Photo Work
Wolf, S. (2019) Photo Work: forty photographers on process and practice. New York: Aperture Foundation
Quotes
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
Contents
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
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),
61,62,66
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,
171,195
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
B
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
Bell,Susan,65
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
C
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
Design,69
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
D-L
D
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,
46,113,162,204,221,227
Double Life (Connell),
37,38,39,40,41,42,207
Draft No. 4: On the Writing Process
(McPhee), 65
DuBois, Doug, 60-67
Durer, Albrecht, 150
Dylan, Bob, 203
E
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
F
Fade Like a Sigh (Murff and Young),
153
Falling Asleep (Panar), 159
Fall River Boys (Renaldi), 181
FAMILY CAR TROUBLE (Powell),
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
G
Genera/Assembly (Connors), 52
Girl Pictures, 1997-2002 (Kurland),
119,122
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
H
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
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,
159
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
J
Jacobson, Kiba, 37, 38
Jane magazine, 138
Jeffersonville, Indiana (Lixenberg), 137, 138, 141
K
Kawauchi, Rinko, 106-10
Kayafas, Peter, 111-17
Keeping an Eye on the World (Opie),
155
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
L
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
M-R
M
Making History (Moore), 143
Mamiya 7 camera, 55
Man and Machine (Cartier-Bresson),
61
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
N
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
O
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
P
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
Q
Question of Hope: Photographs in Western Oregon, The (Adams), 13
R
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
S-Z
S
Safety in Numbers (Waplington), 159
Salad Days (Panar), 159
Same Difference (Panar), 159
Sanctuary (Pillsbury), 167
Sander, August, 56, 183
San Francisco Art Institute,
61,155,156
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),
225,228
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
T
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
U
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
V
Van Gogh, V incent, 79
Vibe, 141
W
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
XYZ
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
