), 230

Animals That Saw Me and Animals That Saw Me: Volume Two (Panar), 159

Another Girl, Another Planet (Kurland), 119

April Flowers (Panar), 159

Arbus, Diane, 37,49, 82, 83,137,147,


Argus C3 rangefmder, 17

Artful Edit, The (Bell), 65

Atget, Eugene,46, 165

Atlas (Richter), 61

At No Point In Between (Murff), 151,153,154

Austin, Texas (Sarfati), 195

Avedon, Richard, 125,181


Baldessari, John, 208

Baldwin, James, 76

Ballad o f Sexual Dependency,

The (Goldin), 29

Baltz, Lewis, 33

Barnhart, Richard, 44

Beanery, The (Kienholz), 137

Beauty in Photography: Essays in

Defense of Traditional Values (Adams), 10, 13

Before the War (Cartagena), 23, 27

Beijing: Contemporary and Imperial (Conner),43


Bey, Dawoud, 17-21

Bezalel Academy of Arts and Design,

Jerusalem, 29

Biggie Smalls, 137, 140

Billingham, Richard, 91

Birmingham Project, The (Bey), 17

Black Threads from Meng Chiao (Kurland), 119

Blake, Nayland, 121

Blisner, IL (Shea), 151

Blue Alabama (Moore), 143

Bogard, Tony, 138

Book of Books,A (Morell), 147

Boulevard (Grannan), 83, 86

Bourgeois, Louise, 55

Brassa’i, 229,231

Bright Black World (Hido), 101,105

Broken Manual (Soth), 225

Brown, Peter, 201

Burg (Tillmans), 159

Bush, George W., 227


Cage, John, 89

Cahun, Claude, 40

California (Chiara), 33, 36

California College of the Arts, 33,87,101

Camera in a Room,A (Morell), 147

Camera Obscura (Morell), 147,149,150

Canon, 29, 95,107,111,171,225

Canon AE-1, 95,225

Canon Canonet QL17, 111

Canon F-1, 107

Canon Rebel X, 171

Carnegie International (Carnegie

Museum of Art exhibition, Pittsburgh), 101,216

Carpoolers (Cartagena), 23, 27

Cartagena, Alejandro, 22-28

Cartier-Bresson, Henri, 61,147,235

Carucci, Elinor, 29-32

Chiara, John, 33-36

Chicago Project, The (Bey), 17

City Stages (Pillsbury), 165,168

Clarence John Laughlin: The Personal Eye,143

Clark, Larry, 37, 73

Class Pictures (Bey), 17, 21

Closer(Carucci), 29, 31, 32

Coltrane, John, 148

Columbia College Chicago, 17

Company of Strangers, The (Powell), 17 7

Confederate Moons (Halpern), 87, 90

Connell, Kelli, 37-42, 207

Conner, Lois, 43-48

Connors, Matthew,49-54

Conversations: Walter Murch and the

Art of Editing Film, The, 65

Cooper Union, 95

Corcoran School of the Arts and


Corrections (Murff), 151,153,154

Cranbrook Academy of Art, 159

Craycraft, Anna, 122

Crewdson, Gregory, 190

Crisis (Carucci), 32

Cuba (Moore), 143,146

Cui Cui (Kawauchi), 109,110



Daignault, Cynthia, 95

Darshan (Sharma), 207,209,211,212

Davey, Moyra, 122

Davey, Sian, 55-59

Davidson, Bruce, 177

Davis, Miles, 19

Dawoud Bey on Photographing People

and Communities, 17

Dawoud Bey: Portraits 1975-1995, 17

Dawoud Bey: Seeing Deeply, 17

De Burgemeester/The Mayor

(Lixenberg), 137

DeCarava, Roy, 17,125

Decisive Moment, The

(Cartier-Bresson), 147

DeFeo, Jay, 122

Deneuve, Catherine, 165

Detroit Disassembled (Moore), 143

Diane Arbus (Museum of Modern Art

exhibition), 147

DianeArbus: An Aperture Monograph,

37,49,137, 171,195

Diary of a Dancer (Carucci), 29, 31

diCorcia, Philip-Lorca, 69,190

