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Home , Albert Spaggiari, Alexander Bassano, Alexey Titarenko, Alfred Horsley Hinton, Algiers Hotel, Alice Seeley Harris

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VVVV Basic in 180 Days Book XII - Editor: Ramon F. aeroramon.com Contents

1 Day 1 1 1.1 ...... 1 1.1.1 Duties and functions ...... 1 1.1.2 Selling ...... 3 1.1.3 Photo sharing ...... 5 1.1.4 References ...... 5 1.1.5 External links ...... 5 1.2 Truth claim (photography) ...... 5 1.2.1 Indexicality ...... 5 1.2.2 Visual accuracy ...... 5 1.2.3 Consequences of the “truth claim” ...... 6 1.2.4 ...... 6 1.2.5 Criticism of the “truth claim” ...... 7 1.2.6 References ...... 7

2 Day 2 9 2.1 ...... 9 2.1.1 Albania ...... 10 2.1.2 Argentina ...... 10 2.1.3 Australia ...... 10 2.1.4 ...... 11 2.1.5 Azerbaijan ...... 11 2.1.6 Bangladesh ...... 12 2.1.7 Belgium ...... 12 2.1.8 Benin ...... 12 2.1.9 Brazil ...... 12 2.1.10 Cambodia ...... 12 2.1.11 Cameroon ...... 12 2.1.12 ...... 13 2.1.13 Chile ...... 14 2.1.14 China ...... 14 2.1.15 Colombia ...... 14 2.1.16 Democratic Republic of the Congo ...... 14

i ii CONTENTS

2.1.17 ...... 14 2.1.18 ...... 14 2.1.19 ...... 15 2.1.20 Ecuador ...... 16 2.1.21 Egypt ...... 16 2.1.22 Estonia ...... 16 2.1.23 Ethiopia ...... 16 2.1.24 Finland ...... 16 2.1.25 ...... 17 2.1.26 Georgia ...... 19 2.1.27 ...... 19 2.1.28 Ghana ...... 22 2.1.29 Greece ...... 22 2.1.30 ...... 22 2.1.31 ...... 22 2.1.32 Iceland ...... 23 2.1.33 ...... 23 2.1.34 Indonesia ...... 23 2.1.35 Iran ...... 23 2.1.36 ...... 24 2.1.37 Israel ...... 24 2.1.38 ...... 24 2.1.39 Jamaica ...... 25 2.1.40 Japan ...... 25 2.1.41 Kenya ...... 28 2.1.42 Latvia ...... 28 2.1.43 Lebanon ...... 28 2.1.44 ...... 28 2.1.45 Luxembourg ...... 28 2.1.46 Mali ...... 28 2.1.47 ...... 29 2.1.48 Netherlands ...... 29 2.1.49 ...... 30 2.1.50 Nigeria ...... 30 2.1.51 ...... 30 2.1.52 Pakistan ...... 31 2.1.53 Palestine ...... 31 2.1.54 Panama ...... 31 2.1.55 ...... 31 2.1.56 Philippines ...... 31 2.1.57 ...... 31 CONTENTS iii

2.1.58 Portugal ...... 32 2.1.59 ...... 32 2.1.60 Russia ...... 32 2.1.61 Sierra Leone ...... 32 2.1.62 Singapore ...... 32 2.1.63 ...... 32 2.1.64 Slovenia ...... 33 2.1.65 ...... 33 2.1.66 Spain ...... 33 2.1.67 ...... 34 2.1.68 Switzerland ...... 34 2.1.69 Taiwan ...... 35 2.1.70 Thailand ...... 35 2.1.71 Turkey ...... 35 2.1.72 Ukraine ...... 35 2.1.73 United Arab Emirates ...... 35 2.1.74 United Kingdom ...... 35 2.1.75 ...... 43 2.1.76 Venezuela ...... 56 2.1.77 Vietnam ...... 56 2.1.78 See also ...... 57 2.1.79 References ...... 57 2.2 ...... 57 2.2.1 Uses in the industry ...... 57 2.2.2 References ...... 58 2.2.3 Further reading ...... 59 2.2.4 External links ...... 59

3 Day 3 60 3.1 Nicéphore Niépce ...... 60 3.1.1 Biography ...... 60 3.1.2 Achievements ...... 61 3.1.3 Legacy and commemoration ...... 64 3.1.4 See also ...... 64 3.1.5 References ...... 64 3.1.6 Sources ...... 66 3.1.7 External links ...... 66 3.2 Hércules Florence ...... 67 3.2.1 Early life ...... 68 3.2.2 The great expedition ...... 68 3.2.3 Businessman and inventor ...... 69 3.2.4 Bibliography ...... 70 iv CONTENTS

3.2.5 Media ...... 70 3.2.6 References ...... 70 3.2.7 External links ...... 70 3.3 George Eastman ...... 70 3.3.1 Early life ...... 71 3.3.2 Career ...... 71 3.3.3 Personal life ...... 72 3.3.4 Later years ...... 72 3.3.5 Infirmity and suicide ...... 72 3.3.6 Legacy ...... 73 3.3.7 Patents ...... 73 3.3.8 Honors and commemorations ...... 73 3.3.9 Other ...... 74 3.3.10 See also ...... 74 3.3.11 References ...... 74 3.3.12 Further reading ...... 75 3.3.13 External links ...... 75

4 Day 4 80 4.1 ...... 80 4.1.1 Early life ...... 80 4.1.2 Photography career ...... 82 4.1.3 Work with film ...... 87 4.1.4 Contributions and influence ...... 88 4.1.5 Death and legacy ...... 89 4.1.6 Awards ...... 89 4.1.7 Works ...... 89 4.1.8 Notes ...... 91 4.1.9 References ...... 92 4.1.10 Sources ...... 94 4.1.11 External links ...... 95

5 Day 5 97 5.1 Henri Cartier-Bresson ...... 97 5.1.1 Early life ...... 97 5.1.2 United States exhibits ...... 99 5.1.3 Marriage ...... 100 5.1.4 ...... 100 5.1.5 Later career ...... 101 5.1.6 Death and legacy ...... 101 5.1.7 Technique ...... 104 5.1.8 Exhibitions ...... 105 CONTENTS v

5.1.9 Collections ...... 107 5.1.10 Awards (selected) ...... 108 5.1.11 Notable portrait subjects ...... 108 5.1.12 Works ...... 109 5.1.13 References ...... 112 5.1.14 Sources ...... 113 5.1.15 External links ...... 113

6 Day 6 114 6.1 Sebastião Salgado ...... 114 6.1.1 Biography ...... 114 6.1.2 Awards ...... 115 6.1.3 Publications ...... 115 6.1.4 Filmography ...... 115 6.1.5 Exhibitions ...... 116 6.1.6 References ...... 116 6.1.7 External links ...... 118

7 Day 7 119 7.1 ...... 119 7.1.1 Background and early photography career ...... 119 7.1.2 The Americans ...... 119 7.1.3 Films ...... 121 7.1.4 Return to still images ...... 122 7.1.5 Exhibitions ...... 122 7.1.6 Awards ...... 122 7.1.7 Bibliography ...... 122 7.1.8 Filmography ...... 124 7.1.9 References ...... 124 7.1.10 Sources ...... 125 7.1.11 Further reading ...... 125 7.1.12 External links ...... 125

8 Day 8 128 8.1 Boris Mikhailov (photographer) ...... 128 8.1.1 Life and work ...... 128 8.1.2 Publications ...... 128 8.1.3 Exhibitions ...... 130 8.1.4 Awards ...... 130 8.1.5 Notes ...... 131 8.1.6 References ...... 131 8.1.7 External links ...... 131 vi CONTENTS

9 Day 9 132 9.1 ...... 132 9.1.1 Early years ...... 132 9.1.2 Career ...... 133 9.1.3 Personal life ...... 135 9.1.4 Legacy ...... 135 9.1.5 Politics ...... 135 9.1.6 In popular culture ...... 136 9.1.7 Publications ...... 137 9.1.8 See also ...... 138 9.1.9 Notes ...... 138 9.1.10 References ...... 138 9.1.11 External links ...... 140

10 Day 10 141 10.1 List of street photographers ...... 141 10.1.1 Street photographers ...... 141 10.1.2 See also ...... 146 10.1.3 References ...... 146 10.1.4 External links ...... 146 10.2 List of photojournalists ...... 146 10.2.1 See also ...... 150 10.2.2 References ...... 150 10.2.3 External links ...... 150

11 Text and image sources, contributors, and licenses 151 11.1 Text ...... 151 11.2 Images ...... 156 11.3 Content license ...... 159 Chapter 1

Day 1

1.1 Photographer

For other uses, see Photographer (disambiguation). A photographer (the Greek φῶς (phos), meaning “light”, and γραφή (graphê), meaning “drawing, writing”, to-

2012 IAAF World Indoor Championships photographer stand. gether meaning “drawing with light”)[1] is a person who makes photographs.

1.1.1 Duties and functions

As in other arts, the definitions of amateur and professional are not entirely categorical. A professional photographer is likely to take photographs to make money, by salary or through the display, sale or use of those photographs. An may take photographs for pleasure and to record an event, emotion, place, as a person without a monetary motivation. A professional photographer may be an employee, for example of a newspaper, or may contract to cover a particular

1 2 CHAPTER 1. DAY 1

An English photographer in his studio, in the 1850s.

planned event such as a wedding or graduation, or to illustrate an advertisement. Others, including paparazzi and fine art photographers, are freelancers, first making a picture and then offering it for sale or display. Some workers, such as crime scene detectives, estate agents, journalists and scientists, make photographs as part of other work. Photographers who produce moving rather than still pictures are often called cinematographers, videographers or operators, depending on the commercial context. An amateur may make considerable sums entering work in contests for prize money or through occasional inclusion of their work in magazines or the archive of a photo agency. The term professional may also imply preparation, for example, by academic study, by the photographer in pursuit of photographic skills. There is no compulsory registration requirement for professional photographer status, so ambivalent or overlapping concepts apply here as they do in other areas of unregulated artistic activity, such as painting or writing. Photographers are also categorized based on the subjects they . Some photographers explore subjects typical of paintings such as , still life, and portraiture. Other photographers specialize in subjects unique to photography, including , , , , 1.1. PHOTOGRAPHER 3 , , and commercial photography.

Image gallery

• A group photographing retired footballer Franz Beckenbauer.

• photographer Urmas Tartes working on an outdoor environment.

• A photographer (Douglas Osheroff) setting up a shot with the aid of a .

• Photographing a model. An assistant is holding a reflector.

1.1.2 Selling photographs

Further information: The exclusive right of photographers to copy and use their products is protected by copyright. Countless industries purchase photographs for use in publications and on products. The photographs seen on magazine covers, in tele- vision advertising, on greeting cards or calendars, on websites, or on products and packages, have generally been purchased for this use, either directly from the photographer or through an agency that represents the photographer. A photographer uses a contract to sell the “license” or use of his or her photograph with exact controls regarding how often the photograph will be used, in what territory it will be used (for example U.S. or U.K. or other), and exactly for which products. This is usually referred to as usage fee and is used to distinguish from production fees (payment for the actual creation of a photograph or photographs). An additional contract and royalty would apply for each additional use of the photograph. The contract may be for only one year, or other duration. The photographer usually charges a royalty as well as a one-time fee, depending on the terms of the contract. The contract may be for non-exclusive use of the photograph (meaning the photographer can sell the same photograph for more than one use during the same year) or for exclusive use of the photograph (i.e. only that company may use the photograph during the term). The contract can also stipulate that the photographer is entitled to audit the company for determination of royalty payments. Royalties vary depending on the industry buying the photograph and the use, for example, royalties for a photograph used on a poster or in television advertising may be higher than for use on a limited run of brochures. A royalty is also often based on the size at which the photo will be used in a magazine or book, and cover photos usually command higher fees than photos used elsewhere in a book or magazine. 4 CHAPTER 1. DAY 1

A U.S. Navy photographer in March 2004.

Photos taken by a photographer while working on assignment are often work for hire belonging to the company or publication unless stipulated otherwise by contract. Professional portrait and wedding photographers often stipulate by contract that they retain the copyright of their photos, so that only they can sell further prints of the photographs to the consumer, rather than the customer reproducing the photos by other means. If the customer wishes to be able 1.2. TRUTH CLAIM (PHOTOGRAPHY) 5

to reproduce the photos themselves, they may discuss an alternative contract with the photographer in advance before the pictures are taken, in which a larger up front fee may be paid in exchange for reprint rights passing to the customer. There are major companies who have maintained catalogues of and images for decades, such as and others. Since the turn of the 21st century many online stock photography catalogues have appeared that invite photographers to sell their photos online easily and quickly, but often for very little money, without a royalty, and without control over the use of the photo, the market it will be used in, the products it will be used on, time duration, etc. Commercial photographers may also promote their work to advertising and editorial art buyers via printed and online marketing vehicles.

1.1.3 Photo sharing

Main article: Photo sharing

Many people upload their photographs to social networking websites and other websites, in order to share them with a particular group or with the general public. Those interested in legal precision may explicitly release them to the public domain or under a free content license. Some sites, including , are punctilious about licenses and only accept pictures with clear information about permitted use.

1.1.4 References

[1] Online Etymology Dictionary

1.1.5 External links

• The dictionary definition of photographer at

• Media related to Photographers at Wikimedia Commons

1.2 Truth claim (photography)

Truth claim, in photography, is a term Tom Gunning uses to describe the prevalent belief that traditional pho- tographs accurately depict reality. He states that the truth claim relies on both the indexicality and visual accuracy of photographs.[1]

1.2.1 Indexicality

Charles Peirce's term 'indexicality' refers to the physical relationship between the object photographed and the result- ing image.[2] Paul Levinson emphasises the ability of photography to capture or reflect “a literal energy configuration from the real world” through a chemical process.[3] Light sensitive emulsion on the photographic is trans- formed by light passing through the lens and diaphragm of a camera.[4] Levinson relates this characteristic of the photograph to its objectivity and reliability, echoing Andre Bazin’s belief that photography is free from the “sin” of subjectivity.[5] A similar argument has been made for motion pictures by Stephen Maguire. Lev Manovich labels cinema the art of the index, its traditional identity lying in its ability to capture reality.[6] Denis McQuail likewise argues that film is capable of manipulating the "...seeming reality of the photographic message without loss of credibility.”[7]

1.2.2 Visual accuracy

Gunning states that a photograph must also have “iconicity”. To represent “truth” it must resemble the object it represents, which is not an inevitable characteristic of an index.[4] 6 CHAPTER 1. DAY 1

1.2.3 Consequences of the “truth claim”

For individuals

Levinson suggests that icons have a powerful effect on individuals, particularly the “direct image” due to the “sheer ease and sensual satisfaction” of viewing it.[8] Gunning attributes the human fascination with photographs with a sense of the relationship between photography and reality, though he claims that the “perceptual richness and nearly infinite detail” of the image itself is more significant than a knowledge of its indexicality. He cites Bazin’s idea that photography has an “irrational power to bear away our faith.”[9] Further, Susan Sontag relates the belief in a photograph’s ability to capture 'reality' to the development of certain human practices. Since a picture confers on events “a kind of immortality (and importance) it would never otherwise have enjoyed,”[10] she explains, the act of taking photographs has become essential to the experience of world travel. The possibility of 'true' photographs leads to a compulsion to "[convert] experience into an image” to “make real what one is experiencing.”[11]

For society

Understanding of reality David Croteau and William Hoynes suggest that the prevalence of photographic images has blurred the distinction between image and reality, referring to pseudo-events, in Daniel Boorstin’s words – such as press conferences, televised political debates, or 'photo opportunities’ - that exist only to create images.[12] Further, Neil Postman argues that the photograph has redefined society’s understanding of information and truth: “Truth is in the seeing, not in the thinking.”[13] Postman suggests that the proliferation of photography led to the replacement of language with images as “our dominant means for constructing, understanding, and testing reality”.[14] Sontag shares this view, suggesting that “the 'realistic' view of the world compatible with bureaucracy redefines knowl- edge as techniques of information.[15]

Social organisation In Sontag’s view, a consequence of photography becoming a primary means for understand- ing reality is the emergence of "bureaucraticcataloguing". She claims that photography’s perceived ability to give information results in the bureaucratic organization of modern states. Institutions of control, such as the police, are able to survey and control “increasingly mobile populations” through photographic documents, such as passports or identity cards.[16]

Desensitization Sontag also argues that through repeatedly capturing and viewing reality through photographs, their subjects can become less real. She claims that “aesthetic distance seems built into the very experience of looking at photographs,” and also that the sheer volume of horrific images throughout the world has produced a “familiarity with atrocity, making the horrible seem more ordinary – making it appear familiar, remote … inevitable”.[17]

Hyperreality Sontag’s view is akin to Jean Baudrillard’s theory of 'hyperreality', where “reality itself founders” as a result of an endless “reduplication of the real” via media such as photography.[18] He claims that the possibility of infinite identical objects creates a “relationship of equivalence, of indifference,”...leading to the “extinction of the original.”[19]

1.2.4 Digital photography

It has been argued that the digitisation of photography undermines its truth claim.

