2. Shift of still photography into motion pictures in the late 19th and early 20th century

3. Photographers who are interested in movement such as Muybridge and Marey are connected to motion picture/movies

4. Interest in grand scenes that had a combination of a totality of the whole, carried away to a distant place, but can also look at close up at details

5. Not only technological but also different ways of seeing, and changes in what people want to see

6. Eastman

7. 1854-1932

8. Kodak camera - 1888

9. Allowed more people to make pictures

10. Portable equipment

11. Where the term “snapshot” originates

12. Amateur path

13. Earliest prints are circular format

14. Church, George Eastman with a Kodak Camera on Board the “S.S. Gallia”, 1890

15. Riis

16. 1849-1914

17. Sociological/social subjects/issues as well as documentation

18. Police detective/reporter

19. Began as documentation and publicized these photographs of social conditions

20. Published How the Other Half Lives

21. Used powder ignited flash

22. Bandit’s Roost, New York, 1888

23. Homeless immigrants crowded in crime-filled ghettos

24. Home of an Italian Ragpicker, New York, 1888

25. Photography vs. painting

26. Painting

27. can highlight, emphasize and extract things in highly realistic setting

28. Photographer

29. Same/similar subjects, takes what is there, more immediate, earthy and less fixed-up, and thus indicative of how things really were

30. Pictorial Photography (Newhall, Ch. 9)

31. begins in late 19th century

32. pictorial vs. documentary

33. Emerson

34. 1856-1936

35. Norfolk, England

36. Against Art Photography of Robinson and felt it was unnatural to the medium of photography

37. Liked the “natural” aspects of art

38. Stay true to the medium

39. Did not manipulate/retouch negatives

40. Liked landscapes and the outdoors

41. Specific titles

42. Platinotypes

43. Gathering Water Lilies, 1886

44. Like Cameron - not concerned about the out-of-focus fuzzy/mellow/warm quality, thought that that reproduced how the eye saw things

45. Not like Cameron - in that he is not concerned with creating a mythical setting, but rather interested in actual people

46. Realism movement in French painting influence of artists like Millet who were interested in subjects of everyday workers/commoners

47. Later claimed photography was not art!

48. Art Photography becomes more popular in Europe in the 1890s

49. Demachy

50. Gum-bichromate process

51. Creates textures of Degas

52. Similar subjects, structure, strong silhouetted forms, shadows, still-life of the figure, painterly, pastel strokes

53. Criticized as un-photographic and too manipulative (different than Robinson)

54. Behind the Scenes, 1897’

55. Frederick H. Evans

56. Architectural photographs

57. Emphasis on light

58. Influenced by Impressionism

59. Little or no manipulation of the negative

60. Structure, symmetry, supporting elements

61. Aubrey Beardsley, 1893

62. Sea of Steps - Wells Cathedral, 1903

63. Early Stieglitz

64. 1864-1936

65. American studied mechanical engineering in Germany

66. Very similar to Steichen

67. Important as a photographer, and in terms of his attitudes toward art in general, painting, sculpture, and photography