Dijkstra, Rineke, 105

Dirt Meridian (Moore), 143

documentary style,


Double Life (Connell),


Draft No. 4: On the Writing Process

(McPhee), 65

DuBois, Doug, 60-67

Durer, Albrecht, 150

Dylan, Bob, 203


East of the Sun, West of the Moon

(Halpern), 87

Edinboro University, Pennsylvania, 73

Edmonds, John, 68-72

Eggleston, William, 37, 81, 82, 91

Emmet,Jessie, and Virginia (Mann), 151

Empty and Full (Opie), 155

Epstein, Mitch, 65

Evans, Walker, 43, 46, 81, 91, 111, 162, 189, 204, 227, 230, 235

Excerpts from Silver Meadows (Hido), 101

Exiles (Koudelka), 187

Export, Valie, 122


Fade Like a Sigh (Murff and Young),


Falling Asleep (Panar), 159

Fall River Boys (Renaldi), 181


17 7,179

Family of Man, The (Steichen),

13, 83,17 7

Fashion Magazine: Austin, Texas

(Sarfati), 195

Faulkner, William, 52

Figure and Ground (Renal di), 181, 185

File Room (Singh), 216

Fire in Cairo (Connors), 49, 52

Fitzgerald, F. Scott, 65

Flowers for Usa (Morell), 147,149

Francesca Woodman: Photographic Works,37

Frank, Robert, 81, 83, 90, 95, 101, 131, 189, 213, 230

Frazier, LaToya Ruby, 7 3-7 7, 122

Friedlander, Lee, 37,230

From the Missouri West (Adams), 13

Fulford,Jason, 191


Genera/Assembly (Connors), 52

Girl Pictures, 1997-2002 (Kurland),


Girod, Francis, 165

Glass, Philip, 149

Go Away Closer(Singh), 216

Goicolea, Anthony, 40

Goldberg, Jim, 65

Golden Palms (Panar), 159

“Good Country People” (O’Connor), 50

Good Goddamn (Schutmaat), 201

Governors Island (Moore, with

Kereszi), 143

Gowin, Emmet, 13, 33

Graham, Paul, 51, 78-82

Grannan, Katy, 83-86

Grays the Mountain Sends

(Schutmaat), 201, 204

Greater Atlanta (Steinmetz), 229, 233

Guide to Infrastructure and Corruption,

A (Cartagena), 23

Gypsies (Koudelka), 119


Half Past Autumn: A Retrospective

(Parks), 73

Halo (Kawauchi), 107, 108, 110

Halpern, Gregory, 87-93

Hampshire College, 61

Hanabi (Kawauchi), 107, 108, 109, 110

Hanako (Kawauchi), 107

Harlem, USA (Bey), 17, 18

Harlem on My Mind (Metropolitan

Museum of Art exhibition), 17

Hartford Art School, University of

Hartford, Connecticut, 201

Harvard Medical School, 83

Harvard Works Because We Do

(Halpern), 87, 92

Hatleberg, Curran, 94-100

Hayes, Sharon, 122

Headshots (Cartagena), 23

Hemingway, Ernest, 232

Hido, Todd, 101-105

Highway Kind (Kurland), 119

Holiday, Billie, 85

House Hunting (Hido), 101, 103

Hubbard, Katherine, 122

Hughes, Langston, 17

Hustlers (diCorcia), 69

Huxtables, Mom, and Me (Frazier), 75


I Know How F uriously Your Heart Is

Beating (Soth), 225

I Want Your Love (Renaldi), 181

Illuminance (Kawauchi), 107

Immediate Family (Mann), 107

Imperial Courts, 1993-2015 (Lixenberg),

137, 138, 140, 141, 142

In and Around the Home (Opie), 155

In front of a nightclub (Wall), 81

In the American West (Avedon), 181

Indiana University of Pennsylvania,


In-Public (collective), 177

Inside Havana (Moore), 143, 146

In the Street(Levitt, with Agee and Loeb), 111

In the Vicinity (Panar), 159

Intimate Distance: Twenty-Five Years of Photographs, A Chronological Album (Hido), 101