Potential for manipulation

Levinson suggests that the digitisation of photography undermines “the very reliability of the photograph as mute, unbiased witness of reality”[20] because of the fallibility of technological manipulation and the potential for human refinement of production.[21] 1.2. TRUTH CLAIM (PHOTOGRAPHY) 7

Lev Manovich likewise questions the indexical identity of motion pictures, rather labelling cinema a subgenre of painting, since it is possible to digitally modify frames, generate photorealistic images entirely using 3-D computer animation, and "...to cut, bend, stretch and stitch digitised film images into something which has perfect photographic credibility, although it was never actually filmed.”[6]

Loss of indexicality

It has also been argued that digital photographs inevitably lack indexicality, based on an understanding of “crucial distinctions between the analogue and the digital” in the way they record 'reality'.[22] For instance, Frosh describes photographs as “codes without a message” – “repurposable visual content made of malleable info-.”[23]

The continuing “reality effect”

Gunning alternatively argues that digital photography, the process of encoding data about light in a matrix of numbers, is indexically determined by objects outside of the camera like chemical photography.[4] Likewise, Martin Lister claims that even with a , “The images produced are rendered photo-realistic, they borrow photography’s currency, its deeply historical 'reality effect', simply in order to have meaning.”[22]

1.2.5 Criticism of the “truth claim”

Susan Sontag challenges the “presumption of veracity” associated with photographs, arguing that they are "...as much an interpretation of the world as paintings and drawings are.” She describes the role of the photographer in determining the , light, texture and geometry of a photograph.[24] Gunning points to the physicality of the camera as a mediator between the photograph and reality. He notes that the use of a lens, film, a particular exposure, kind of , and developing process "...become magically whisked away if one considers the photograph as a direct imprint of reality.”[4] Sontag also describes the inability of a photograph to capture enough information about its subject to be considered a representation of reality. She states, “The camera’s rendering of reality must always hide more than it discloses…only what which narrates can make us understand.”[25] Further, Roland Barthes notes that the human subject can be made less real through the process of being photographed. He notes, “Once I feel myself observed by the lens, everything changes: I constitute myself in the process of 'posing', I instantaneously make another body for myself, transform myself in advance into an image.”[26][27]

1.2.6 References

[1] Gunning (2004), p. 41

[2] Gunning (2004), pp. 39–40

[3] Levinson (1997), p. 37

[4] Gunning (2004), p. 40

[5] Levinson (1997), pp. 40, 41, 47

[6] Lev Manovich (1995). “What is digital cinema?". Retrieved 1 February 2006.

[7] McQuail (2000), p. 23

[8] Levinson (1997), pp. 37, 48

[9] Gunning (2004), pp. 45–46

[10] Sontag (1977), p. 11

[11] Sontag (1977), p. 9

[12] Croteau & Hoynes (2003), pp. 309–310 8 CHAPTER 1. DAY 1

[13] Croteau & Hoynes (2003), p. 309

[14] Postman (1993), p. 68

[15] Sontag (1977), p. 22

[16] Sontag (1977), pp. 5, 21

[17] Sontag (1977), pp. 20–21

[18] Baudrillard (2001), p. 147

[19] Baudrillard (2001), p. 140

[20] Levinson (1997), p. 41

[21] Levinson (1997), p. 43

[22] Lister (2007), p. 252

[23] Lister (2007), p. 262

[24] Sontag (1977), pp. 6–7

[25] Sontag (1977), p. 23

[26] Barthes (1982), pp. 10–11

[27] Porter & Kennedy (2012)

Bibliography

• Barthes, Roland (1982). Camera Lucida: Reflections on Photography. : J. Cape.

• Baudrillard, Jean (2001). “Symbolic exchange and death”. In Mark Poster. Jean Baudrillard: Selected Writings (2nd ed.). Cambridge: Polity. ISBN 9780745624525.

• Croteau, David; Hoynes, William (2003). Media Society: Industries, Images and Audiences (3rd ed.). Thousand Oaks, CA: Pine Forge Press.

• Gunning, Tom (2004). “What’s the point of an index? or, Faking photographs” (PDF). NORDICOM Review. 5 (1/2): 39–49.

• Levinson, Paul (1997). The Soft Edge: a and Future of the Information Revolution. London: Routledge. ISBN 9780203981047.

• Lister, Martin (2007). A sack in the sand: photography in the age of information. Convergence. 13. pp. 251–274. doi:10.1177/1354856507079176.

• McQuail, Denis (2000). McQuail’s Mass Communication Theory (4th ed.). London: Sage. ISBN 978-0-7619- 6547-3.

• Porter, Glenn; Kennedy, Michael (2012). “Photographic truth & evidence”. Australian Journal of Forensic Sciences. 44 (2): 183–192. doi:10.1080/00450618.2011.634835.

• Postman, Neil (1993). Technopoly: the Surrender of Culture to Technology. , NY: Vintage Books. ISBN 9780679745402.

• Sontag, Susan (1977). On Photography. London: Penguin. ISBN 978-0-14-005397-5. Chapter 2

Day 2

2.1 List of photographers

This is a list of notable photographers. Key:

abs...Abstract photographer adv...Advertising photographer aer...Aerial photographer arch...Architectural photographer art...Art photographer astro...Astrophotographer celeb...Celebrity photographer dig...Digital photography doc...Documentary photographer ethno...Ethnographic photographer exp...Experimental photography fash...Fashion photographer food...Food photographer found... glam... inds...Industrial photographer int...Interiors photographer jour...Photojournalist land...Landscape photographer music...Music photographer pict...Pictorialist port...Portrait photographer rph... sci...Scientific/technical photographer spt...Sports photographer str...Street photographer und...Underwater photographer

9 10 CHAPTER 2. DAY 2

ver... war...War photographer

|}

2.1.1 Albania

• Fadil Berisha

• Gjon Mili

• Burim Myftiu

2.1.2 Argentina

• Gustavo Aguerre (art)

• Horacio Coppola (doc)

• Sara Facio (celeb)

• Esteban Gonnet (arch)

• Annemarie Heinrich (celeb)

• Alejandro Kuropatwa (celeb)

• Adriana Lestido (jour)

• Grete Stern (art)

• Sergio Castiglione (arch)

2.1.3 Australia

See also: Category:Australian photographers and Photography in Australia

• David Adams (doc)

• Jack Atley (port)

• Daniel Berehulak (photojournalist)

• Harold Cazneaux (pict. port)

• (und, land)

• Peter Dombrovskis

• Ken Duncan

• Max Dupain

• Adam Ferguson (doc, war)

• Bill Henson (art)

• Graham Howe

• Frank Hurley 2.1. LIST OF PHOTOGRAPHERS 11

• Russell James

• Barry Kay (doc, art)

• Charles Kerry

• Ash Lieb (Art, dig)

• Peter Lik (land)

• Darryn

• (str)

• Charles Page (doc)

• (doc)

• Wolfgang Sievers (arch, ind)

• Steven Siewert (art, doc)

• Andrew Stark (art, doc)

• Olegas Truchanas

• Ian Wallace (land)

• Anne Zahalka (art)

2.1.4 Austria

• Manfred Baumann

• Herbert Bayer (exp, abs, adv)

• Lukas Beck (art, doc, port)

• Andreas Bitesnich (fash)

• Wilhelm J. Burger

• (doc, port)

• Gottfried Helnwein (art)

• Josef Hoflehner

•

• Inge Morath

• Willy Puchner (art, doc)

• Baron Raimund von Stillfried

• Stillfried & Andersen (photographic studio)

2.1.5 Azerbaijan

• Rena Effendi (doc) 12 CHAPTER 2. DAY 2

2.1.6 Bangladesh

• GMB Akash

• Shahidul Alam

• Manzur Alam Beg (art)

• Munem Wasif

2.1.7 Belgium

• Jean-Marie Bottequin (art, port, celeb, doc, inds)

• Isidore Jacques Eggermont

• Martine Franck

• Harry Gruyaert

• Carl de Keyzer (doc)

• Eugene Lemaire

• Marcel Mariën

• Filip Naudts (art, port)

• Max Pinckers (doc, art)

2.1.8 Benin

• Mayeul Akpovi

2.1.9 Brazil

• Marc Ferrez

• Vik Muniz (abs, art)

• Arthur Omar

• Sebastião Salgado (art, doc)

• Cássio Vasconcellos

• Guy Veloso (art, doc)

2.1.10 Cambodia

• Dith Pran

2.1.11 Cameroon

• Angèle Etoundi Essamba

• 2.1. LIST OF PHOTOGRAPHERS 13

2.1.12 Canada

• Bryan Adams (port) • Roy Arden • Melissa Auf der Maur (port) • George Barker (land) • Roloff Beny • Roberta Bondar (land) • Edward Burtynsky (land) • Geneviève Cadieux • Paul Couvrette (art, doc, int, land, port) • Bill Cunningham • Frederick Dally • Julie Doiron • Jessica Eaton (art, exp) • Byron Harmon (doc, land, port) • Yousuf Karsh (port) • Koby • Paul Labonté (art, port) • R. Ian Lloyd • Arnaud Maggs (art, port) • • Richard Maynard • Raphael Mazzucco (fashion) • Jo-Anne McArthur (jour) • Julie Moos (art, doc, land, port) • Freeman Patterson • Bob Peterson • Peter Pitseolak • Robert Polidori (arch) • Raymond Henry St. Arnaud (art) • Floria Sigismondi (art) • Sam Tata (jour) • Larry Towell • Jeff Wall • Donald Weber • Brian Wood (art) 14 CHAPTER 2. DAY 2

2.1.13 Chile

• Ricardo Carrasco

• Jesús Inostroza (doc, art)

• Carlos Reyes-Manzo (doc)

2.1.14 China

See also: Category:Chinese photographers, List of Chinese photographers, and Photography in China

• Hong Cheong

• Tong Cheong

• Sun-chang Lo (art)

• Zhang Xiao

2.1.15 Colombia

• Miguel Gómez (art, land, port, stills)

• Nereo López

2.1.16 Democratic Republic of the Congo

• Joseph Makula

2.1.17 Cuba

• Luis Castaneda

• Raúl Corrales Forno

• Alberto Korda

• René Peña

• Herman Puig

• Marta María Pérez Bravo

• Lissette Solorzano

2.1.18 Czech Republic

• Karel Cudlín (doc)

• František Drtikol (exp, fash)

• Jitka Hanzlová (doc, port, land)

• Rudolf Koppitz

•

• Antonín Kratochvíl (doc, war) 2.1. LIST OF PHOTOGRAPHERS 15

• Rudolf Franz Lehnert • Markéta Luskačová (doc) • Frank Plicka (doc) • Karel Plicka (arch, doc, ethno) • Jan Saudek (art, port) • Ignác Šechtl • Josef Jindřich Šechtl • Marie Šechtlová • Jindřich Štreit (doc) • Josef Sudek (pict, land) • Miroslav Tichý (surreptitious) • Josef Větrovský

2.1.19 Denmark

• Mads Alstrup • Per Bak Jensen (art, land) • Reg Balch • Morten Bo (doc) • Krass Clement (doc) • Joakim Eskildsen (art) • Frederikke Federspiel (port) • Kristen Feilberg (ethno, land) • Jens Fink-Jensen (art) • Jan Grarup (war) • Ludvig Grundtvig (port) • Georg Emil Hansen (port) • Liv Hansen (port) • Keld Helmer-Petersen (art) • Jacob Holdt (doc) • Jesper Høm (doc) • Kirsten Klein (art, land) • Astrid Kruse Jensen (art) • Claus Bjørn Larsen (doc, war) • Erling Mandelmann • Anton Melbye (art) • Rigmor Mydtskov (port) 16 CHAPTER 2. DAY 2

• Jacob Riis

• Viggo Rivad (doc)

• Leif Schiller

• Lars Schwander (port)

• Jacob Aue Sobol (art)

• Mary Steen (port)

• Rudolph Striegler (port)

• Sigvart Werner (art, land)

• Mary Willumsen (port)

2.1.20 Ecuador

• Simón Brauer

• Hugo Cifuentes

2.1.21 Egypt

• Laura El-Tantawy (doc, jour)

• Ayman Lotfy (art)

• Sherif Sonbol (arch, art, doc, dig, lans)

2.1.22 Estonia

• Alexander Gronsky (land)

• Johannes Pääsuke (doc, ethno)

• Jakob Sildnik

2.1.23 Ethiopia

• Aida Muluneh (doc, ethno)

• Michael Tsegaye

2.1.24 Finland

• Ismo Hölttö

• Sirkka-Liisa Konttinen (doc)

• Santeri Levas (doc) 2.1. LIST OF PHOTOGRAPHERS 17

2.1.25 France

• (art)

• Hippolyte Arnoux

• Yann Arthus-Bertrand (aer)

• Eugène Atget (arch, doc)

• Alan Aubry (arch, art, doc, int, land)

• Edouard Baldus

• Bruno Barbey

• Jean Baudrillard (str)

•

• Valérie Belin (art)

• Denise Bellon (art, jour)

• Auguste-Rosalie Bisson (land)

• Louis Désiré Blanquart-Evrard

• Félix Bonfils

• Edouard Boubat (str)

• Alexandra Boulat

• Jacques Bourboulon

• Jean-Christian Bourcart

• Guy Bourdin (fash)

• Bruno Braquehais (art, doc)

• Brassaï (str, port)

• (land)

• Serge Brunier (astro)

• Jean-Marc Bustamante (art)

• Bernard Cahier (spt)

• Claude Cahun

• (art)

• Henri Cartier-Bresson (str, jour, doc, port)

• Jean Chamoux (doc, port, fash, war)

• Jean-Philippe Charbonnier (port, doc)

• Désiré Charnay

•

• Paul de Cordon (art, fash)

• Jules Gervais-Courtellemont (doc, art) 18 CHAPTER 2. DAY 2

• Louis-Jacques-Mandé Daguerre (land, port) • Luc Delahaye (doc, art) • Patrick Demarchelier (fash, adv) • André-Adolphe-Eugène Disdéri • (doc, str, port) • (land, arch) • Pierre Dubreuil (pict) • Jean Louis Marie Eugène Durieu • Philippe Echaroux • Bruno Fabien (art) • Antoine Fauchery • Bernard Faucon (art) • Hércules Florence • Fernand Fonssagrives (art, fash) • Martine Franck (doc, port) • Auguste François (ethno, doc, land) • Léon Gimpel (art, doc) • Joseph-Philibert Girault de Prangey • André Giroux • Yohann Gozard (art) • Olivier Grunewald (land) • Emile Gsell • Lucien Hervé (arch, str) • • Jules Itier • Gaspard-Pierre-Gustave Joly de Lotbinière (arch, land) • Valérie Jouve (art) • Jacques Henri Lartigue (str, port, spt, exp) • Louis Legrand • (land) • Guy Le Querrec (jour, str, music) • (arch) • Auguste and Louis Lumière • Serge Lutens (art, fash) • Benedicte Van der Maar (art, port) • Pascal Meunier (doc) 2.1. LIST OF PHOTOGRAPHERS 19

• Jean-Baptiste Mondino (fash, adv, glam) • (port, land) • Nicéphore Niépce • Dani Olivier (art) • Gilles Peress (war, doc, jour) • Pierre et Gilles (art) • Constant Puyo (pict) • Gérard Rancinan (fash, art, doc) • Henri-Victor Regnault • Bettina Rheims (port) • Marc Riboud (war, doc, jour) • (str, doc) • Georges Rousse (art) • Stéphane Sednaoui (adv, art, fash) • Jeanloup Sieff (port, adv, fash) • (art, port) • Hedi Slimane (fash) • Albert Spaggiari • Christine Spengler (war) • Natalia Turine • Franck Vogel (doc, port)

2.1.26 Georgia

• Irakly Shanidze (art, adv, port, fash)

2.1.27 Germany

• Christian von Alvensleben • Ottomar Anschütz (exp, land) • Dieter Appelt (port) • Ellen Auerbach (port, adv, doc) • Thomas Bak • Walter Ballhause (doc) • Uta Barth (abs, art) • Ingeborg de Beausacq • Hilla Becher (art, doc, arch) • (art, doc, arch) 20 CHAPTER 2. DAY 2