68. European modernist ideas into New York

69. Married to O’keffe

70. Pictorial, not documentary

71. Direct, honest and spontaneous

72. Right moment at the right time quality, brief moments

73. Still aware of the balance of atmosphere, composition, light and dark values

74. Popular in Europe

75. Degas lines that draw attention to the figure

76. Textures in the clothing

77. Paula or Sun Rays, 1889

78. Captures lines through shutters creating a pattern on wall behind woman

79. Extreme light and dark contrasts yet extreme detail

80. Vermeer raking light from the left

81. Director of Society of Amateur Photographers in America

82. Through the journal and lectures which encouraged amateur photographers

83. Exhibited high art of Cezanne, Picasso and Matisse as well as photography

84. Didn’t do a high manipulating of textures (like Steichen)

85. New York subjects

86. Winter on Fifth Avenue, New York, 1893

87. Notice large forms and shapes in the background

88. Followers

89. Coburn (1882-1966)

90. Impressionist subjects

91. Atmosphere and water reflections, etc..

92. Kasebier

93. Blessed Art Thou Among Women, 1900

94. More of a Romantic quality w/ a hint of narrative

95. Title - phrase from Annunciation in the Bible

96. But maybe to reinterpret the biblical story in a modern way

97. Could be a vague Impressionistic allegory

98. similar to Cassat

99. often beautiful repeated shapes and forms

100. Cameron stagey qualities, and vagueness of subjects

101. often Impressionistic shadows, dimensionality and flatness

102. Early Steichen

103. 1879-1973

104. From Milwaukee

105. Early career

106. Moody landscapes and applied color in dark room

107. Impressionist paintings of early Mondrian

108. Studied in Paris in painting and photography

109. Rodin and “The Thinker”, 1902

110. 291 Gallery was first Steichen’s studio

111. Graphic designer

112. February 1902

113. Stieglitz develops the Photo Secession

114. Avant garde, cutting edge as opposed to ordinary

115. Imitating the Vienna Secession group

116. Independence from Academic art

117. Stieglitz, Steichen Kasbier

118. Goals/Ideals

119. To advance photography as it applies to pictorial expression

120. Draw together those practicing or interested in art

121. To hold exhibitions

122. Hartmann

123. Wrote about two camps of Pictorial Photography

124. 1) painterly (Steichen)

125. 2) photographic themes and textures (Stieglitz)