Island Position, The (Lehr), 131, 134

Islands of the Blest (Schutmaat), 201


Jacobson, Kiba, 37, 38

Jane magazine, 138

Jeffersonville, Indiana (Lixenberg), 137, 138, 141


Kawauchi, Rinko, 106-10

Kayafas, Peter, 111-17

Keeping an Eye on the World (Opie),


Kelli Connell: Double Life, 37

Kent, Sister Carita, 89

Kienholz, Edward, 137

Kirk, Roland, 17 7

Kismaric, Carole, 229

Kodak FunSaver, 201

Kodak Instamatic 110, 131, 159

Kodak Instamatic 124, 83

Kodak Portra, 40

Kodak Retina, 155

Konica Auto reflex, 187

Koudelka, Josef, 119, 187

Kurland, Justine, 118-23


Lange, Dorothea, 14

Last Days of Shishmaref, The

(Lixenberg), 137,138

Last Days ofW, The (Soth), 227

Laub, Gillian, 124-29

Laughlin, Clarencelohn, 143

LeBonPlaisir(film), 165

Lehr, John, 130-35

Leica MS, 195

Leonard, Zoe, 122

Let Us Now Praise Famous Men

(Evans and Agee), 111

Leviathan (Sensory Ethnography

Lab film), 91

Levitt, Helen, 111

Lewis and Clark, 10

Le Witt, Sol, 45

Life in aBox(Conner), 43, 46

Life magazine, 83

Lines of My Hand, The (Frank), 90, 213

Lipper, Susan, 122

“Little Ladies Museum” (Singh), 216

Lixenberg, Dana, 136-42

Lockemann, Bettina, 63

Loeb, Janice, 111

Lonely Ones, The (Powell), 177,179

Lonely Ones, The (Steig), 179

Looking/or Alice (Davey), 55, 59

Lost Coast (Hatleberg), 95, 98

Lost, Omaha (Murff ), 151

Lotus Leaves (Conner), 43



Making History (Moore), 143

Mamiya 7 camera, 55

Man and Machine (Cartier-Bresson),


Manet, Edouard, 150

Manhattan Sunday (Renaldi),

181, 182, 184

Manifest (Potter), 171, 172, 174

Mann, Sally, 107, 151

Mapplethorpe, Robert, 219

Marina Abramovic: The Artist Is

Present (Museum of Modern Art

exhibition), 207

Martha (Davey), 55, 56

Martin, Agnes, 150

Maryland Institute College of Art, 131

Masina, Giulietta, 177

Massachusetts College of Art

and Design, 49, 111

McCall, Christopher, 159

McLachlan, Sarah, 207

McPhee, John, 65

McPhee, Laura, 65

Merry Cemetery of Sapanta, The

(Kayafas), 111

Midlife (Carucci), 29

Miller, Henry, 231

Minolta, 23, 49, 219

Minolta X-700, 49, 219

Miranda 35 mm SLR, 13

Mitchell, Joan, 150

Model American (Grannan), 83

Modernist, The (Opie), 157

Modersohn-Becker, Paula, 150

Montgomery, Jennifer, 122

Moore, Andrew, 143-46

Moore, Marianne, 180

Morell, Abelardo, 147-50, 165

Morris Hambourg, Maria, 111, 165

Mother(Carucci), 29, 31

Motion and Document, Sequence

and Time: Eadweard Muybridge and

Contemporary Amen:can Photography

(International Center of Photography

exhibition), 49

Murch, Walter, 65

Murff, Zora, 151-54

Museum Bhavan (Singh), 213, 216, 217

“My Favorite Things” (Coltrane), 148

My Last Day at Seventeen (DuBois),

61, 62, 66

Myself MonaAhmed (Singh), 216


Nate and Me (Pillsbury), 168, 169

National Institute of Design,

Ahmedabad, India, 213

Nemerov, Alexander, 105

New Life, The(Sarfati), 195

New Photography, 165

New York Times Magazine, 126

NIAGARA (Soth), 225

Nikkormat FT3, 155

Nikon D3100, 151

Nikon F, 181

Nikon FE,33

Nikon FM, 101

Nikon FM2, 137

Nikon FMlO, 73, 207

Nikon School, San Diego, 155

Nine, The (Grannan), 83

Ninety-Nine, The (Grannan), 83, 86

Noland, Nathan, 168

Nothing Changes If Nothing Changes

(Panar), 159

Notion of Family, The (Frazier), 73, 75


0 Public Road! Photographs of America

(Kayafas), 111

Oberlin College, 177, 179

O’Connor, Flannery, 15, 16, 50

OhMan(Sarfati), 195,197

Old Joy (Kurland), 119

Old Man and the Sea, The (Hemingway ), 232

Olympus OM-2, 79

Omaha Sketchbook (Halpern), 87

Ondaatje, Michael, 65

On Holly wood (Sarfati), 197

Opie, Catherine, 155-58

Our Lives and Our Children:

Photographs Ta ken Near the Rocky Flats Nuclear Weapons Plant 1979-

1983 (Adams), 13

Outskirts (Hido), 103


Panar, Ed, 159-63

Paris in my time (Steinmetz), 229

Parlato, Ahndraya, 87

Parsons School of Design, 137, 207

Past K-Ville (Steinmetz), 229

Penn, Irving, 150

Pentax 67, 40

Perkins, Maxwell, 65

“A Phenomenological Approach to the

Photobook” (Lockemann), 63

Phillips, Sandra S. “Sandy;’ 111

Photographer’s Playbook, The

(Halpern), 87

Photographs 1947-1977(Avedon), 125

Pictures for Charis (Connell),

37, 40, 41, 42

Pictures from Home (Sultan), 37

Picturing People (Bey), 17

Pillsbury, Matthew, 164-69

Players, The (Steinmetz), 229, 230

PlayTime (film), 177

Pleasures and Te rrors of Domestic

Comfort (Baltimore Museum of Art

exhibition), 131

Polaroid OneStep, 125

Polaroid SX-70, 177

Polaroid View Camera, 19

Potter, Kristine, 170-75

Powell, Gus, 176-80

Praktica camera, 235

Pratt Institute, 43, 111, 131, 207

Princeton University, 43, 143

Public Relations (Winogrand), 79, 81

Purple Martin Press, 111


Question of Hope: Photographs in Western Oregon, The (Adams), 13


Ray’s a Laugh (Billingham), 91

Rejlander, Oscar, 40

Remains (Rudensky), 188

Renaldi, Richard, 181-85

Rez, The (Conner), 47

Rich, Adrienne, 121

Rivers of Power(Cartagena), 23

River: Winter, The (Southam), 55

Road Divided, A (Hido), 104

Robinson, Henry Peach, 39, 40

Rochester Institute of Technology, 87

Rogovin, Milton, 87

Roni Horn AKA Roni Horn, 235

Rosier, Martha, 76

Ross, Judith Joy, 15

Roysdon, Emily, 122

Rudensky, Sasha, 186-93

Rule Without Exception (Baltz), 33

Russia (Moore), 143



Safety in Numbers (Waplington), 159

Salad Days (Panar), 159

Same Difference (Panar), 159

Sanctuary (Pillsbury), 167

Sander, August, 56, 183

San Francisco Art Institute,


Santa Barbara Return Jobs to US

(Cartagena), 23

Santa Barbara Shame on US

(Cartagena), 23

Sarfati, Lise, 194-99

Savall, Jordi, 15

Savannah College of Art and Design,

Georgia, 219

School of the Museum of Fine Arts at

Tufts University, 207

School of Visual Arts, New York,

29, 119, 143, 165, 177, 207, 219

Schorr, Collier, 190

Schutmaat, Bry an, 200-205

Schwarzes Meer (Winship), 235

Screen Lives (Pillsbury), 167, 168

Seasons of Light(Brown), 201

Seian University of Art and Design,

Otsu, Japan, 107

Sekula, Allan, 63, 76

Sensory Ethnography Lab, Harvard

University, 91

Sent a Letter (Singh), 216

Serebriakova, Zinaida, 187

Set Amsterdam (Lixenberg), 137

700 Nimes Road (Opie), 155

Shakur, Tupac, 140

Sharma, Manjari, 206-12

She (Sarfati), 195, 197

Shea, Daniel, 151

she dances on Jackson (Winship),

235, 238, 239

shimmer of possibility, a (Graham), 79

Shore, Stephen, 23, 105

Shower Series, The (Sharma), 211, 212

Silverprint/Goldfmger, 235