• Hans Bellmer (art) • Henning von Berg (art, port) • Sibylle Bergemann (doc, fash) • Ruth Bernhard (art, int, port) • Peter Bialobrzeski (doc, arch, land) • Aenne Biermann (port, ) • Ilse Bing (exp, jour) • Karl Blossfeldt (sci) • Anna and Bernhard Blume (art) • Marianne Breslauer (jour, port, str) • Heinrich Brocksieper (abs, exp, port) • Max Burchartz (adv) • Peter Cornelius (art) • Thomas Dworzak (jour) • Franz Fiedler (jour) • Gisèle Freund (jour, port) • (str) • Wilhelm von Gloeden (art, fash, port) • Andreas Gursky (art) • John Gutmann • Peter Guttman • Esther Haase (art, fash, port) • Franz Hanfstaengl (port) • Siegfried Hansen (str) • Robert Häusser (abs, land) • Raoul Hausmann (exp, abs, port) • Harald Hauswald (doc) • Fritz Henle • Ulrich Hensel (art) • Thomas Hoepker (jour, port) • Candida Höfer (art) • Heinrich Hoffmann • Lotte Jacobi (port) • Clemens Kalischer (doc, art) • Heinrich Kühn (pict, art) • Karl Lagerfeld (fash) 2.1. LIST OF PHOTOGRAPHERS 21

• Ernst Heinrich Landrock (land, port, ethno) • Robert Lebeck (jour, port) • Hans G. Lehmann • Peter Leibing • Esther Levine (art) • Peter Lindbergh (fash) • Herbert List (fash, port, arch) • Alois Löcherer (exp) • Loretta Lux (art) • Willy Matheisl • Adolf de Meyer (fash, celeb, glam) • Hans Namuth (port) • Josef H. Neumann (abs, art, exp, inds, jour, land, port, rph) • Helmut Newton (art, fash, port) • Anja Niedringhaus (jour, war) • Ralf Obergfell (art, doc, jour, port) • Guglielmo Plüschow • Michael Poliza • Jim Rakete (port) • Albert Renger-Patzsch (land, arch, inds) • (doc, land, port, spt, und) • Michael Ruetz (doc, jour, land, art) • Thomas Ruff (art, port, arch, dig) • Erich Salomon (jour, port) • August Sander (port, land) • Thyra Schmidt (art) • Stefanie Schneider (art, port) • Katharina Sieverding (art) • Giorgio Sommer (land, arch) • Kathrin Sonntag • Sasha Stone (jour, str, port, arch, adv, fash) • Thomas Struth (art, doc) • (Gerta Pohorylle) (doc) • Juergen Teller (fash, ver) • Elsa Thiemann (exp, str) • Peter Thomann (doc) 22 CHAPTER 2. DAY 2

• (abs, art, str) • Herbert Tobias • Heinrich Tønnies (port, land) • UMBO (Otto Umbehr) (jour) • Ellen von Unwerth (fash) • Marius Vieth (str) • Chris von Wangenheim (fash) • Charles Paul Wilp (adv) • Michael Wolf (doc, arch, dig) • Otto Wunderlich

2.1.28 Ghana

• Philip Kwame Apagya • James Barnor

2.1.29 Greece

• (doc) • Tzeli Hadjidimitriou (art, land, arch) • Yannis Kontos (doc) • Vassilis Makris • Nelly’s (Elli Souyioultzoglou-Seraïdari) • Lucas Samaras

2.1.30 Hong Kong

• Basil Pao • Ho Fan • Yau Leung

2.1.31 Hungary

• Brassaï (doc) • (doc) • Robert Capa (doc, war) • Zoltán Glass (motorsport, fashion) • Lucien Hervé (arch) • André Kertész (doc, land, int, port) • László Moholy-Nagy (art) • Martin Munkácsi (spt, doc, fash) • Nickolas Muray 2.1. LIST OF PHOTOGRAPHERS 23

2.1.32 Iceland

• Ragnar Axelsson (doc)

• Nökkvi Elíasson (arch, land)

2.1.33 India

• Darogha Ubbas Alli • Subhankar Banerjee • Pablo Bartholomew (doc, art, ethno) • Vikram Bawa (art, adv, fash, port, edi) • Lala Deen Dayal • Dhaval Dhairyawan • Atul Kasbekar (fash) • Yatin Patel • Altaf Qadri • Raghu Rai • Dabboo Ratnani (fash) • Benu Sen (art, pict) • Raghubir Singh

2.1.34 Indonesia

• Kassian Cephas (arch, port)

2.1.35 Iran

• Morteza Avini (doc,war) • Abbas (jour) [1] • Manoocher Deghati (doc,war) • Reza Deghati (doc, war) • Mohammad Reza Domiri Ganji (arch) • Kaveh Golestan (doc) • Bahman Jalali (doc, art) • Nasrollah Kasraian (doc, land) • Moe Zoyari (doc) • Mohammadreza Mirzaei (art) • Jahangir Razmi (doc) • Newsha Tavakolian (doc) • Ali Khan Vali • Alfred Yaghobzadeh 24 CHAPTER 2. DAY 2

2.1.36 Ireland

• Kevin Abosch (art) • Maeve Berry • Bob Carlos Clarke (art) • Richard Mosse (doc, art)

2.1.37 Israel

• Micha Bar-Am (doc) • Rafael Ben-Ari (doc, war) • Nadav Kander • Ziv Koren (doc, war) • Alex Levac (art, doc)

2.1.38 Italy

• Fratelli Alinari • Olivo Barbieri • Antonio Beato • Felice Beato • Gianni Berengo Gardin • Giacomo Brogi • Romano Cagnoni (art, war, doc) • Ilario Carposio • Elio Ciol (doc) • Yvonne De Rosa • Adolfo Farsari • Franco Fontana (art) • Piero Gemelli • Luigi Ghirri • Mario Giacomelli • Mimmo Jodice (doc, land) • Fosco Maraini (ethno) • Enrico Martino (ethno, land, war) • Tina Modotti (art, doc, port) • Paolo Monti • Ugo Mulas (art, doc, port) • Dianora Niccolini (art) 2.1. LIST OF PHOTOGRAPHERS 25

• Giuseppe Palmas • Dino Pedriali • Secondo Pia • Felice Quinto (celeb) • Vittorio Sella (land) • Frederick Sommer • Oliviero Toscani • Luigi Veronesi (abs, art, exp) • Massimo Vitali

2.1.39 Jamaica

• Ester Anderson • Renée Cox • Charles Kinkead • Charlie Phillips

2.1.40 Japan

• Tadasuke Akiyama (doc) • Takashi Amano (land, und) • Nobuyoshi Araki (art) • Taku Aramasa (fash, doc) • Taiji Arita • Teisuke Chiba (doc) • (arch, art, doc) • Ei-Q (art) • T. Enami • Hakuyō Fuchikami • Mitsutarō Fuku • Katsuji Fukuda (adv, art) • Rosō Fukuhara (art) • Shinzō Fukuhara (art) • Masao Gozu • Mikiko Hara • Tadahiko Hayashi (doc, port) • Takanobu Hayashi (art) • Terushichi Hirai 26 CHAPTER 2. DAY 2

• Horie Kuwajirō • Masao Horino • Tetsuya Ichimura • Seiryū Inoue (doc) • Taikichi Irie (art, doc) • Mitsuaki Iwagō • Takeji Iwamiya (arch, doc) • Bishin Jumonji • Kameya Tokujirō • Rinko Kawauchi • Seiki Kayamori (doc, ethno) • Kensuke Kazama • Takashi Kijima • Hiroh Kikai (doc, port) • Shunkichi Kikuchi (doc, sci) • Ihei Kimura (doc, port) • Genzō Kitazumi (art, doc) • Fusako Kodama • Kiyoshi Koishi • Akira Komoto (art) • Tomio Kondō (doc, port) • Motoichi Kumagai (doc) • Seiji Kurata (doc) • Kusakabe Kimbei • Kineo Kuwabara (doc) • Shisei Kuwabara (doc) • Maeda Genzō • Shinzo Maeda • Susumu Matsushima (fash, port) • Tōyō Miyatake • Miyazaki Yūhi • Aizō Morikawa (port) • Daidō Moriyama • Shigeichi Nagano (doc) • Yasushi Nagao (doc) • Ikkō Narahara (art) 2.1. LIST OF PHOTOGRAPHERS 27

• Yōnosuke Natori (doc) • Kiyoshi Nishiyama (arch, land, pict) • Ogawa Kazumasa • Ogawa Seiyo • Yoshino Ōishi (doc) • Kosuke Okahara • Takashi Okamura • Kōshirō Onchi (art) • Mitsugu Ōnishi • Chizu Ono • Kei Orihara (doc, port) • Akira Satō (art, fash) • Kōji Satō • Tokihiro Satō (art) • Masato Seto (doc) • Noriyoshi Shibata (doc) • Bukō Shimizu (doc, ethno, land) • Kishin Shinoyama • Mieko Shiomi • Issei Suda (art) • (art, doc, port) • Kaietsu Takagi • • Masataka Takayama (abs, art) • Tamamura Kozaburō • Akihide Tamura (aka Shigeru Tamura) • Sakae Tamura (art, port) • Sakae Tamura (sci) • Shigeru Tamura (not Akihide Tamura) • Kōtarō Tanaka • Toyoko Tokiwa (doc) • (art, doc) • Tomishige Rihei • Akira Toriyama (land, pict) • Uchida Kuichi • Shōji Ueda 28 CHAPTER 2. DAY 2

• Noboru Ueki • Ueno Hikoma • Ukai Gyokusen • Kaoru Usui (doc) • Hiroshi Watanabe (port) • Kansuke Yamamoto (art, exp, port) • Hiroshi Yamazaki • Nakaji Yasui • Yokoyama Matsusaburō • Kohei Yoshiyuki (doc)

2.1.41 Kenya

• Mohamed Amin • Priya Ramrakha

2.1.42 Latvia

• Philippe Halsman (art, fash, port)

2.1.43 Lebanon

• Nadim Asfar • Gregory Buchakjian

2.1.44 Lithuania

• Izis Bidermanas • Vytautas Stanionis • Kęstutis Stoškus • Antanas Sutkus • Algimantas Žižiūnas (portrait, ethnography, documentary, photojournalism) • Stanislovas Žvirgždas (land)

2.1.45 Luxembourg

• Mark Divo (art) • Marianne Majerus

2.1.46 Mali

• Alioune Bâ • Seydou Keïta • Malick Sidibé 2.1. LIST OF PHOTOGRAPHERS 29

2.1.47 Mexico

• Lola Álvarez Bravo

• Manuel Álvarez Bravo

• Edgar de Evia (art, adv, doc, fash, food, int)

• Sergio Dorantes

• Enrique Metinides

• Antonio Olmos (jour)

• Rubén Ortiz Torres (art)

2.1.48 Netherlands

See also: Category:Dutch photographers.

• Hans Aarsman (doc, pict, port, dig, celeb)

• Emmy Andriesse

• Iwan Baan (arch)

• Henze Boekhout

• Anton Corbijn

•

• Ed van der Elsken

• Karl Hammer (art)

• Carli Hermès (abs, adv, art)

• Rob Hornstra (doc)

• Hendrik Kerstens (art)

• Erik Kessels (found, ver)

• Ad Konings (sci)

• Jeroen Kramer (art, doc)

• Inez van Lamsweerde

• Frans Lanting

• Erwin Olaf (fash, port)

• Rahi Rezvani

• José Manuel Rodrigues

• Levi van Veluw 30 CHAPTER 2. DAY 2

2.1.49 New Zealand

See also: Category:New Zealand photographers and Photography in New Zealand

• Laurence Aberhart

• Mark Adams

• Brian Brake (art, doc, jour)

• Peter Bush

• Rosaline Margaret Frank

• Marti Friedlander

• Anne Geddes (art, doc, port)

• Geoff Moon (birds, nz natural)

• Robin Morrison

• Ans Westra

2.1.50 Nigeria

• Solomon Osagie Alonge

• George Da Costa

• Rotimi Fani-Kayode

• Simon Norfolk

• J. D. 'Okhai Ojeikere

• Lukman Olaonipekun

• Herzekiah Andrew Shanu

• Tidiani Shitou

2.1.51 Norway

• Rolf Aamot (art)

• Jonas Bendiksen (jour)

• Catherine Cameron

• Frode Fjerdingstad (art)

• Petter Hegre (dig)

• Luca Kleve-Ruud (doc, port)

• Severin Worm-Petersen (port) 2.1. LIST OF PHOTOGRAPHERS 31

2.1.52 Pakistan

• Tapu Javeri

• Adnan Kandhar

• Sadia Khan

• Farah Mahbub

• Huma Mulji

• Zaigham Zaidi

2.1.53 Palestine

• Karimeh Abbud

• Yousef Khanfar (art, port, land)

• Khalil Raad (doc, ethno, port, land)

2.1.54 Panama

• José Luis Rodríguez Pittí (art, doc)

2.1.55 Peru

• Martín Chambi

• Mario Testino (fash)

2.1.56 Philippines

2.1.57 Poland

• Jan Bułhak

• (street)

• Zbigniew Dłubak

• Eugeniusz Lokajski

• Michal Martychowiec (art)

• Kazimierz Nowak (doc, ethno)

• Włodzimierz Puchalski

• David Seymour

• Stanisław Ignacy Witkiewicz

• Casimir Zagourski (doc, ethno, port)

• Joanna Zastróżna 32 CHAPTER 2. DAY 2

2.1.58 Portugal

• Daniel Blaufuks • José Manuel Rodrigues • Helena Almeida

2.1.59 Romania

• Ioan Mihai Cochinescu (art, doc)

2.1.60 Russia

• Dmitri Baltermants (jour) • Alexey Brodovich • George Hoyningen-Huene • Yevgeny Khaldei • Rafail Sergeevich Levitsky (art, port) • Sergei Lvovich Levitsky (art, port, land) • El Lissitzky • Gueorgui Pinkhassov (doc) • Sergei Mikhailovich Prokudin-Gorskii • • Natalia Skobeeva (art, fashion) • Nicolas Tikhomiroff • Alexey Titarenko • Roman Vishniac

2.1.61 Sierra Leone

• Alphonso Lisk-Carew

2.1.62 Singapore

• John Clang • Teo Bee Yen

2.1.63 Slovakia

• Peter Frolo • Dezo Hoffmann • Patrik Jandak • Tono Stano • Silvia Vaculíková 2.1. LIST OF PHOTOGRAPHERS 33

2.1.64 Slovenia

• Avgust Berthold • Branko Cvetkovic • Marko Modic (art)

2.1.65 South Africa

• Steve Bloom • Kevin Carter • Ernest Cole • Arthur Elliott (arch) • • Bob Gosani • Robert Hamblin • Sam Haskins • Pieter Hugo • Alf Kumalo • David Lurie • • Michael Meyersfeld (art) • Eric Miller • Santu Mofokeng • Billy Monk • Henrik Purienne • Jürgen Schadeberg • Mikhael Subotzky • Guy Tillim • Gisèle Wulfsohn

2.1.66 Spain

• Rogelio Bernal Andreo (astro) • Francisco Boix • Joan Colom • (art) • Isidoro Gallo • Chema Madoz (art) • Isabel Muñoz • José Ortiz-Echagüe (ethno, land, pict, port) • Cristina García Rodero (ethno, port) 34 CHAPTER 2. DAY 2

2.1.67 Sweden

• Sofia Ahlbom

• Ingrid Falk (art)

• Victor (land)

• Brita Sofia Hesselius

• Olof Jarlbro

• Jan Töve Johansson

• (doc)

• Mattias Klum

• Lennart Nilsson

• Anders Petersen

• Oscar Gustave Rejlander (art, port)

• Hilda Sjölin

2.1.68 Switzerland

• Werner Bischof (jour)

• Walter Bosshard (jour)

• Olaf Breuning (art)

• René Burri (jour)

• Hans Danuser (art, exp, land)

• Robert Frank (str, port)

• Georg Gerster (aer)

• Alwina Gossauer

• Michael von Graffenried (jour)

• Johann Baptist Isenring (port, land, arch)

• Helmar Lerski (exp, port)

• Urs Lüthi (art, port)

• Herbert Matter (adv)

• Jean Mohr (doc, jour, port)

• Pierre Rossier

• Didier Ruef

• Roman Signer (art, doc)

• Annelies Štrba (art, port)