126. 1910

127. 1st photographic art exhibit in Buffalo

129. Cubism, Fauvism, Futurism, birth of Dada and Surrealism, Kandinsky in Germany

130. Later Stieglitz

131. Primarily shown in New York

132. Straight Photography, cropping is okay, but doesn’t manipulate in darkroom like Steichen

133. Steerage, 1907

134. Cubist painting influence

135. Repeated shapes, flat space, forms and surfaces are very surface oriented

136. City of Ambition, 1910

137. Dominance of large repeating overlapping shapes and form

138. Stage-set quality

139. Georgia O’Keeffe, 1922

140. Emphasis on shallow surface

141. Closeup of woodgrain, structure and emphasis on texture

142. Dramatic shadow around face

143. Equivalent, 1927

144. Cloud study

145. Abstract/non-objective/non-representational

146. Equivalent of moods and thoughts

147. Emphasis on finding in nature organic qualities

148. Often contrasts of nature and architecture

149. Retains a tension in the depiction of space

150. Most of the picture is surface oriented w/ little deep space

152. Strand

153. 1890-1976

154. New York street people portraits

155. Figure in action

156. Voyeuristic

157. Moral issues of photographing blind person who couldn’t object unless you told them

158. Emphasis on structure

159. In terms of objects, rural settings and architecture

160. Formalism

161. Contructivist

162. High vantage point with architecture creates interesting space

163. Cubist collage

164. Signs, words, text

165. From Stieglitz and Gallery 291

166. Porch Shadows, 1917

167. Abstraction but still Straight Photography because very little manipulation

168. Capturing in the world the sense of structure

169. The White Fence, Port Kent, New York, 1916

170. Ordinary scene but emphasizes form and design

171. Interesting pattern and modeled, almost Impressionistic lighting

172. Deep space and sense of distance but simultaneously very Cezanesque flatness due to light and darks push and pull

173. Rock, Porte Lorne, Nova Scotia, 1919

174. Ocean-side scenery

175. Rock terrain

176. Very close-up

177. Close-ups of machinery and cityscapes

178. Similar to Leger machine and city scenes, and the Purism movement which is an outgrowth of Cubism

179. Literal machinery or forms that resemble machinery

180. Signs of progress

181. also O’Keeffe

182. Town Hall, Vermont, 1946

183. Sociopolitical issues of America

184. Sheeler

185. Constructivist, precisionist

186. Bucks County Barn, 1916

187. Patterns and textures in the boards

188. Precision and organization

189. Ford Plant, Detroit or Crosswalks, 1927

190. Seen as positive progress and power of America

191. Later Steichen

192. Structured phase in 1910s and 20s

194. Emphasis on shapes

195. Reflects Modern Cubist painting at this time

196. Not necessarily a narrative

197. Outerbridge

198. Geometry and structure in objects and shadows/silhouettes

199. Flat cutout forms

200. Cars/machinery (Sheeler, Leger paintings/Ballet Mechanique)

201. Steiner

202. Interest in the shadow of the form as well as the form itself

203. Vernacular, everyday scenes

204. America Rural Baroque, 1930

205. Evoking an era of the past (Baroque)

206. Curves in chair

207. Shadows as well as object itself

208. Siding on house

209. Interesting shapes and textures

210. Cubist influence

211. Plays on/attention to surfaces to create space but still flat

212. Weston

213. Abstraction (handling of space, value shifts, variety of forms) as well as Realism (Documentary quality)

214. Extended from Stieglitz and his circle

215. Previsualization

216. Little manipulation, finding the photo in nature

217. Similar to biomorphic organic forms of Surrealism

218. Goes out in nature and photograph things in a new context

219. Clouds, Mexico, 1926

220. Abstracting forms

221. Less specific, focus on form and value

222. Nude, 1925

223. Interest in figure in an abstracted way

224. Illusionistic texture, but lack of detail creates a lack of specificity/individuality

225. Unique lighting

226. Cropping of figure

227. Lack of background

228. Isolation (no Classical costume/drapery)

229. However, hints of Classical (nude figure, sometimes contraposto, illusionistic idealism, etc.)

230. Natural forms emphasized

231. Mimics landscape/natural forms

232. Artichoke Halved, 1930

233. Sexual allusion

234. Emphasizes natural forms

235. Seeing nature differently (at a close range)

236. White Dunes, Oceano, California, 1936

237. Wind-blown sands

238. Textured details

239. Repeated forms

240. Vast space

241. But crisp details pull space forward

242. Cunningham

243. Leaf Pattern, 1929

244. Closeup

245. Pattern

246. Lighting and dark contrasts

247. Similar to Weston (and Adams)

248. Straight Photography

249. Adams

250. Influenced by Weston and Strand

251. Close-up Textures

252. Descendant of Jackson

253. Natural scenery

254. Dramatic outdoor scenes with emphasis on textures which help push and pull space

255. Zones of light and shade

256. Yosemite National Park,

257. love of natural scenery

258. Mount Williamson - Clearing Storm or Sierra Navada, from Manzanar, 1945

259. Pristine foreground rocks

