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| Preface | |
| Advancing toward Photography: The Birth of Modernity | |
| A Desire for Visual Representation Perspective Thinking of Photography Camera Vision | |
| The Demand for Picturemaking Systems Proto-Photographers: Chemical Action of Light Modernity: New Visual Realities Optical Devices | |
| Images through Light: A Struggle for Permanence Other Distinct Originators | |
| The Daguerreotype: Image and Object What Is a Daguerreotype? | |
| The Daguerreotype Comes to America The Early Practitioners Early Daguerrean Portrait Making Technical Improvements | |
| Expanding U.S. Portrait Studios | |
| The Art of the Daguerrean Portrait Daguerrean Portrait Galleries and Picture Factories African-American Operators Rural Practice Post-Mortem Portraits | |
| The Daguerreotype and the Landscape | |
| The Daguerreotype and Science | |
| Calotype Rising: The Arrival of Photography | |
| The Calotype Early Calotype Activity Calotypists Establish a Practice Calotype and Architecture: Mission Heliographique | |
| The End of the Calotype and the Future of Photography | |
| Pictures on Glass: The Wet-Plate Process | |
| The Albumen Process The New Transparent Look | |
| The Ambrotype Pictures on Tin The Carte-de-Visite and the Photo Album The Cabinet Photograph: The Picture Gets Bigger | |
| The Studio Tradition Retouching and Enlargements | |
| The Stereoscope | |
| The Stereo Craze | |
| Prevailing Events/Picturing Calamity Current Events Early War Coverage | |
| The American Civil War How Photographs Were Circulated | |
| A New Medium of Communication Photography: Art or Industry? | |
| Discovering a Photographic Language Americans and the Art of Nature Positivism | |
| Standardizing the Practice: A Transparent Truth Mechanical Photography | |
| The Traveling Camera Picturing Industrialization Urban Life | |
| The American West: The Narrative and the Sublime | |
| New Ways of Visualizing Time and Space | |
| The Inadequacy of Human Vision Locomotion Transforming Aesthetics: Technical Breakthroughs | |
| The Hand-Held Camera and the Snapshot Time and Motion as an Extended Continuum Moving Pictures Color and Photography | |
| Suggesting the Subject: The Evolution of Pictorialism Roots of Pictorialism Pictorialism and Naturalism | |
| The Development of Pictorial Effect | |
| The Secession Movement and the Rise of Photography Clubs | |
| The Aesthetic Club Movement Working Pictorially: A Variety of Approaches American Perspectives | |
| The Photo-Secession | |
| The Decadent Movement and Tonalism Women Pictorialists | |
| The Pictorial Epoch/The Stieglitz Group | |
| The Decline of Pictorialism | |
| Modernism's Innovations Industrial Beauty Cubism High and Low Art Futurism Time, Movement, and the Machine Towards a Modern Practice: Distilling Form Dada Exploring Space and Time: The Return of the Photogram Surrealism Collage Suprematism Art, Technology, and a New Faith Paul Strand and Straight Photography: Purity of Use | |
| The New Culture of Light Teaching Modernism: The American Impulse Stieglitz's "Equivalents" Steichen Goes Commercial Form as Essence Straight, Modernistic Photography Film und Foto and New Objectivity Experimentally Modern New Vision Pathways of Light: Time, Space, and Form Surrealistic Themes | |
| Social Documents An American Urge: Social Uplift Ethnological Approaches Emerging Ethnic Consciousness | |
| The Physiognomic Approach The Great Depression: The Economics of Photography | |
| The FAP Project: Changing New York | |
| The Photo Booth: Self-Portraits for All Mass Observation | |
| The Film and Photo League | |
| Nabbing Time Anticipating the Moment | |
| From Halftones to Bytes Pictures and Printers Ink Th | |
| Table of Contents provided by Publisher. All Rights Reserved. |
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