• Beat Streuli (str) • 2.1. LIST OF PHOTOGRAPHERS 35

2.1.69 Taiwan

• Chien-Chi Chang

2.1.70 Thailand

• Haruehun Airry

• Chaiya

2.1.71 Turkey

• Bahaettin Rahmi Bediz

• Ara Güler

• Maryam Şahinyan

• Ahmet Ertuğ

• Coşkun Aral

• Gökşin Sipahioğlu

• Şakir Eczacıbaşı

• Abdullah Biraderler

• Murat Saygıner

• Nuri Bilge Ceylan

• Ismail Acar

2.1.72 Ukraine

• Igor Kostin

• Anastasia Vlasova (jour)

• Dina Litovsky

2.1.73 United Arab Emirates

• Ali Essa Juma Mohammed

2.1.74 United Kingdom

• William de Wiveleslie Abney

• Timothy Allen (doc, ethno, port)

• Tom Ang

• Heather Angel

• Olivia Arthur

• Malcolm Arbuthnot (pict, port)

• Fred Archer 36 CHAPTER 2. DAY 2

• Antony Armstrong-Jones, 1st Earl of Snowdon known as “Snowdon” • Peter Ashworth (fash, music) • • • (fash, port) • Shirley Baker (doc, str) • Clive Barda • Nigel Barker (fash) • (doc, art) • Kate Barry (fash) • Emma Barton (art) • (port) • Richard Beard • Cecil Beaton (art, doc, fash, port) • Francis Bedford • George Beldam (spt) • Harry Benson • Herbert Bowyer Berkeley (land) • (art, doc) • J. R. Black • John Blakemore (land) • Dorothy Bohm • Henry Bond • Gemma Booth • Harry Borden (art, doc, port) • • Jane Bown • Tony Boxall (doc) • Sonia Boyce • Alex Boyd (land, art) • Bill Brandt (art, doc) • Zana Briski (doc) • Hamish Brown (port) • Marc Bryan-Brown • John Bulmer (doc) • Victor Burgin 2.1. LIST OF PHOTOGRAPHERS 37

• Vanley Burke • (war) • Harry Burton (doc) • Michael Busselle • Cindy Buxton • Pogus Caesar (doc, art) • (art, doc, int, land, port) • William Carrick • (art, port) • Andrew Catlin • Hugh Cecil • Allan Chappelow • William Clarridge • Henry Collen • Joe Cornish • Ron Davies (art, dig, land, port) • George Davison • Corinne Day • Frances Sally Day • Peter Dazeley (adv, art, dig, fash, port) • John Deakin (port, art) • Venetia Dearden • Peter Dench (jour) • Susan Derges • Hugh Welch Diamond • Mary Dillwyn • Zoë Dominic • Terence Donovan (fash, doc) • Julie Dorrington (medical) • W. & D. Downey (port) • Gerald Drucker (port) • Olive Edis • Laura El-Tantawy, see Egypt (doc, jour) • Peter Henry Emerson • Frederick H. Evans (arch) • Jason Evans 38 CHAPTER 2. DAY 2

• Florence Farmborough • (und, fash) • Alixandra Fazzina • (war) • Mary Georgina Filmer • Graham Finlayson (doc) • Mary Fitzpatrick (photographer) • • Armet Francis • Stuart Franklin (doc) • Peter Fraser (art) • John French (fash) • Melanie Friend • • Peter Wickens Fry (early English amateur photographer) • Jill Furmanovsky • Adam Fuss (abs, art, doc) • Alexander Gardner • George Georgiou • David Gibson (str) • Paula Rae Gibson (art) • Fay Godwin (art, land, port) • Andy Goldsworthy (abs, art, land) • Paul Graham • (doc) • Ross Halfin (port, music, art) • E.R. Hall (spt, port) • David Hamilton (abs, art) • Eleanor Hardwick • Bert Hardy (doc, war) • Sam Haskins (adv, art, doc, fash, inds, food, land, port) • Clementina Maude, Viscountess Hawarden • William Hayes • Darren Heath (spt) • (doc, war) • David Octavius Hill 2.1. LIST OF PHOTOGRAPHERS 39

• (pict) • David Hockney (abs, art, doc, int, land, port) • Thomas Hodges (art, nude, erotic, abs, arch, land) • (port, art, int) • Eric Hosking • Robert Howlett • Alice Hughes • David Hurn • William H. Illingworth • Bill Jackson • Andrea Jones • Anthony Jones • Charles Jones (food) • Philip Jones Griffiths (doc, war) • Elsbeth Juda • Roshini Kempadoo • Michael Kenna (art, int, land) • James Kenny • • William Umpleby Kirk • Gary Knight (doc, war) • Nick Knight • Etheldreda Laing • Penny Lancaster • Jim Lee (art, fash) • Patrick Lichfield (port) • Iain MacMillan • Simon Marsden • Alfred Maudslay • John Jabez Edwin Mayall • (doc) • Angus McBean • Linda McCartney (art, doc, fash) • Mary McCartney (port) • John McCosh (war, port, arch) • Don McCullin 40 CHAPTER 2. DAY 2

• Dave McKean • Joseph McKeown (adv, doc, inds, war) • Wendy McMurdo (art, dig) • John McMurtrie (music) • (doc, port) • Donald Mennie • Mert and Marcus (fash) • Derry Moore, 12th Earl of Drogheda (port, art, int) • Raymond Moore (art) • Eadweard Muybridge (art, doc, land) • Graham Nash (art) • Jimmy Nelson (ethno, war) • Caroline Emily Nevill • William Notman • Colin O'Brien (str) • Stephens Orr • Horace Ové • • • (war) • Frederick Christian Palmer (doc, port, land) • John Eastman Palmer (port) • William Eastman Palmer & Sons (land, port) • Laura Pannack • John Papillon • Richard Pare • • Norman Parkinson • (art, doc) • Mark Power • Rankin (fash) • Tony Ray-Jones (art, doc) • (doc) • David Redfern (music) • Sophy Rickett • Liz Rideal 2.1. LIST OF PHOTOGRAPHERS 41

• Simon Roberts (land, port) • Grace Robertson • James Robertson • Ziki Robertson • (pict) • George Rodger • Horatio Ross • Mary Rosse • Dominic Rouse (art) • Paul Russell (str) • William Saunders • Charles Roscoe Savage • • Charles Settrington (land) • Charles Shepherd • Victor Sloan (art) • Edwin Smith (arch, int, land) • Graham Smith • Pennie Smith • Jo Spence • Humphrey Spender (doc) • Doreen Spooner • Jane Martha St. John • Hannah Starkey • Chris Steele-Perkins (doc) • David Stewart (art, adv) • John Stezaker • Clare Strand (art) • Matt Stuart (str, adv) • Maud Sulter • Francis Meadow Sutcliffe • (doc, land) • Nik Szymanek (astro) • Constance Fox Talbot • William Fox Talbot • Henry Taunt (land) 42 CHAPTER 2. DAY 2

• Sam Taylor-Wood (art, doc, port)

• Anya Teixeira

• Eveleen Tennant

• John Thomas (arch, land, port)

• John Thomson

• Marcus Tomlinson

• John Topham (doc, war)

• Tessa Traeger (still life, food, port)

• Linnaeus Tripe

• Amelia Troubridge

• (str, adv)

• James Valentine

• Vivienne

•

• Agnes Warburg

• Patrick Ward (doc)

• Allan Warren (port)

• Albert Watson

• George Washington Wilson

• Minnie Weisz

• Jane Wigley

• Val Wilmer (music)

• Vanessa Winship (doc, port)

• John Muir Wood

• Walter B. Woodbury

• Donovan Wylie

• Olivia Wyndham

• Lorna Yabsley (port)

• Yevonde

• Paul Yule 2.1. LIST OF PHOTOGRAPHERS 43

2.1.75 United States

See also: Category:American photographers and Photography in the United States

• Jules Aarons (art, doc, str) • Slim Aarons (doc) • Berenice Abbott (doc, pict, port) • Sam Abell • George W. Ackerman (doc) • Ansel Adams (art, doc, land, pict) • Eddie Adams (doc, land, war) • Robert Adams (art) • Alfred Shea Addis • (doc) • Cris Alexander • Jules T. Allen (art, doc, ethno) • Jane Fulton Alt (art) • Stephen Alvarez • Kalliope Amorphous (art, abs, pict, port) • Evan Amos • George Edward Anderson • (str) • Allan Arbus • Amy Arbus • (art, doc, fash, int, port) • David Armstrong (art, fash) • Eve Arnold (art, fash, port) • Bill Aron • Abraham Aronow (port) • Bill Atkinson (dig, land) • (art, fash, port) • Jerry Avenaim (art, fash, port) • Chapman Baehler (doc, adv, fash, port) • John Baldessari (abs, art) • Jamie Baldridge (art) • Shane Balkowitsch (port, land, celeb, art) • Lewis Baltz (art) 44 CHAPTER 2. DAY 2

• Tina Barney (art, port) • William A. Barnhill (land, port) • George Barris • (abs, art, doc, land, port) • Peter Hill Beard • Carol Beckwith (doc, ethno) • Lawrence Beitler • Charles Belden • William Bell (land, sci) • E. J. Bellocq (doc, port) • Robert Benecke (port, land) • Berry Berenson • Andrew D. Bernstein (spt) • James Bidgood • Edward Bierstadt (port, land) • Jack Birns • Erwin Blumenfeld • A. Aubrey Bodine • Christopher Boffoli (art, food, exp) • Skip Bolen (jazz, music, celeb, doc, stills) • Phil Borges • Jack E. Boucher (doc) • Alice Boughton • Margaret Bourke-White (doc, int, land, port) • Mathew Brady (land, port, war) • Jim Brandenburg (land) • Marilyn Bridges • Anne Brigman • Mike Brodie • Dan Budnik (doc, port) • Henry Buehman (port, ethno, land) • Wynn Bullock (art) • Christopher Burkett • Harry Callahan (art, doc, int, land, port) • Loren Cameron (art, doc, port) • Lana Z Caplan (art) 2.1. LIST OF PHOTOGRAPHERS 45

• Paul Caponigro (art, land) • Christopher Capozziello (doc) • David Carol (art, str) • Keith Carter (art, doc, land, port) • Kyle Cassidy • Dean Chamberlain • Polly Chandler (art, port) • Aaron Chang (land, spt, und) • (doc, war) • Sarah Charlesworth (abs, art) • William Christenberry • Larry Clark (art, doc, fash, port) • William Claxton (adv, fash, port) • Charles Clegg • Alvin Langdon Coburn (pict) • Lois Conner • Linda Connor • (doc, ethno) • Kate Cordsen (art, land) • Jeff Cowen • Gregory Crewdson (abs, art, doc, land) • Ted Croner • Bill Cunningham • (doc, int, land, port) • Asahel Curtis (doc) • Edward S. Curtis (doc, land) • Louise Dahl-Wolfe (art, doc, port) • Joseph Dankowski (art) • Bruce Davidson (land, port) • Daniel Davis Jr. • F. Holland Day (pict) • Autumn de Wilde (port) • Joe Deal • Loomis Dean • Roy DeCarava • Terry Deglau (doc, port) 46 CHAPTER 2. DAY 2

• Jack Delano (doc) • Philip-Lorca diCorcia (art, doc, int, land, port) • John Dominis (doc, celeb, food, war) • Don Donaghy • Elsa Dorfman • (und) • (doc) • Richard Drew • Doug DuBois • Jeff Dunas • • Aimé Dupont (port) • Dutton & Michaels (photographic studio) • Charles C. Ebbets • Harold Eugene Edgerton (sci) • Hugh Edwards • John Paul Edwards (pict) • (art, doc, land) • Rudolf Eickemeyer, Jr. (pict, port) • Alfred Eisenstaedt (land) • Jill Enfield • Clay Enos • Mitch Epstein (doc, port) • Elliott Erwitt (art, doc, int, port) • Dulah Marie Evans (drawing, land) • Walker Evans (doc, port) • Dennis H. Farber (art) • Chris Faust • James Fee (art, war) • Andreas Feininger • Mark Feldstein • George Fiske • Sean Flynn (war) • Felice Frankel (sci) • Thomas E. Franklin (doc) • Leonard Freed 2.1. LIST OF PHOTOGRAPHERS 47

• Adrienne French (art, abs, arch) • Arny Freytag (Glam) • (abs, art, land, port) • Eva Fuka • Ron Galella • Harry Gamboa, Jr. • William Garnett • • • Carl Giers (port) • • Guy Gillette (port, art) • Steve Giovinco (art) • (art, war) • Frank Gohlke • Anthony Goicolea • Jim Goldberg • (art, int, port) • Rolando Gomez (art, doc, port) • Greg Gorman (art, port) • John Gossage • William P. Gottlieb • Hal Gould (art) • (art, doc) • Karen Graffeo (art, port, doc) • Katy Grannan (port) • Herb Greene (port) • Jill Greenberg • Lauren Greenfield • Lois Greenfield • Timothy Greenfield-Sanders (port, celeb) • Stan Grossfeld • Bob Gruen (port) • Mark Robert Halper (adv, arch, art, inds, port) • • John R. Hamilton (jour, celeb, land) 48 CHAPTER 2. DAY 2

• Adelaide Hanscom (pict) • Charles Harbutt • Eugene Vernon Harris (doc, art) • Ron Harris • Alfred A. Hart • David Alan Harvey • Ron Haviv (doc, war) • Masumi Hayashi • Frank Jay Haynes (doc, land, inds) • William Heick (art, doc, ethno, inds) • J Malan Heslop (war) • Todd Hido (art) • John K. Hillers • David Hilliard • Lewis Hine (art, doc, port) • Hiro (fash) • John Hoagland (war) • David Hobby (dig) • Joseph Holmes • Douglas Hopkins (fash) • Horst P. Horst (doc, fash, port) • Charles Howard (doc) • Fred Hultstrand • William Hundley • Art Hupy (arch, port) • George Hurrell (art, fash) • Philip Hyde (nature, land, art) • Jerry Interval • Walter Iooss • Edith Irvine • Lee Isaacs (abs, adv, art, doc, port) • (doc, art) • • Belle Johnson (port, art, land) • Alfred Cheney Johnston • John S. Johnston 2.1. LIST OF PHOTOGRAPHERS 49

• Pirkle Jones • James Jowers • • Gertrude Käsebier • Emy Kat (art) • Mary Morgan Keipp • David Michael Kennedy (art, port, celeb, land) • Mitch Kern (art, port) • Robert Glenn Ketchum • Miru Kim (doc, art, land) • Darius Kinsey • William Klein • Russell Klika (war, port) • Stuart Klipper (art, land) • Joseph Knaffl (port) • • Antonin Kratochvil (doc) • George Krause • Ed Krebs (port) • Barbara Kruger (abs, art, doc) • Yasuo Kuniyoshi • Justine Kurland (art) • David LaChapelle (art, fash) • Vincent Laforet (doc) • (doc, port) • Clarence John Laughlin (art, int, land, port) • Shane Lavalette (art) • Alma Lavenson • Lisa Law (doc, port) • Seph Lawless (arch, art, doc, jour, str) • Russell Lee (doc) • Annie Leibovitz (art, doc, fash, port) • Neil Leifer • Jacques Leiser • Herman Leonard • Zoe Leonard 50 CHAPTER 2. DAY 2

• Sherrie Levine (art, doc) • David Levinthal • (doc, port) • Jerome Liebling (art) • Lawrence Denny Lindsley (land, doc) • O. Winston Link (abs, adv, art, doc, land, inds) • Jacqueline Livingston • Elia Locardi (aer, dig, doc, land) • Sal Lopes (art) • Rodney Lough Jr. (land) • Jet Lowe (arch, doc, port) • Benjamin Lowy (jour, war) • George Platt Lynes (adv, art, doc, fash, port) • Danny (doc, port) • Pirie MacDonald (port) • Vivian Maier • Jay Maisel (adv) • Christopher Makos • Steve Mandel (astro) • (art, doc, pict, port) • Jonathan Mannion (music, adv, celeb) • Robert Mapplethorpe (art, fash, port) • Joan Marcus • Ken Marcus • Mary Ellen Mark (doc, port) • Peter B. Martin (celeb) • Spider Martin (doc, port) • Oscar G. Mason (sci) • Margrethe Mather • Gordon Matta-Clark (art) • Annu Palakunnathu Matthew • Kate Matthews • Morton D. May • John McBride • Will McBride (doc, port) • Steve McCurry 2.1. LIST OF PHOTOGRAPHERS 51