260. Raking light in background

261. Dramatic nature

262. Texture and precision

263. Atget

264. French

265. Historic buildings for museums

266. Documents Paris

267. Casual quality

268. Took outdoor photographs early in the morning

269. Storefronts with interesting reflections

270. Surrealist mix of things, but was not directly influenced by them

271. Captures an era or way of life that does not exist anymore

272. Formalism (Newhall, Ch. 11)

273. Similar to experimental film

274. Patterns

275. Unusual technique

276. Coburn

277. Vortograph, 1917

278. Three mirrors create hollow triangle and photographed through this lens

279. Creates jewel-like forms

280. Similar to Cubism, facets and kaleidoscopic effects and Experimental Films

281. Schad

282. Schadograph, 1918

283. Laid cutouts and flat objects on light sensitive paper

284. Similar to Cubist collage

285. Moholy-Nagy

286. Straightforward

287. but irrational Dada found object quality

288. but rational Cubist shadows that create repeated shapes

289. From the Radio Tower, Berlin, 1928

290. Aerial view looking down

291. Photogram, 1925

292. Similar to Schadogram and Rayographs

293. Sensitized paper

294. Forms, textures

295. Letters

296. Unstructured, unplanned Dada found objects

297. But Cubist structure

298. Surrealist automatic quality

299. Heartfield and Hoch

300. Photographic collage (Cubism) and found objects (Dada)

301. Rodchenko

302. Similar to Moholy-Nagy

303. Formalism

304. Celebrates technology

305. Man Ray

306. 1890-1976, American

307. Settled in Paris

308. Rayographs

309. Similar to Photograms and Schadograms

310. Expose sensitized paper with objects or other photographs layered and reexposed

311. Chance results

312. Similar to Surrealism and Cubism in painting

313. Traditional structured technical composition but with the idea of chance

314. Bruguiere

315. Special processing

316. Rich surfaces mimic drapery

317. Instant Vision (Newhall, Ch.12)

318. Portability of cameras

319. Latrigue

320. Small portable camera, snap-shot approach

321. Interest in movement/moving objects/motion

322. Grand Prix, 1912

323. Salomon

324. Journalistic photographer

325. Famous people, current events

326. No flash, existing light

327. Candid quality

328. Visit of German Statesmen to Rome, 1931

329. Kertesz

330. Instant moment, not interested in clarity of the whole or a classical timelessness

331. Brandt

332. Instant moment

333. Parlor Maids, 1933

334. Contrast btwn. humble maids w/ glamour/luxury

335. Repetition of forms

336. Organic contrasted with geometry

337. Brassai

338. Paris nightlife in 1930s

339. Instant technique from Kertesz

340. “Bijou”, 1933

341. Alludes to woman looking for companionship

342. Genderswitching/questioning

343. Overdressed with excess

344. Cartier-Bresson

345. Seizes the moment/split second

346. Accidental quality but sophisticated forms and composition

347. Stieglitz, 1946

348. Children Playing in Ruins, 1934

349. During Spanish Civil War

350. Middle of moment

351. Social commentary

352. Boy on crutches

353. The ruins

354. Cardinal Pacelli, 1938

355. Hustle and bustle of a famous person

356. Emotional quality of the faithful

357. Weegee

358. Newspaper photographer

359. Social commentary on urban life

360. Crashing-in on event, grabbing public’s attention

361. Used a flash

362. The Critic, 1943

363. Overdressed old women juxtaposed with a woman asking for a handout

364. Morgan

365. Photographed dancers

366. Martha Graham, 1941

367. In a studio and carefully lit, therefore not documentary

368. Documentary Photography (Newhall, Ch. 13)

369. Documents some aspect of the world

370. Mostly American

371. Sander

372. German

373. Atlas of German “types”, professions and trades

374. Full figure in their home or work setting

375. Rural, urban, rich and poor

376. Hine

377. Ellis Island immigrant photos

378. Workers/working class

379. Trained as a sociologist, and the camera for him was a tool for research and communication

380. ‘Photo-stories’ w/out text

381. Similar to Riis

382. Carolina Cotton Mill, 1908

383. Helped educate the population about child labor situations which helped establish child labor laws

384. Johnston

385. Photos of the south black agricultural tradesworkers and black education

386. Evans

387. Depression era photographer

388. 1930s (think 42nd St. references)

389. Hired by US government to document the Depression conditions in the South

390. Gas Station,1936

391. Strong structure

392. Instant moment/vision

393. Very little manipulation

394. Very careful to capture the scene of the place and what life was like

395. Allie Mae Burroughs, 1936

396. Washroom of the Burroughs’ Home, 1936

397. Plain and ordinary

398. Pleasing compositional and design elements

399. Lange

400. Portrait photographer and later documentary of migratory workers

401. Time and place important

402. Migrant Mother, 1936

403. Captures the emotion of hardship

404. Classic mother and child, almost religious

405. Shahn

406. 35mm w/ right angle viewfinder so he could photograph them without their knowledge

407. Rehabilitation Client, 1935