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Summary
"Its chief virtues are a succinct, mostly lucid style, a wide intellectual scope, a flood of ideas and insights at every turn, sensitivity to the technology and culture of photography, and a willingness to attend to images . . . In the end, perhaps the best measure of a text is whether or not one would choose it from among all the offerings to use in class. I have chosen to use this book." - Photo Review, Spring 2000"An excellent introductory history book." - Afterimage: The Journal of Media Arts and Cultural CriticismIn this wonderful and entertaining book, Hirsch has produced the most useful, readable, and practical successor to Newhall. Seizing the Light is written in a friendly, accessible way -- dense with information, but more hip and lively than other offerings, especially those aimed at college students." - exposure: The research journal of the Society for Photographic Education. Vol. 32.2 (Fall, 1999)Hirsch's prose is very digestible. He writes in a clear, lively style with a minimum of jargon." - Views: the newsletter of the Visual Material Section of the Society of American ArchivistsScience, culture, and art come together in this comprehensive history of photography. With superlative production values, rare and unusual prints, and a fresh perspective, Robert Hirsch has written the ideal companion to the first 200 years of photography.
Author Biography
Robert J. Hirsch (Buffalo, NY) is the Associate Director of Visual Studies Workshop in Rochester, NY and co-director of Visual Studies Workshop Graduate Program. He is also Associate Professor of Art a SUNY/Brockport. Until June of 1999, he was the Director for Photographic Arts (CEPA Gallery), Rochester, NY.
Table of Contents
Chapter 1: Advancing towards Photography: The Birth of Modernity
A Desire for Visual Representation
Perspective
Thinking of Photography
Camera Vision
The Demand for Picture-Making Systems
Proto-Photographers: Chemical Action of Light
Modernity: New Visual Realities
Louis Jacques Mandé Daguerre
Optical Devices
Images through Light: A Struggle for Permanence
Joseph Nicephore Niépce
John Herschel
William Henry Fox Talbot
Anna Atkins
Other Distinct Originators
Hippolyte Bayard
Mungo Ponton
Hercules Florence
Chapter 2: The Daguerreotype: Image and Object
What is a Daguerreotype?
Samuel Morse
The Daguerreotype Comes to America
The Early Practitioners
Early Daguerreian Portrait Making
Post-Mortem Portraits
Technical Improvements
Expanding U.S. Portrait Studios
Albert Sands Southworth
Josiah Johnson Hawes
Matthew Brady
The Art of the Daguerreian Portrait
Daguerreian Portrait Galleries and Picture Factories
African-American Operators
Rural Practice
The Daguerreotype and the Landscape
The Daguerreotype and Science
John Whipple
Chapter 3: Calotype Rising: The Arrival of Photography
The Calotype
Early Calotype Activity
David Octavius Hill
Robert Adamson
William Newton
Thomas Keith
Calotypists Establish a Practice
Louis Désiré Blanquart-Evrard
Thomas Sutton
Gustave le Gray
Charles Nègre
Calotype and Architecture: Mission Héliographique
Jean Louis Henri le Secq
Edouard Denis Baldus
Charles Marville
The End of the Calotype and the Future of Photography
Chapter 4: Pictures on Glass: The Wet-Plate Process
The Albumen Process
Frederick Scott Archer
The New Transparent Look
The Ambrotype
Pictures on Tin
The Carte-de-Visite and the Photo Album
André Disdéri
John Mayall
The Cabinet Photograph: The Picture Gets Bigger
The Studio Tradition
Nadar
Camille Silvy
Antoine Samuel Adam-Salomon
Napoleon Sarony
Retouching and Enlargements
The Stereo Craze
Oliver Wendell Holmes
Chapter 5: Prevailing Events/Picturing Calamity
Current Events
Early War Coverage
Roger Fenton
James Robertson
Felice Beato
The American Civil War
Matthew Brady
Alexander Gardner
Timothy O’Sullivan
George Barnard
Andrew Russell
How Photographs Were Circulated
Chapter 6: A New Medium of Communication: Art or Industry?