• Glynnis McDaris • Joe McNally (doc, port) • Laura McPhee • Steven Meisel (art, fash) • • Jeff Mermelstein (doc) • • (art) • Fred E. Miller (port, doc) • Lee Miller • (abs, art, doc) • Daniel S. Mitchell (doc) • Charles Moore (doc, port) • Abelardo Morell • Christopher Morris (doc, war) • Wright Morris • William McKenzie Morrison (port) • Stephen Mosher • David Muench • Richard Murrian (art) • Carl Mydans • Clay Myers (doc, animals, nature) • James Nachtwey (doc, war) • Billy Name (art, doc, port) • Arnold Newman (port) • Pipo Nguyen-duy (art) • Nic Nicosia (art) • Nicholas Nixon (doc, port) • Lee Nye • Michael O'Brien • Catherine Opie • Charles O'Rear • Timothy O'Sullivan • Kevin Ou • • Bill Owens (doc) 52 CHAPTER 2. DAY 2

• Robert ParkeHarrison (art) • Gordon Parks (doc) • Christian Patterson (art) • (art, fash) • Lucian Perkins (doc, war) • John Pezzenti () • John Pfahl (land) • Jack Pierson (art) • Sylvia Plachy • David Plowden (doc) • Eliot Porter • Victor Prevost • Hal Prewitt (abs, art, land, spt, str, wildlife, und) • Richard Prince • Andrew Prokos (adv, art, arch, land) • Melanie Pullen • Gerald P. Pulley • Herbert Randall • Paul Raphaelson (art) • William H. Rau (doc, land, port) • (art, port) • Ryan Spencer Reed (art, doc, jour, war) • H. Reid • Lorne Resnick (adv, art, dig, land, port) • Michael Richard • Eugene Richards (doc) • Terry Richardson (fash, art) • Robert Riger (spt) • Frank Rinehart (doc) • Herb Ritts (art, fash, port) • Manuel Rivera-Ortiz • James Roark • Ruth Robertson • John V. Robinson (arch, doc, inds) • Thomas C. Roche (doc, war) • Milton Rogovin (doc) 2.1. LIST OF PHOTOGRAPHERS 53

• Matthew Rolston • Ben Rose (fash, food, port) • Barbara Rosenthal (art, surrealism) • Joe Rosenthal • Martha Rosler • Arthur Rothstein • • Johnny Rozsa (celeb, port, fash) • Andrew J. Russell • Arnold E. Samuelson (war) • Joel Sartore • Francesco Scavullo (art, fash) • Rocky Schenck (art) • T. M. Schleier (port, land) • Ken Schles • Bill Schwab (art) • John Schwartz • Arthur E. Scott • Allan Sekula • Mark Seliger (port) • Andres Serrano (art, doc, port) • John Sexton • Jamel Shabazz (doc, ethno) • Charles Sheeler • Bob Shell • (art, doc, port) • Stewart Shining (fashion) • • Julius Shulman (arch) • Marilyn Silverstone • Lorna Simpson (art) • Aaron Siskind • Sandy Skoglund (art, doc) • Neal Slavin • Moneta Sleet Jr. • Henry Holmes Smith (abs) 54 CHAPTER 2. DAY 2

• Mickey Smith • Rodney Smith (fash, port) • W. Eugene Smith (doc) • Rick Smolan • Melvin Sokolsky (art, fash, adv) • (art, doc, land, port) • Pete Souza • Melissa Springer (art, doc, port) • John Stanmeyer (doc) • (art, land, pict, port) • Ralph Steiner • Joel Sternfeld (doc) • • Chuck Stewart (music) • (art, port) • Nellie Stockbridge(doc) • Ezra Stoller • (war) • Les Stone • Tom Stone (doc) • (art) • Zoe Strauss (art) • Roy Stuart • Jock Sturges (art, port) • Anthony Suau (doc, war) • Kenneth Dupee Swan (land) • Larry Sultan • (doc) • I. W. Taber • Paulette Tavormina (art, food) • John Bigelow Taylor (arch, art, port) • Maggie Taylor (art) • Joyce Tenneson • Martyn Thompson (art,adv,fash,glam) • Warren T. Thompson • George Tice 2.1. LIST OF PHOTOGRAPHERS 55

• Barbara Traub • Bill Travis (art, port) • Eric Treacy • Arthur Tress (art, fash, port) • John Trobaugh (art, doc, port) • Thomas Tulis (art, doc, inds, land, port) • Spencer Tunick (art, doc, fash, port) • David C. Turnley (doc) • Peter Turnley (doc) • Jerry Uelsmann (art, land, port) • Doris Ulmann • Brian Ulrich (art, doc) • Steven Underhill • John Vachon (arch, doc, port) • Max Vadukul • James Van Der Zee • Carl Van Vechten • Kathy Vargas • Salvatore Vasapolli • John Veltri • Kiino Villand • William George Wadman • Bob Walker • Andy Warhol (art, doc, fash, port) • Marion E. Warren (land) • Waswo X. Waswo (art, port) • Carleton Watkins • Bruce Weber (art, doc, fash) • (abs, art, doc) • Carrie Mae Weems • William Wegman • • Henry Wessel, Jr. • (art, port) • Cole Weston (art, port) • (art, pict, port) 56 CHAPTER 2. DAY 2

• Kim Weston

• John H. White (doc)

• Minor White (art, land)

• Jeff Widener

• Leigh Wiener (art, celeb, doc)

• Hannah Wilke (art, port)

• Christopher Williams

• Michael Williamson

• Deborah Willis (art)

• Ben Willmore (dig, land)

• Bob Willoughby (port, celeb)

• Laura Wilson

• Kathryn Tucker Windham (doc)

• (art, land)

• Ernest Withers (doc)

• Joel-Peter Witkin (art, doc, port)

• Marion Post Wolcott

• Linda Wolf (art, doc, street, music, port)

• Art Wolfe

• Francesca Woodman (art)

• Don Worth (land, botanical)

• Max Yavno

• Bunny Yeager

• Jerome Zerbe (art, doc, fash, war)

• John G. Zimmerman (adv, arch, celeb, doc, spt, und)

• David Drew Zingg

• Fred Zinn (aer)

• Monte Zucker (port)

2.1.76 Venezuela

• Alejandro López de Haro (art)

• Ricardo Gómez Pérez (art)

2.1.77 Vietnam

• Huynh Cong Ut 2.2. UNIT STILL PHOTOGRAPHER 57

2.1.78 See also

•

• List of photojournalists • List of street photographers • List of women photographers • Wikipedian Photographers

2.1.79 References

[1] “List of famous photographers”. FamousPhotographers.net. Retrieved 2015-08-11.

2.2 Unit still photographer

A unit still photographer or simply, still photographer is a person who creates film stills, still photographic images specifically intended for use in the marketing and publicity of feature films in the motion picture industry and net- work television productions.[1][2][3] Besides creating photographs for the promotion of a film, the still photographer contributes daily to the filming process by creating set stills. With these, the photographer is careful to record all details of cast wardrobe, set appearance and background. The director and assistants review these images frequently for continuity and matching of all stage aspects.[4] Cornel Lucas, a pioneer of film portraiture in the 1940s and 1950s, was the first still photographer to be an awarded a BAFTA in 1998, for work with the British Film Industry.[5][6]

2.2.1 Uses in the industry

Using individual frames from recorded video material is not practical due to the quality. Much higher resolution images are therefore used. Typically the end uses of these still photos would include the films theatrical release poster, DVD box artwork, the official web site photos, billboards, bus stop adverts, point of purchase displays, key art image sets released to the press and media as well as other printed and online collateral materials. Unit still photographers are also responsible for creating “photo props" and “set dressing images”, the photos and images used on-camera to create various illusions such as forensic photos, crime drama booking photos, character drivers’ licenses, passport & I.D. photos, on-screen family photos, surveillance photos, computer screen displays, and any other image a producer may require in the course of a production. In North America in particular, and some international locations as well, a unit still photographer must be a member of IATSE Local 600 International Cinematographers Guild, in order to perform services on union productions and union studio lots and locations. The most prestigious of these unit still photographers are also members of The Society of Motion Picture Still Photographers, an organization which promotes the work of those within the industry. While often perceived as a “glamour” job for photographers, the reality is often very long hours (70+ hour weeks are the norm) on remote distant locations under difficult and often extreme conditions. The unit still photographer often coordinates with the unit publicist, but physically works in very close proximity not only to the film’s camera crew, director, producers and actors, but also by extension in close proximity to the film’s boom microphone operator. As such, unit still photographers go to great lengths to reduce, muffle, and otherwise mute the sound of their camera’s motor drive & shutter so as not to distract the actors and to remain inaudible on the film’s recorded dialogue soundtrack while the action is rolling. Typically this is accomplished using a sound blimp, which is a sound-absorbing, foam-filled metal case in which the still camera body is fitted with a proprietary remote operation cable. This allows the camera to be activated and operated from a two-button (activation, focus & shutter release) exterior control. Limitations exist once the blimp is closed around the camera as you can no longer access the controls (F-number, , ASA/ISO settings) or menu displays, directly. The LCD display will also be out of view to review your images, in the closed position. This requires the photographer to make his control selections in advance, and then stick with those settings until the take-in-progress has been “cut”, making adjustments between takes or set-ups. unit still photographers in 58 CHAPTER 2. DAY 2

Film still from the 1938 film Bringing Up Baby featuring Katharine Hepburn and Cary Grant this field typically produce over 2000+ marketable images per week for their major studio clients. The use of still photography is the use of alignment, positioning, as well as other techniques used to capture the “money shot.” is the depiction of inanimate subject matter, most typically a small grouping of objects that are either human-made or natural. Since 2010, high-end DSLR cameras, which can be remotely controlled with Apps on smartphones and tablets, like the iPad, using the built-in 2-way WiFi radio-controlled interface between the tablet and the DSLR camera, and offer internal active noise reduction technologies, have increased the ability of the Unit Still Photographer to work more quietly, on the set.

2.2.2 References

[1] Brian Dzyak (2010). What I Really Want to Do on Set in : A Guide to Real Jobs in the Film Industry. Crown Publishing Group. pp. 303–. ISBN 978-0-307-87516-7.

[2] Larry Goldman (1983). The professional photographer: developing a successful career. Doubleday. p. 117. 2.2. UNIT STILL PHOTOGRAPHER 59

[3] Finola Kerrigan (2009). Film Marketing. Routledge. pp. 243–. ISBN 978-1-136-44000-7.

[4] “Still Photography in the Motion Picture Industry” by Ned Scott>: http://www.thenedscottarchive.com/hollywood/authorship. html

[5] Martin Childs (11 December 2012). “Cornel Lucas: Photographer who made his name as a pioneer of film portraiture - Obituaries”. . Retrieved 2013-10-05.

[6] Andrew Dawson; Sean Holmes (2 August 2012). Working in the Global Film and Television Industries: , Systems, Space, Patronage. Bloomsbury Publishing. pp. 136–. ISBN 978-1-78093-021-3.

2.2.3 Further reading

• Stage and Theater Photography, Jeff Lowenthal, 1965. ASIN B000NU0SJU

• The Alvin Ailey American Dance Theater, photography by Susan Cook; commentary by Joseph H. Mazo, New York, Morrow (1978). ISBN 9780688033040, ISBN 9780688083045

• Creative Techniques in Stage & Theatrical Photography, by Paddy Cutts, Rosemary Curr, Quite Specific Media Group (September 1983), ISBN 978-0-7134-0667-2.

• Photography and the Performing Arts, Gerry Kopelow, Focal Press (June 9, 1994), ISBN 978-0-240-80168-1. • The Complete Guide to Night and Low-Light Photography, Lee Frost, Amphoto Books (March 15, 2000), ISBN 978-0-8174-5041-0. • Movie Photos: The guide to marketing and publicity photography, Alex Bailey, Imagebarn (19 Jun 2008), ISBN 978-0-9559337-0-7

2.2.4 External links

• IATSE Local 600 International Cinematographers Guild

• The Society of Motion Picture Still Photographers • Barton B. MacLeod, Still Photographer “The Green Berets” movie starring John Wayne (http://www.BartonMacLeod. com) • Still Photographer Studio Contract at The Ned Scott Archive Chapter 3

Day 3

3.1 Nicéphore Niépce

Nicéphore Niépce (born Joseph Niépce; 7 March 1765 – 5 July 1833)[1] was a French inventor, now usually credited as the inventor of photography and a pioneer in that field.[2] Niépce developed , a technique he used to create the world’s oldest surviving product of a photographic process: a print made from a photoengraved printing plate in 1825.[3] In 1826 or 1827, he used a primitive camera to produce the oldest surviving photograph of a real- world scene. Among Niépce’s other inventions was the Pyréolophore, the world’s first internal combustion engine, which he conceived, created, and developed with his older brother Claude.[4]

3.1.1 Biography

Early life

Niépce was born in Chalon-sur-Saône, Saône-et-Loire, where his father was a wealthy lawyer; this caused the whole family to flee the French Revolution. His older brother Claude (1763–1828) was also his collaborator in research and invention, but died half-mad and destitute in , having squandered the family wealth in pursuit of non- opportunities for the Pyréolophore. Niepce also had a sister and a younger brother, Bernard.[5][6][7][8][9] Nicéphore was baptized Joseph but adopted the name Nicéphore, in honour of Saint Nicephorus the ninth-century Patriarch of Constantinople, while studying at the Oratorian college in Angers. At the college he learned science and the experimental method, rapidly achieving success and graduating to work as a professor of the college.

Military career

Niépce served as a staff officer in the French army under Napoleon, spending a number of years in Italy and on the island of Sardinia, but ill health forced him to resign, whereupon he married Agnes Romero and became the Administrator of the district of in post-revolutionary France. In 1795, Niepce resigned as administrator of Nice to pursue scientific research with his brother Claude. One source reports his resignation to have been forced due to his unpopularity.[5][6][7][8][9]

Scientific research

In 1801 the brothers returned to the family’s estates in Chalon to continue their scientific research, and where they were united with their mother, their sister and their younger brother Bernard. Here they managed the family estate as independently wealthy gentlemen-farmers, raising beets and producing sugar.[5][6][7][8][9]

Claude Niépce

In 1827 Niépce journeyed to England to visit his seriously ill elder brother Claude, who was now living in Kew, near London. Claude had descended into delirium and squandered much of the family fortune chasing inappropriate

60 3.1. NICÉPHORE NIÉPCE 61 business opportunities for the Pyréolophore.[5][6]

Death

Nicéphore Niépce died of a stroke on 5 July 1833, financially ruined by the semi-delirious spending of Claude such that his grave in the cemetery of Saint-Loup de Varennes was financed by the municipality. The cemetery is near the family house where he had experimented and had made the world’s first photographic image.[7]

Descendants

His son Isidore (1805–68) formed a partnership with Daguerre after his father’s death and was granted a government pension in 1839 in return for disclosing the technical details of Nicéphore’s heliogravure process.[6][7] A cousin, Claude Félix Abel Niépce de Saint-Victor (1805–70), was a chemist and was the first to use albumen in photography. He also produced photographic engravings on steel.[9] During 1857–1861, he discovered that uranium salts emit a form of radiation that is invisible to the human eye.[10]

3.1.2 Achievements

Photography

One of the three earliest known photographic artifacts, created by Nicéphore Niépce in 1825. It is an ink-on-paper print, but the printing plate used to make it was photographically created by Niépce’s heliography process. It reproduces a 17th-century Flemish engraving.