Sincere Auto Care (Kurland), 119

Singh, Day anita, 122, 213-17

Sleeping by the Mississippi (Soth),


Smith, Tiffany, 218-23

Smith, W Eugene, 107

Somewhere Someone (Hatleberg), 95

Songbook (Soth), 225

Sorbonne, 195

Soth, Alec, 224-28, 240-41

Sound and the Fury, The (Faulkner), 52

Southam, Jem, 55

South Central (Steinmetz), 229

South East (Steinmetz), 229, 233

Southern Rites (Laub), 125, 126, 129

Spirit West(Kurland), 119

Spontaneous Books, 213

Steichen, Edward, 13, 83, 177

Steig, William, 179

Steinmetz, Mark, 229-34

Sternfeld, Joel, 183

Struth, Thomas, 82

Subway (Davidson), 177

Sugimoto, Hiroshi, 167

Sultan, Larry, 37

Summer Nights (Adams), 13, 225

Summer Nights, Walking (Adams), 13

Summertime (Steinmetz), 229

Sweet Flypaper of Life, The

(DeCarava and Hughes), 17

Sweet Nothings (Winship), 235

Syracuse University, 61, 73

Szarkowski, John, 121, 165, 204


Tati, Jacques, 177

Telegraph Magazine, London, 61

“Ten Rules for Students and Teachers” (Kent), 89

Tent-Camera (Morell), 147, 149

Testimony (Laub), 125, 128

This Train Is Bound for Glory (Kurland), 119

Tillmans, Wolfgang, 159

Time Frame (Pillsbury), 165 T

ime-Life Photography Series, 229

TIME LightBox, 141

Tinsel and Blue (Rudensky), 191,192

Tompkins, Betty, 122

To See Your Face (Sharma), 209

Touching Strangers (Renaldi), 181, 182

Tribune-Democrat, Johnstown, Pennsylvania, 159

Trintignant, Jean-Louis, 165

Triptychs: Buffalo’s Lower West Side Revisited (Rogovin), 87

Tufts University, 101, 207

Tulsa (Clark), 37

Tupac Biggie (Lixenberg), 137


Uncommon Places: The Complete

Works (Shore), 23, 105

united states (Lixenberg), 137, 140

Universe Next Door, The (Morell), 147

University of Arkansas, Fayetteville, 151

University of Houston, 201

University of Iowa, Iowa City, 229

University of Plymouth, UK, 55

University of Utah, 33

Utatane (Kawauchi), 107, 108


Van Gogh, V incent, 79

Vibe, 141


Walker, Kara, 219

Walker Evans at Work, 235

Wall, Jeff, 81

Waplington, Nick, 159

Warhol, Andy, 43, 143

Way West, The (Kayafas), 111

Weems, Carrie Mae, 76,122

Weil, Simone, 14

Wesleyan University, 187

West Point military academy, 175

Westerns, The (Grannan), 83

Weston, Edward, 41, 42

Why People Photograph: Selected Essays and Reviews (Adams), 13, 88

Wilke, Hannah, 122

William Eggleston’s Guide, 37, 91

Williams, William Carlos, 148, 226

Wilson, Charis, 41, 42

Winogrand, Garry, 79, 81, 201, 230

W inogrand 1964, 201

Winship, Vanessa, 235-39

Wista camera, 140

WOMEN (Dijkstra), 105

Woodman, Francesca, 37, 101

Work of Atget, The, 165

Wurm, Erwin, 23


Yale University School of Art, 17, 43, 49, 69, 83, 95,119, 131, 147, 171,187,229

Yashica, 43, 165, 195

Yashica 6-by-6, 43,195

Young, David, 179

Young, Rana, 153

ZZYZX(Halpern), 87, 88, 90