Lady Elizabeth Eastlake
Discovering a Photographic Language
Lewis Carroll
Oscar Gustave Rejlander
Henry Peach Robinson
Julia Margaret Cameron
Americans and the Art of Nature Positivism
Hugh Welch Diamond
Thomas Barnardo
Chapter 7: Standardizing the Practice: A Transparent Truth
Mechanical Photography
The Traveling Camera
Maxime Du Camp
John B. Green
Auguste Salzmann
John Shaw Smith
Francis Frith
Robert MacPherson
Fratelli Alinari
Bisson Brothers
Picturing Industrialization
Phillip Delamotte
Robert Howlett
Joseph Cundall
Edouard Baldus
Camille Silvy
Samuel Bourne
Urban Life
John Thomson
Thomas Annan
The Other
The American West: The Narrative and the Sublime
Carleton E. Watkins
Timothy O’Sullivan
William Henry Jackson
Eadweard Muybridge
Chapter 8: New Ways of Visualizing Time and Space
The Inadequacy of Human Vision
Locomotion
Thomas Eakins
Etienne-Jules Marey
Ottomar Anschütz
Transforming Aesthetics: Technical Breakthroughs
The Hand Held Camera and the Snapshot
Time and Motion as an Extended Continuum
Moving Pictures
Color
Chapter 9: Suggesting the Subject: The Evolution of Pictorialism
Roots of Pictorialism
Pictorialism and Naturalism
Peter Henry Emerson
The Development of Pictorial Effect
George Davison
The Secession Movement and the Rise of Photography Clubs
The Aesthetic Club Movement
Working Pictorially: A Variety of Approaches
Robert Demachy
Heinrich Keuhn
Frederick Evans
Pierre Dubreuil
American Perspectives
Alfred Stieglitz
The Photo-Secession
The Decadent Movement and Tonalism
Frederick Holland Day
Alvin Langdon Coburn
Women Pictorialists
Gertrude Käsebier
Alice Boughton
The Pictorial Epoch/The Stieglitz Group
Edward Steichen
Adolf de Meyer
Frank Eugene
Clarence Hudson White
The Decline of Pictorialism
Chapter 10: Modernism: Industrial Beauty
Modernism
Cubism
High and Low Art
Futurism
Anton Giulio Bragaglia
Arturo Bragaglia
Time, Movement, and the Machine
Frank B. Gilbreth
Lillian M. Gilbreth
Towards a Modern Practice: Distilling Form
Alvin Coburn
Paul Strand
Dada
Exploring Space and Time: The Return of the Photogram
Man Ray
László Moholy-Nagy
Surrealism
Collage
Max Ernst
Raoul Hausmann
John Heartfield
Hannah Höch
Suprematism
Aleksandr Rodchenko
Art, Technology, and a New Faith
Bauhaus
Morton Schamberg
Charles Sheeler
Paul Strand and Straight Photography: Purity of Use
Chapter 11: The New Culture of Light
Teaching Modernism: The American Impulse
Paul Outerbridge
Margaret Bourke-White
Stieglitz’s “Equivalents”
Steichen Goes Commercial
Form as Essence
Edward Weston
Straight, Modernistic Photography
Group f/64
Ansel Adams
Imogen Cunningham
William Mortensen
Film und Foto & New Objectivity
Albert Renger-Patzsch
Karl Blossfeldt
Jean Eugène Auguste Atget
Experimentally Modern
New Vision
Florence Henri
Gyorgy Kepes
Pathways of Light: Time, Space, and Form
Barbara Morgan
František Drtikol
Francis Joseph Bruguière
Surrealistic Themes
Hans Bellmer
Georges Hugnet
Man Ray
Raoul Ubac
Chapter 12: Social Documents
An American Urge: Social Uplift
Jacob Riis
Lewis Hine
Ethnological Approaches
Adam Vroman
Edward Curtis
Francis Benjamin Johnston
E.J. Bellocq
Tina Modotti
Emerging Ethnic Consciousness
Horace Poolaw
James Van Der Zee
Eudora Welty
The Physiognomic Approach
August Sander
The Great Depression: The Economics of Photography