The date of Niépce’s first photographic experiments is uncertain. He was led to them by his interest in the new art of lithography,[12] for which he realized he lacked the necessary skill and artistic ability, and by his acquaintance with the , a drawing aid which was popular among affluent dilettantes in the late 18th and early 19th centuries. The camera obscura’s beautiful but fleeting little “light paintings” inspired a number of people, including Thomas Wedgwood and , to seek some way of capturing them more easily and effectively than could be done by tracing over them with a pencil. 62 CHAPTER 3. DAY 3

Enhanced version of Niépce’s View from the Window at Le Gras (1826 or 1827), the earliest surviving photograph of a real-world scene, made using a camera obscura.[11]

Letters to his sister-in-law around 1816 indicate that Niépce had managed to capture small camera images on paper coated with silver chloride,[13] making him apparently the first to have any success at all in such an attempt, but the results were negatives, dark where they should be light and vice versa, and he could find no way to stop them from darkening all over when brought into the light for viewing. Niépce turned his attention to other substances that were affected by light, eventually concentrating on Bitumen of Judea, a naturally occurring asphalt that had been used for various purposes since ancient times. In Niépce’s time, it was used by artists as an acid-resistant coating on copper plates for making etchings. The artist scratched a drawing through the coating, then bathed the plate in acid to etch the exposed areas, then removed the coating with a solvent and used the plate to print ink copies of the drawing onto paper. What interested Niépce was the fact that the bitumen coating became less soluble after it had been left exposed to light. Niépce dissolved bitumen in lavender oil, a solvent often used in varnishes,[14] and thinly coated it onto a lithographic stone or a sheet of metal or glass. After the coating had dried, a test subject, typically an engraving printed on paper, was laid over the surface in close contact and the two were put out in direct sunlight. After sufficient exposure, the solvent could be used to rinse away only the unhardened bitumen that had been shielded from light by lines or dark areas in the test subject. The parts of the surface thus laid bare could then be etched with acid, or the remaining bitumen could serve as the water-repellent material in lithographic printing. Niépce called his process heliography, which literally means “sun drawing”.[15] In 1822, he used it to create what is believed to have been the world’s first permanent photographic image,[16] a contact-exposed copy of an engraving of Pope Pius VII, but it was later destroyed when Niépce attempted to make prints from it.[16] The earliest surviving photographic artifacts by Niépce, made in 1825,[3] are copies of a 17th-century engraving of a man with a horse and of what may be an etching or engraving of a woman with a spinning wheel. They are simply sheets of plain paper printed with ink in a printing press, like ordinary etchings, engravings, or lithographs, but the plates used to print them were created photographically by Niépce’s process rather than by laborious and inexact hand-engraving or drawing on lithographic stones. They are, in essence, the oldest photocopies. One example of the print of the man with a horse and two examples of the print of the woman with the spinning wheel are known to have survived. The former is in the collection of the Bibliothèque nationale de France in and the latter two are in a private collection in the United States. 3.1. NICÉPHORE NIÉPCE 63

Niépce’s correspondence with his brother Claude has preserved the fact that his first real success in using bitumen to create a permanent photograph of the image in a camera obscura came in 1824. That photograph, made on the surface of a lithographic stone, was later effaced. In 1826 or 1827 he again photographed the same scene, the view from a window in his house, on a sheet of bitumen-coated pewter. The result has survived and is now the oldest known camera photograph still in existence. The historic image had seemingly been lost early in the 20th century, but photography historian Helmut Gernsheim succeeded in tracking it down in 1952. The exposure time required to make it is usually said to have been eight or nine hours, but that is a mid-20th century assumption based largely on the fact that the sun lights the buildings on opposite sides, as if from an arc across the sky, indicating an essentially day- long exposure. A later researcher who used Niépce’s notes and historically correct materials to recreate his processes found that in fact several days of exposure in the camera were needed to adequately capture such an image on a bitumen-coated plate.[17] In 1829,[18] Niépce entered into a partnership with , who was also seeking a means of creating perma- nent photographic images with a camera. Together, they developed the physautotype, an improved process that used lavender oil distillate as the photosensitive substance. The partnership lasted until Niépce’s death in 1833, after which Daguerre continued to experiment, eventually working out a process that only superficially resembled Niépce’s.[19] He named it the "daguerréotype", after himself. In 1839 he managed to get the government of France to purchase his invention on behalf of the people of France. The French government agreed to award Daguerre a yearly stipend of 6,000 Francs for the rest of his life, and to give the estate of Niépce 4,000 Francs yearly. This arrangement ran- kled Niépce’s son, who claimed Daguerre was reaping all the benefits of his father’s work. In some ways, he was right—for many years, Niépce received little credit for his contribution. Later historians have reclaimed Niépce from relative obscurity, and it is now generally recognized that his “heliography” was the first successful example of what we now call “photography":[14] the creation of a reasonably light-fast and permanent image by the action of light on a light-sensitive surface and subsequent processing. Although initially ignored amid the excitement caused by the introduction of the , and far too insensitive to be practical for making photographs with a camera, the utility of Niépce’s original process for its primary purpose was eventually realized. From the 1850s until well into the 20th century, a thin coating of bitumen was widely used as a slow but very effective and economical photoresist for making printing plates.

Pyréolophore

The Pyréolophore, probably the world’s first internal combustion engine that was actually built, was invented and patented by the Niépce brothers in 1807. This engine ran on controlled dust explosions of Lycopodium powder and was installed on a boat that ran on the river Saône. Ten years later, the brothers were the first in the world to make an engine work with a fuel injection system.[20]

Marly machine

In 1807 the imperial government opened a competition for a hydraulic machine to replace the original Marly machine (located in Marly-le-Roi) that delivered water to the Palace of Versailles from the Seine river. The machine was built in Bougival in 1684, from where it pumped water a distance of one kilometer and raised it 150 meters. The Niépce brothers conceived a new hydrostatic principle for the machine and improved it once more in 1809. The machine had undergone changes in many of its parts, including more precise pistons, creating far less resistance. They tested it many times, and the result was that with a stream drop of 4 feet 4 inches, it lifted water 11 feet. But in December 1809 they got a message that they had waited too long and the Emperor had taken on himself the decision to ask the engineer Perier (1742–1818) to build a steam engine to operate the pumps at Marly.[21]

Vélocipède

In 1818 Niépce became interested in the ancestor of the bicycle, a Laufmaschine invented by Karl von Drais in 1817. He built himself a model and called it the vélocipède (fast foot) and caused quite a sensation on the local country roads. Niépce improved his machine with an adjustable saddle and it is now exhibited at the Niépce Museum. In a letter to his brother Nicéphore contemplated motorizing his machine.[22] 64 CHAPTER 3. DAY 3

Draisienne built by Niépce, 1818 - Musée Nicéphore Niépce

3.1.3 Legacy and commemoration

The lunar crater Niepce is named after him. As of 2008 Niépce’s photograph, View from the Window at Le Gras, is on display in the Harry Ransom Humanities Research Center at the University of Texas at Austin. The image was rediscovered in 1952 by historians Alison and Helmut Gernsheim.[23] The Niépce Prize has been awarded annually since 1955 to a professional photographer who has lived and worked in France for over 3 years. It was introduced in honour of Niépce by Albert Plécy of the l'Association Gens d'Images.

3.1.4 See also

• Timeline of photography technology

• Timeline of transportation technology

• History of the internal combustion engine

• François Isaac de Rivaz

• Janine Niépce photographer.

• List of works by Eugène Guillaume

3.1.5 References

[1] Robert Leggat (1999). “Niepce, Joseph Nicephore”. Archived from the original on 27 September 2011. 3.1. NICÉPHORE NIÉPCE 65

Nicéphore Niépce

[2] Baatz, Willfried (1997). Photography: An Illustrated Historical Overview. New York: Barron’s. p. 16. ISBN 0-7641- 0243-5.

[3] “World’s oldest photo sold to library”. BBC News. 21 March 2002. Retrieved 2011-11-17. The image of an engraving depicting a man leading a horse was made in 1825 by Nicephore Niepce, who invented a technique known as heliogravure.

[4] Niépce Museum, Other Inventions

[5] “Joseph Nicéphore Niepce Biography (1765-1833)".

[6] “History of Art: ”.

[7] “Le Pyréolophore de Nicéphore”. FERRAGUS. 66 CHAPTER 3. DAY 3

[8] “Research Joseph Nicéphore Niépce - Science and Its Times”. www.BookRags.com. [9] “Joseph Nicéphore Niepce”. Answers.com. Archived from the original on 24 November 2011. [10] In 1861, Niépce de Saint-Victor concluded that uranium salts emitted an invisible radiation that caused photographic plates to fog. From pages 34-35 of: Niépce de Saint-Victor (1861) “Cinquième mémoire sur une nouvelle action de la lumière” (Fifth memoir on a new action of light), Comptes rendus ... , vol. 53, pages 33-35. "... cette activité persistante ... ne peut mème pas être de la phosphorescence, car elle ne durerait pas si longtemps, d'après les expériences de M. Edmond Becquerel; il est donc plus probable que c'est un rayonnement invisible à nos yeux, comme le croit M. Léon Foucault, ....” "... this persistent activity ... cannot be due to phosphorescence, for it [phosphorescence] would not last so long, according to the experiments of Mr. Edmond Becquerel; it is thus more likely that it is a radiation that is invisible to our eyes, as Mr. Léon Foucault believes, ....” [11] Camera, A History of Photography from Daguerreotype to Digital, 2009, pgs. 2, 3, George Eastman House, Rochester, NY, Sterling Signature, an Imprint of Sterling Publish, Todd Gustavson et. al., (Curator of Technology, George Eastman House), ISBN 978-1-4549-0002-3 [12] “Around the World in 1896 : A Brief History of Photography.” The Library of Congress. 2002. 18 Sep 2008. [13] Stokstad, Marilyn; David Cateforis; Stephen Addiss (2005). Art History (Second ed.). Upper Saddle River, New Jersey: Pearson Education. p. 964. ISBN 0-13-145527-3. [14] Gorman, Jessica (2007). “Photography at a Crossroads”. Science News. 162 (21): 331–333. doi:10.2307/4013861. JSTOR 4013861. [15] Baatz, Willfried (1997). Photography: An Illustrated Historical Overview. New York: Barron’s. p. 16. ISBN 0-7641- 0243-5. [16] “The First Photograph — Heliography”. Retrieved 2009-09-29. from Helmut Gernsheim’s article, “The 150th Anniversary of Photography,” in History of Photography, Vol. I, No. 1, January 1977: ... In 1822, Niépce coated a glass plate ... The sunlight passing through ... This first permanent example ... was destroyed ... some years later. [17] Niépce House Museum: Invention of Photography, Part 3. Retrieved 25 May 2013. [18] “Joseph Nicéphore Niépce,” Microsoft Encarta Online Encyclopedia 2008. Archived June 27, 2008, at the Wayback Machine. 2008-06-27 [19] Crawford, William (1979). The Keepers of Light. New York: Morgan & Morgan. pp. 23–27. ISBN 0-87100-158-6. [20] “Other Inventions: the Pyreolophore”. [21] “Other Inventions: the Marly Machine”. [22] “Other Inventions: the Velocipede”. [23] Gernsheim, Helmet; Gernsheim, Alison (September 1952). “Rediscovery of the World’s First Photograph” (PDF). Image, Journal of Photography of George Eastman House. Rochester, N.Y.: International Museum of Photography at George Eastman House Inc. 1 (6): 1–2. Retrieved 24 June 2014.

3.1.6 Sources

• Marignier, J. L., Niépce: l'invention de la photographie (1999) • Bajac, Q., The Invention of Photography, trans. R. Taylor (2002)

3.1.7 External links

• Website about Niépce (French) • Website about Niépce (English) • University of Texas exhibition site on “The First Photograph” • The history men: Helmut Gernsheim and Nicéphore Niépce on Photo Histories • Documentary video on restoration of Nicephore Niepce’s home on YouTube • Home page of the 'Niépce prize' at the association Gens d'Images • 3.2. HÉRCULES FLORENCE 67

3.2 Hércules Florence

Self portrait

Antoine Hercule Romuald Florence (1804 – March 27, 1879) was a French-Brazilian painter and inventor, known as the isolate inventor of photography in Brazil, three years before Daguerre (but six years after Nicéphore Niépce), using the matrix negative/positive, still in use. According to Kossoy, who examined Florence’s notes,[1] he referred 68 CHAPTER 3. DAY 3

to his process, in French, as photographie in 1834, at least four years before coined the English word photography.

3.2.1 Early life

Hercules Florence was born on February 29, 1804 in Nice, France, the son of Arnaud Florence (1749–1807), a tax collector, and Augustine de Vignolis, a minor noblewoman. As a child he manifested interest for drawing and the sciences, as well as for the voyages of the great explorers to the New World and already as a 14-year-old boy he worked as a calligrapher and draftsman in Monaco, where his parents had been living since 1807. After a period of wandering and working on board of warships and merchant ships, Hércules Florence set sail to Brazil as a crew member of the French warship Marie Thérèze, arriving in the port of Rio de Janeiro on May 1, 1824, two years after the declaration of independence from Portugal. He was already an accomplished draftsman and painter with considerable talent and many scientific interests, particularly in the natural sciences and ethnography. Soon after his arrival, he got a job in a women’s fashion store and then as a lithographer in a bookstore and printing shop, owned by his compatriot Pierre Plancher.

3.2.2 The great expedition

Sugar cane mill in São Carlos, 1840

Florence’s life changed dramatically when he decided to respond to a newspaper advertisement put by Baron von Langsdorff (1773–1852), the consul general of the Russian Empire in Brazil, a German-born physician and naturalist who was organizing on behalf of the Russian Imperial Academy of Sciences a scientific expedition to the . He was hired as an illustrator and topographic draftsman, together with German painter Johann Moritz Rugendas (1802–58) and the young French illustrator Adrien Taunay (1803–28). In the year of 1825 they travelled by sea from Rio to the village of Santos. While they waited for the set day of departure to the Amazon, Florence and other members of the scientific expedition spent their days exploring the coastal lowland areas, such as Cubatão, and the high-rising plateau beyond the imposing Serra do Mar: they visited the towns of São Paulo, Juqueri, Jundiai, Itu and Campinas. In Porto Feliz, the town by the Tietê River, located 80 km northwest of São Paulo, where the departure would take place, Florence was hosted for a while by surgeon and politician Francisco Álvares Machado e Vasconcellos (1791–1846). 3.2. HÉRCULES FLORENCE 69

From 1826 to 1829 he accompanied Langsdorff’s expeditionary party through its many vicissitudes and disease, and was the only artist to arrive at Belém (Pará) and return unscathed to Rio. His vivid and detailed illustrations, drawings and watercolors picturing the local flora and fauna, the , and, particularly, the many inhabitants and Indians met during the voyage; were very important for the documentation of Langsdorff’s voyage, as well as for his subsequent career. Back to Rio, Florence left the manuscript of his diary of the expedition, with 84 pages (written in French) with Félix Taunay (1795–1881), the brother of his companion Adrien. The manuscript was translated to Portuguese and published by the son of Félix, the historian Alfredo D´Escragnolle Taunay more than 40 years later, in 1875. In 1849, Florence completed his description of the fabulous adventure, which was published for the first time in 1977, under the title “A Fluvial Voyage from Tietê to Amazon Rivers, through the Brazilian Provinces of São Paulo, Mato Grosso and Grand-Pará (1825–1829)".

3.2.3 Businessman and inventor

Soon after the end of the expedition, in 1830, Florence married Maria Angélica de Vasconcellos, the daughter of his acquaintance and benefactor Francisco Álvares Machado, and went to live with her in the city of Campinas (then named Vila de São Carlos), in the province of São Paulo. There he became a successful farmer, publisher and owner of the first printer in the town, and in Campinas he remained for the next 49 years until his death in 1879. Maria died in 1850; four years later he married Carolina Krug, a German immigrant born in 1828 in . Together they founded in 1863 a school for girls, the Florence College, which was moved to Jundiai after Hercule’s death. He fathered a total of 20 children, being 13 with Maria Angélica and 7 with Carolina.

Photocopy of a diploma made using Florence’s photographic technique, ca. 1839

Soon after settling in Campinas, Hércules Florence began a prolific career as inventor and businessman. During the Langsdorff expedition, he had developed a new system of using musical notation to record the songs of birds and vocalizations of other animals, which he named “zoophonia”. Then, in 1830, when he was searching for a simplified way of printing his more than 200 illustrations performed during the Langsdorff Expedition, other than using expensive and time-consuming engravings on wood and metal (xylography and lithography), he invented a new 70 CHAPTER 3. DAY 3

process, similar to the mimeograph, which he named “polygraphia”, and began using this commercially in his printing office. As his technique evolved, he was able to combine , and to produce uncounterfeitable bank notes. In 1832, with the help of a pharmacist friend, Joaquim Correa de Mello, Florence began to study ways of permanently fixing camera obscura images, which he named “photographia”. In 1833, they settled on silver nitrate on paper, a combination which had been the subject of experiments by Thomas Wedgwood around the year 1800. Unlike Wedgwood, who was unable to make photographs of real-world scenes with his camera or render the that he did produce light-fast, Florence’s notebooks indicate that he eventually succeeded in doing both. Unfortunately, partly because he never published his invention adequately, partly because he was an obscure inventor living in a remote and undeveloped province, Hércules Florence was never recognized internationally as one of the inventors of photography.

3.2.4 Bibliography

• Viagem Fluvial do Tietê ao Amazonas. Hércules Florence, Brazilian edition with translation by Francisco Álvares Machado and Vasconcellos Florence, Museu de Arte de São Paulo Assis Chateaubriand, 1977.

• Vieillard, J.: A Zoophonia de Hercule Florence. Editora da Universidade de Mato Grosso, Cuiabá, 1993.

• William Luret: “Les trois vies d'Hercule Florence”, éditions JC Lattès, Paris 2001

3.2.5 Media

A film documentary, featuring Adriana Florence, a grand-grand-granddaughter of Hércules Florence living in Camp- inas, Brazil, has been made by the Discovery Channel and retraces part of the Baron von Langsdorff expedition’s itinerary. It also visited the St. Petersburg’s Langsdorff museum collections. The director was Mauricio Dias.

• Tras las Huellas de la Expedición Langsdorff. Discovery Channel in Spanish.

3.2.6 References

[1] Boris Kossoy (2004). Hercule Florence: El descubrimiento de la fotografía en Brasil. Instituto Nacional de Antropología e Historia. ISBN 968-03-0020-X.

3.2.7 External links

• . Dicionário das Artes Visuais (In Portuguese).

• Documents and publications about Hercule Florence at Instituto Hercule Florence 's Corisco IHF database

3.3 George Eastman

For other uses, see George Eastman (disambiguation).

George Eastman (July 12, 1854 – March 14, 1932) was an American entrepreneur who founded the Eastman Kodak Company and popularized the use of roll film, helping to bring photography to the mainstream. Roll film was also the basis for the invention of motion picture film in 1888 by the world’s first film-makers Eadweard Muybridge and Louis Le Prince, and a few years later by their followers Léon Bouly, William Dickson, Thomas Edison, the Lumière Brothers, and Georges Méliès. He was a major philanthropist, establishing the Eastman School of Music, and schools of dentistry and at the University of Rochester and in London; contributing to the Rochester Institute of Technology (RIT) and the construction of several buildings at MIT's second campus on the Charles River. In addition he made major donations to Tuskegee and Hampton universities, historically black universities in the South. With interests in improving health, he provided funds for clinics in London and other European cities to serve low-income residents. 3.3. GEORGE EASTMAN 71

In his final two years, Eastman was in intense pain caused by a disorder affecting his spine. On March 14, 1932, Eastman shot himself in the heart, leaving a note which read, “To my friends: my work is done. Why wait?"[2] The , now operated as the International Museum of Photography and Film, has been des- ignated a National Historic Landmark. Eastman is the only person represented by two stars in the Hollywood Walk of Fame recognizing the same achievement, for his invention of roll film.

3.3.1 Early life

Eastman’s boyhood home from Waterville, now at the Genesee Country Village and Museum

Eastman was born in Waterville, New York[3] to George Washington Eastman and Maria Eastman (née Kilbourn), the youngest child, at the 10-acre farm which his parents bought in 1849. He had two older sisters, Ellen Maria and Katie.[4] He was largely self-educated, although he attended a private school in Rochester after the age of eight.[4] In the early 1840s his father had started a business school, the Eastman Commercial College in Rochester, New York. It was one of the first “boomtowns” in the United States, based on rapid industrialization.[4] As his father’s health started deteriorating, the family gave up the farm and moved to Rochester in 1860.[4] His father died of a brain disorder in May 1862. To survive and afford George’s schooling, his mother took in boarders.[4] Maria’s second daughter, Katie, had contracted polio when young and died in late 1870 when George was 15 years old. The young George left school early and started working to help support the family. As Eastman began to have success with his photography business, he vowed to repay his mother for the hardships she had endured in raising him.[5]

3.3.2 Career

In 1884, Eastman patented the first film in roll form to prove practicable; he had been tinkering at home to develop it. In 1888, he perfected the Kodak Black camera, the first camera designed. Eastman was progressive for his era. He promoted Florence McAnaney to be head of the personnel department, one of the first women to hold an executive position in a major U.S. company. 72 CHAPTER 3. DAY 3

3.3.3 Personal life

George Eastman never married. He was close to his mother, and to his sister and her family. He had a long platonic relationship with Josephine Dickman, a trained singer and the wife of business associate George Dickman, becoming especially close to her after the death of his mother, Maria Eastman, in 1907. He was also an avid traveler and had a passion for playing the piano.[6] The loss of his mother, Maria, was particularly crushing to George. Almost pathologically concerned with decorum, he found himself unable for the first time to control his emotions in the presence of friends. “When my mother died I cried all day,” he explained later. “I could not have stopped to save my life.” Due to his mother’s reluctance to accept his gifts, George Eastman could never do enough for his mother during her lifetime. He opened the Eastman Theater in Rochester on September 4, 1922, which included a chamber-music hall dedicated to his mother’s memory: the Kilbourn Theater. At the Eastman House, he maintained a rose bush using a cutting from her childhood home.[5]

3.3.4 Later years

Eastman was associated with the Kodak company in an administrative and an executive capacity until his death; he contributed much to the development of its notable research facilities. In 1911, he founded the Eastman Trust and Savings Bank. While discouraging the formation of unions at his manufacturing plant, he established paternal systems of support for his employees. He was one of the outstanding philanthropists of his time, donating more than $100 million to various projects in Rochester; Cambridge, ; at two historically black colleges in the South; and in several European cities.[7] In 1918, he endowed the establishment of the Eastman School of Music at the University of Rochester, and in 1921 a school of medicine and dentistry there. In 1925, Eastman gave up his daily management of Kodak to become treasurer. He concentrated on philanthropic activities, to which he had already donated substantial sums. For example, he donated funds to establish the Eastman Dental Dispensary in 1916. He was one of the major philanthropists of his time, ranking only slightly behind Andrew Carnegie, John D. Rockefeller, and a few others, but did not seek publicity for his activities. He concentrated on institution-building and causes that could help people’s health. From 1926 until his death, Eastman also donated $22,050 per year to the American Eugenics Society, a popular cause among many of the upper class when there were concerns about immigration and “race mixing.”[8] Eastman donated £200,000 in 1926 to fund a dental clinic in London, UK after being approached by the Chairman of the Royal Free Hospital, Lord Riddell. This was in addition to donations of £50,000 each from Lord Riddell and the Royal Free honorary treasurer. On 20 November 1931, the Eastman Dental Clinic opened in a ceremony attended by Neville Chamberlain, then Minister of Health, and the American Ambassador to the UK. The clinic was incorporated into the Royal Free Hospital and was committed to providing dental care for disadvantaged children from central London.[9]

3.3.5 Infirmity and suicide

In his final two years, Eastman was in intense pain caused by a disorder affecting his spine. He had trouble standing, and his walk became a slow shuffle. Today, it might be diagnosed as a form of degenerative disease such as disc herniations from trauma or age causing either painful nerve root compressions, or perhaps a type of lumbar spinal stenosis, a narrowing of the spinal canal caused by calcification in the vertebrae. Since his mother suffered the final two years of her life in a wheelchair,[5] she also may have had a spine condition but that is uncertain. Only her uterine cancer and successful surgery is documented in her health history.[10] If she did have a musculoskeletal disorder, perhaps George Eastman’s spine condition may have been due to a congenital disease, such as ankylosing spondylitis, degenerative disc disease, or a variant of Ehlers–Danlos collagen disorder—conditions known to be inheritable but usually presenting earlier in age. Eastman grew increasingly depressed due to his pain, reduced ability to function, and also since he had witnessed his mother’s suffering from pain. On March 14, 1932, Eastman committed suicide with a single gunshot through the heart, leaving a note which read, “To my friends, my work is done – Why wait? GE.”[2] Raymond Granger, an insurance salesman in Rochester, showed up to collect insurance payments from several members of the staff. He arrived at the scene to find the entire workforce in a dither. At least one chronicler claimed that fear of senility or other debilitating diseases of old age was also a contributing factor.[11] His funeral was held at St. Paul’s Episcopal Church in Rochester; his coffin was carried out to Gounod’s “Marche Romaine” and buried in the grounds of the company he founded at Eastman Business Park, formerly known as Kodak 3.3. GEORGE EASTMAN 73

Park in Rochester.[12]

3.3.6 Legacy

Eastman had a very astute business sense. He focused his company on making film when competition heated up in the camera industry. By providing quality and affordable film to every camera manufacturer, Kodak managed to turn its competitors into de facto business partners. In 1915, Eastman founded a bureau of municipal research in Rochester “to get things done for the community” and to serve as an “independent, non-partisan agency for keeping citizens informed.” Called the Center for Governmental Research, the agency continues to carry out that .[13] During his lifetime Eastman donated $100 million to various organizations, with most of his money going to the University of Rochester and to the Massachusetts Institute of Technology to build their programs and facilities (under the alias “Mr. Smith”). He was one of the major philanthropists in the United States during his lifetime.[14][15] The Rochester Institute of Technology has a building dedicated to Eastman, in recognition of his support and substantial donations. MIT installed a plaque of Eastman on one of the buildings he funded. (Students rub the nose of Eastman’s image on the plaque for good luck.) Eastman also made substantial gifts to the Tuskegee Institute and the Hampton Institute in and Virginia, respectively. Upon his death, his entire estate was bequeathed to the University of Rochester. The Eastman Quadrangle of the River Campus was named for him. Eastman had built a mansion, which became known as the George Eastman House, at 900 East Avenue in Rochester. Here he entertained friends to dinner and held private music concerts. The University of Rochester used the mansion for various purposes for decades after his death. In 1949, it re-opened after having been adapted for use as the George Eastman House International Museum of Photography and Film. It has been designated a National Historic Landmark. Eastman’s boyhood home was saved from salvage. It was restored to its state during his childhood and is displayed at the Genesee Country Village and Museum.[16]

3.3.7 Patents

• U.S. Patent 226,503 “Method and Apparatus for Coating Plates”, filed September 1879, issued April 1880. • U.S. Patent 306,470 “”, filed May 10, 1884, issued October 14, 1884. • U.S. Patent 306,594 “Photographic Film”, filed March 7, 1884, issued October 14, 1884. • U.S. Patent 317,049 (with William H. Walker) “Roll Holder for Photographic Films”, filed August 1884, issued May 1885. • U.S. Patent 388,850 “Camera”, filed March, 1888, issued September, 1888. • Eastman licensed, then purchased U.S. Patent 248,179 “Photographic Apparatus” (roll film holder), filed June 21, 1881, issued October 11, 1881 to David H. Houston.

3.3.8 Honors and commemorations

• In 1930 he was awarded the American Institute of Chemists Gold Medal. • On July 12, 1954 the U.S. Post Office issued a 3-cent commemorative stamp marking the 100th anniversary of George Eastman’s birth, which was first issued in Rochester, New York.[17]

• The George Eastman House was designated as a National Historic Landmark. • In the fall of 2009, a statue of Eastman was erected on the Eastman Quad of the University of Rochester. • The auditorium at Mississippi State University's Dave C. Swalm School of Chemical Engineering is named for Eastman, in recognition of his inspiration to Swalm. 74 CHAPTER 3. DAY 3

3.3.9 Other

An often-repeated urban myth recounts that photographer and musician Linda Eastman (first wife of Beatle Sir Paul McCartney) was related to the George Eastman family, but this is not true.[18] Her father was of Russian Jewish ancestry and changed his to Eastman before becoming known as an attorney.

3.3.10 See also

• Eastmaninstitutet

• George Eastman House

• UCL Eastman Dental Institute

3.3.11 References

[1] Klepper, Michael; Gunther, Michael (1996). The Wealthy 100: From Benjamin Franklin to —A Ranking of the Richest Americans, Past and Present. Secaucus, New Jersey: Carol Publishing Group. p. xiii. ISBN 978-0-8065-1800-8. OCLC 33818143

[2] Lindsay, David “George Eastman: The Final Shot”. American Experience. PBS. Retrieved August 30, 2013.

[3] McNellis, David (201). Reflections on Big Spring: A History of Pittsford, NY, and the Genesee River Valley. AuthorHouse. p. 147.

[4] Brayer, Elizabeth (1996). George Eastman: A Biography. Johns Hopkins University Press. ISBN 0-8018-5263-3. (Uni- versity of Rochester Press, 2006 reprint: ISBN 1-580-46247-2. pp.12-19)

[5] “Maria Eastman article”. American Experience. PBS. Retrieved 2012-08-05.

[6] “George Eastman article”. American Experience. PBS. Retrieved 2012-08-05.

[7] Ford, Carin T. (2004). George Eastman: The Kodak Camera Man. Enslow Publishers, INC.

[8] Spiro, Jonathan (December 15, 2009). Defending the Master Race: Conservation, Eugenics, and the Legacy of Madison Grant. UPNE. p. 353. ISBN 9781584658108. Retrieved June 25, 2014.

[9] Nick Black, Walking London’s Medical History

[10] Brayer, Elizabeth (2006). George Eastman, A Biography. University Rochester Press. p. 429. ISBN 978-1-580-46247-1. Retrieved 2013-01-14.

[11] Sandburg, Carl (1936). The People, Yes (First Harvest Edition 1990 ed.). Harcourt, Brace and Company, Inc. ISBN 0544416929., Chapter 7

[12] Lindsay, David. “George Eastman: The Final Shot”. PBS.org. CBS. Retrieved 7 December 2015. He had long employed Harold Gleason, an organist, to perform for him in his own home as he ate his morning breakfast. One of Eastman’s most common requests was *Marche Romaine*, from a Gounod opera, and, as his health deteriorated, he gradually came to refer to this piece as “my funeral march.”

[13] “About CGR”. Center for Governmental Research Inc. (CGR). Retrieved 2011-09-01.

[14] The Philanthropy Roundtable Hall of Fame, George Eastman

[15] Ford, Carin T. (2004). George Eastman: The Kodak Camera Man. Enslow Publishers, Inc.

[16] “Genesee Country Village and Museum”. www.gcv.org. Retrieved 2015-11-09.

[17] “George Eastman Issue”. Smithsonian National Postal Museum. Retrieved July 3, 2014.

[18] “When I Was A Pup”. Archived from the original on 22 October 2009. Retrieved 9 June 2011. 3.3. GEORGE EASTMAN 75

3.3.12 Further reading

• Ackerman, Carl W. (1930). George Eastman: Founder of Kodak and the Photography Business. Beard Books. ISBN 1-893-12299-9.

• Brayer, Elizabeth (1996). George Eastman: A Biography. Baltimore: Johns Hopkins University Press. ISBN 0801852633.

3.3.13 External links

• George Eastman archive at the University of Rochester • George Eastman at Find a Grave

• George Eastman: His Life, Legacy, and Estate, George Eastman House • The George Eastman House

• UCL Eastman Dental Institute, London, UK • Eastman Institute for Oral Health, University of Rochester, NY

• George Eastman: The Final Shot, by David Lindsay 76 CHAPTER 3. DAY 3

U.S. patent no. 388,850, issued to George Eastman, September 4, 1888 3.3. GEORGE EASTMAN 77

George Eastman, 1917 78 CHAPTER 3. DAY 3

Memorial at Kodak Park in Rochester. Eastman’s ashes lie beneath the Georgia marble monument. 3.3. GEORGE EASTMAN 79 Chapter 4

Day 4

4.1 Ansel Adams

Ansel Easton Adams (February 20, 1902 – April 22, 1984) was an American photographer and . His black-and-white landscape photographs of the American West, especially , have been widely reproduced on calendars, posters, books, and the internet.[1] Adams and Fred Archer developed the as a way to determine proper exposure and adjust the contrast of the final print. The resulting clarity and depth characterized his photographs. He primarily used large-format cameras because their high resolution helped ensure sharpness in his images. Adams founded the photography group known as Group f/64, along with fellow photographers and Edward Weston.

4.1.1 Early life

Childhood

Adams was born in Addition of , , the only child of Charles Hitchcock Adams and Olive Bray Adams. He was named after his uncle Ansel Easton. His mother’s family came from Baltimore, where his maternal grandfather had a successful freight-hauling business but lost his wealth investing in failed and real estate ventures in Nevada.[2] The Adams family came from , having migrated from the north of Ireland in the early 18th century. His paternal grandfather founded and built a prosperous lumber business which his father later ran, though his father’s natural talents lay more with sciences than with business. Later in life, Adams condemned that very same industry for cutting down many of the great redwood forests.[3] In 1907, his family moved 2 miles (3 km) west to a new home near the Seacliff neighbourhood, just south of the Presidio Army Base.[4] The home had a “splendid view” of the Golden Gate and the Marin Headlands.[5] San Francisco was devastated by the April 18, 1906 San Francisco earthquake. The four year-old Ansel Adams was uninjured in the initial shaking, but was tossed face-first into a garden wall during an aftershock three hours later, breaking and scarring his nose. Among his earliest memories was watching the smoke from the ensuing fire that destroyed much of the city a few miles to the east. A doctor recommended that his nose be reset once he reached maturity,[6] but it remained crooked for his entire life.[7] Adams was a hyperactive child and prone to frequent sickness and hypochondria. He had few friends, but his family home and surroundings on the heights facing the Golden Gate provided ample childhood activities. He had no patience for games or sports, but he took to the beauty of nature at an early age, collecting bugs and exploring Lobos Creek all the way to Baker Beach and the sea cliffs leading to Lands End,[5][8] “San Francisco’s wildest and rockiest coast, a place strewn with shipwrecks and rife with landslides.”[9] His father bought a three-inch telescope and they enthusiastically shared the hobby of amateur astronomy, visiting the on Mount Hamilton together. His father went on to serve as the paid secretary-treasurer of the Astronomical Society of the Pacific from 1925 to 1950.[10] Ansel’s father’s business suffered great financial losses after the death of Ansel’s grandfather and the aftermath of

80 4.1. ANSEL ADAMS 81

the of 1907. Some of the induced near-poverty was because Ansel’s uncle Ansel Easton and Cedric Wright's father George Wright had secretly sold their shares of the company to the Hawaiian Sugar Trust for a large amount of money, “knowingly providing the controlling interest.”[11] By 1912, the family’s standard of living had dropped sharply.[12] Ansel was dismissed from several private schools for being restless and inattentive, so his father decided to pull him out of school in 1915 at the age of 12. Adams was then educated by private tutors, his Aunt Mary, and by his father. His Aunt Mary was a follower of Robert G. Ingersoll, a 19th-century agnostic, abolitionist, and women’s suffrage advocate. As a result of his aunt’s influence, Ingersoll’s teachings were important to Ansel’s upbringing.[13] During the Panama-Pacific International Exposition in 1915, his father insisted that Adams spend part of each day studying the exhibits as part of his education.[14] After a while, he resumed and then completed his formal education by attending the Mrs. Kate M. Wilkins Private School, until he graduated from eighth grade on June 8, 1917. In his later years, he displayed his diploma in the guest bathroom of his home.[15] His father raised him to follow the ideas of Ralph Waldo Emerson: to live a modest, moral life guided by a social responsibility to man and to nature.[13] Adams had a warm, loving, and supportive relationship with his father, but he had a distant relationship with his mother, who did not approve of his interest in photography.[16] The day after her death in 1950, Ansel had a dispute with the undertaker when choosing which casket she would be buried in. He chose the cheapest in the room, a $260 casket that seemed the least he could purchase without doing the job himself. The undertaker remarked, “Have you no respect for the dead?" Adams replied, “One more crack like that and I will take Mama elsewhere.”[17]

Youth

Adams became interested in piano at age 12, and music became the main focus of his later youth. His father sent him to piano teacher Marie Butler, who focused on perfectionism and accuracy. After four years of studying under her guidance, he moved on to other teachers, one being composer Henry Cowell.[18] For the next twelve years, the piano was Adams’ primary occupation and, by 1920, his intended profession. Although he ultimately gave up music for photography, the piano brought substance, discipline, and structure to his frustrating and erratic youth. Moreover, the careful training and exacting craft required of a musician profoundly informed his visual artistry, as well as his influential writings and teachings on photography. Adams first visited Yosemite National Park in 1916 with his family.[19] He wrote of his first view of the valley: “the splendor of Yosemite burst upon us and it was glorious.... One wonder after another descended upon us.... There was light everywhere.... A new era began for me.” His father gave him his first camera during that stay, a Kodak Brownie , and he took his first photographs with his “usual hyperactive enthusiasm”.[20] He returned to Yosemite on his own the following year with better cameras and a tripod. In the winter, he learned basic technique working part-time for a San Francisco photo finisher.[21] Adams avidly read photography magazines, attended camera club meetings, and went to photography and art exhibits. He explored the High Sierra in summer and winter with retired geologist and amateur ornithologist Francis Holman, whom he called “Uncle Frank,” developing the stamina and skill needed to photograph at high elevation and under difficult weather conditions.[22] While in Yosemite, he had frequent contact with the Best family, owners of Best’s Studio, who allowed him to practice on their old square piano. In 1928, he married Virginia Best in Best’s Studio in Yosemite Valley. Virginia inherited the studio from her artist father on his death in 1935, and the Adams continued to operate it until 1971. The studio is now known as the Ansel Adams Gallery and remains in the hands of the Adams family. At age 27, Adams joined the , a group dedicated to protecting the wild places of the earth, and he was hired as the summer caretaker of the Sierra Club visitor center in Yosemite Valley, the LeConte Memorial Lodge, from 1920 to 1924.[23] He remained a member throughout his lifetime and served as a director, as did his wife. He was first elected to the Sierra Club’s board of directors in 1934, and served on the board for 37 years until 1971.[7] Adams participated in the club’s annual , and was later responsible for several first ascents in the . He contracted the Spanish Flu during the 1918 flu pandemic and fell seriously ill, but he recovered after several months to resume his outdoor life. During his twenties, most of his friends came from musical connections, particularly violinist and amateur pho- tographer Cedric Wright, who became his best friend as well as his philosophical and cultural mentor. Their shared philosophy came from Edward Carpenter's Towards Democracy, a literary work which espoused the pursuit of beauty in life and art. For several years, Adams carried a pocket edition with him while at Yosemite,[24] and it became his personal philosophy as well. He later stated, “I believe in beauty. I believe in stones and water, air and soil, people 82 CHAPTER 4. DAY 4

Close-up of leaves In Glacier National Park (1942) and their future and their fate.”[25] He decided that the purpose of his art, whether photography or music, was to reveal that beauty to others and to inspire them to the same calling. In summer, Adams would enjoy a life of hiking, camping, and photographing, and the rest of the year he worked to improve his piano playing, expanding his piano technique and musical expression. He also gave piano lessons for extra income, finally affording a grand piano suitable to his musical ambitions.[26] An early student was mountaineer and fellow Sierra Club leader Jules Eichorn. His first photographs were published in 1921, and Best’s Studio began selling his Yosemite prints the following year. His early photos already showed careful composition and sensitivity to tonal balance. In letters and cards to family, he wrote of having dared to climb to the best view points and to brave the worst elements.[27] At this point, however, Adams was still planning a career in music, even though he felt that his small hands limited his repertoire.[28] It took seven more years for him to conclude that, at best, he might only become a concert pianist of limited range, an accompanist, or a piano teacher. In the mid-1920s, Adams experimented with soft-focus, etching, bromoil process, and other techniques of the pictorial photographers, such as Photo-Secession leader Alfred Stieglitz who strove to put photography on an equal artistic plane with painting by trying to mimic it. However, Adams steered clear of hand-coloring which was also popular at the time. He used a variety of lenses to get different effects, but eventually rejected for a more realistic approach which relied more heavily on sharp focus, heightened contrast, precise exposure, and darkroom craftsmanship.[29]

4.1.2 Photography career 4.1. ANSEL ADAMS 83

1920s

In 1927, Adams produced his first portfolio in his new style Parmelian Prints of the High Sierras, which included his famous image Monolith, the Face of Half Dome, taken with his Korona using glass plates and a dark red filter (to heighten the tonal contrasts). On that excursion, he had only one plate left and he “visualized” the effect of the blackened sky before risking the last shot. He later said, “I had been able to realize a desired image: not the way the subject appeared in reality but how it felt to me and how it must appear in the finished print”.[30] In April 1927, he wrote, “My photographs have now reached a stage when they are worthy of the world’s critical examination. I have suddenly come upon a new style which I believe will place my work equal to anything of its kind.”[31] Adams’s first portfolio was a success, earning nearly $3,900 with the sponsorship and promotion of Albert Bender, an arts-connected businessman. Soon he received commercial assignments to photograph the wealthy patrons who bought his portfolio.[32] He also came to understand how important it was that his carefully crafted photos were reproduced to best effect. At Bender’s invitation, he joined the Roxburghe Club, an association devoted to fine printing and high standards in book arts. He learned much about printing techniques, inks, design, and layout which he later applied to other projects.[33] Unfortunately, at that time most of his darkroom work was still being done in the basement of his parents’ home, and he was limited by barely adequate equipment. He married Virginia Best in 1928 after a cooling-off period during 1925–26, during which he had short-lasting relationships with various women. The newly-weds moved in with his parents to save expenses. His marriage also marked the end of his serious attempt at a musical career, as well as her ambitions to be a classical singer.

1930s

Between 1929 and 1942, Adams’s work matured and he became more established. In the course of his 60-year career, the 1930s were a particularly productive and experimental time. He expanded his works, focusing on detailed close-ups as well as large forms from mountains to factories.[34] His first book Taos Pueblo was published in 1930 with text by writer Mary Hunter Austin. In New Mexico, he was introduced to notables from Stieglitz’s circle, including painter Georgia O'Keeffe, artist John Marin, and photographer Paul Strand. Adams’s talkative, high-spirited nature combined with his excellent piano playing made him a hit within his circle of artist friends.[35] Strand especially proved influential, sharing secrets of his technique with Adams, and finally convincing Adams to pursue photography with all his talent and energy. One of Strand’s suggestions which Adams adopted was to use glossy paper to intensify tonal values. Adams was able to put on his first solo museum exhibition at the Smithsonian Institution in 1931 through a friend who had connections in Washington, featuring 60 prints taken in the High Sierra. He received an excellent review from : “His photographs are like portraits of the giant peaks, which seem to be inhabited by mythical gods.”[36] Despite his success, Adams felt that he was not yet up to the standards of Strand. He decided to broaden his subject matter to include still life and close-up photos, and to achieve higher quality by “visualizing” each image before taking it. He emphasized the use of small and long exposures in natural light, which created sharp details with a wide range of focus, as demonstrated in Rose and Driftwood (1933), one of his finest still-life photographs. In 1932, Adams had a group show at the M. H. de Young Museum with Imogen Cunningham and Edward Weston, and they soon formed Group f/64 which espoused “pure or ” over pictorialism, f/64 being a very small setting that gives great depth of field. The group’s manifesto stated, “Pure photography is defined as possessing no qualities of technique, composition or idea, derivative of any other art form.”[37] Adams opened his own art and photography gallery in San Francisco in 1933, following Stieglitz’s example.[38] He also began to publish essays in photography magazines and wrote his first instructional book Making a Photograph in 1935.[39] During the summers, he often participated in Sierra Club High Trips outings, as a paid photographer for the group, and the rest of the year a core group of the Club members socialized regularly in San Francisco and Berkeley. During 1933, his first child Michael was born, followed by Anne two years later.[40] In the 1930s, Adams began to deploy his photographs in the cause of wilderness preservation. In part, he was inspired by the increasing desecration of Yosemite Valley by commercial development, including a pool hall, bowling alley, golf course, shops, and auto-mobile traffic. He created the limited-edition book Sierra Nevada: The John Muir Trail in 1938, as part of the Sierra Club’s efforts to secure the designation of Sequoia and Kings Canyon as national parks. This book and his testimony before Congress played a vital role in the success of the effort, and Congress designated the area as a National Park in 1940. 84 CHAPTER 4. DAY 4

Church, Taos Pueblo (1942)

Yosemite Valley, to me, is always a sunrise, a glitter of green and golden wonder in a vast edifice of stone and space. I know of no sculpture, painting or music that exceeds the compelling spiritual com- mand of the soaring shape of granite cliff and dome, of patina of light on rock and forest, and of the thunder and whispering of the falling, flowing waters. At first the colossal aspect may dominate; then we perceive and respond to the delicate and persuasive complex of nature. — Ansel Adams, The Portfolios Of Ansel Adams 4.1. ANSEL ADAMS 85

In 1935, Adams created many new photos of the Sierra, and one of his most famous photographs Clearing Winter Storm captured the entire valley just as a winter storm relented, leaving a fresh coat of snow. He gathered his recent work and had a solo show at Stieglitz’s “An American Place” gallery in New York in 1936. The exhibition proved successful with both the critics and the buying public, and earned Adams strong praise from the revered Stieglitz.[41] During the balance of the 1930s, Adams took on many commercial assignments to supplement the income from the struggling Best’s Studio. Until the 1970s, Adams was financially dependent on commercial projects. Some of his clients included Kodak, Fortune magazine, Pacific Gas and Electric, AT&T, and the American Trust Company.[42] He photographed Timothy L. Pflueger's new Patent Leather Bar for the St. Francis in 1939.[43] The same year, he was named an editor of U.S. Camera & Travel, the most popular photography magazine at that time.[42]

1940s

In 1940, Ansel put together A Pageant of Photography, the most important and largest photography show in the West to date, attended by millions of visitors.[44] With his wife, Adams completed a children’s book and the very successful Illustrated Guide to Yosemite Valley during 1940 and 1941. He also taught photography by giving workshops in Detroit. Adams also began his first serious stint of teaching in 1941 at the Art Center School of , now known as Art Center College of Design, which included the training of military photographers.[45] In 1943, Adams had a camera platform mounted on his station wagon, to afford him a better vantage point over the immediate foreground and a better angle for expansive backgrounds. Most of his landscapes from that time forward were made from the roof of his car rather than from summits reached by rugged hiking, as in his earlier days.[46] On a trip in New Mexico in 1941, Adams shot a scene of the Moon rising above a modest village with snow-covered mountains in the background, under a dominating black sky. The photograph is one of his most famous and is named Moonrise, Hernandez, New Mexico. Adams’s description in his later books of how it was made probably enhanced the photograph’s fame: the light on the crosses in the foreground was rapidly fading, and he could not find his exposure meter; however, he remembered the luminance of the Moon, and used it to calculate the proper exposure.[47][48][49] Adams’s earlier account[50] was less dramatic, stating simply that the photograph was made after sunset, with exposure determined using his Weston Master meter.[n 1] However the exposure was actually determined, the foreground was underexposed, the highlights in the clouds were quite dense, and the negative proved difficult to print.[51] The initial publication of Moonrise was in U.S. Camera 1943 annual, after being selected by the “photo judge” for U.S. Camera, Edward Steichen.[52] This gave Moonrise an audience before its first formal exhibition at the in 1944.[53] Over nearly 40 years, Adams re-interpreted the image, his most popular by far, using the latest darkroom equipment at his disposal, making over 1,300 unique prints, most in 16″ by 20″ format.[54] Many of the prints were made in the 1970s, finally giving Adams financial independence from commercial projects. The total value of these original prints exceeds $25,000,000;[55] the highest price paid for a single print of Moonrise reached $609,600 at Sotheby’s New York auction in 2006. In September 1941, Adams contracted[n 2] with the Department of the Interior to make photographs of National Parks, Indian reservations, and other locations for use as mural-sized prints for decoration of the Department’s new building. Part of his understanding with the Department was that he might also make photographs for his own use, using his own film and processing. Although Adams kept meticulous records of his travel and expenses,[56] he was less disciplined about recording the dates of his images, and neglected to note the date of Moonrise, so it was not clear whether it belonged to Adams or to the U.S. Government. But the position of the moon allowed the image to eventually be dated from astronomical calculations, and it was determined that Moonrise was made on November 1, 1941,[n 3] a day for which he had not billed the Department, so the image belonged to Adams. The same was not true for many of his other negatives, including The Tetons and the Snake River, which, having been made for the Mural Project, became the of the U.S. Government.[57] When Edward Steichen formed his Naval Aviation Photographic Unit in early 1942, he wanted Adams to be a mem- ber, to build and direct a state-of-the-art darkroom and laboratory in Washington, D.C.[58] In approximately February 1942, Steichen asked Adams to join.[58] Adams agreed, with two conditions: He wanted to be commissioned as an officer, and he also told Steichen he would not be available until July 1.[59] Steichen, who wanted the team assembled as quickly as possible, passed Adams by, and had his other photographers ready to go by early April.[59] Adams was distressed by the Japanese American Internment that occurred after the Pearl Harbor attack. He requested permission to visit the Manzanar War Relocation Center in the , at the foot of Mount Williamson. The resulting photo-essay first appeared in a Museum of Modern Art exhibit, and later was published as Born Free and Equal: The Story of Loyal Japanese-Americans. He also contributed to the war effort by doing many photographic assignments for the military, including making prints of secret Japanese installations in the Aleutians.[60] "[I]t was met with some distressing resistance and was rejected by many as disloyal.”[61] Adams was the recipient of three 86 CHAPTER 4. DAY 4

Evening, McDonald Lake, Glacier National Park (1942)

Guggenheim fellowships during his career, the first in 1946 to photograph every National Park.[62] This series of photographs produced memorable images of Old Faithful Geyser, Grand Teton, and Mount McKinley. In 1945, Adams was asked to form the first fine art photography department at the San Francisco Art Institute. Adams invited Dorothea Lange, Imogen Cunningham and Edward Weston to be guest lecturers and Minor White to be lead instructor.[63] The photography department produced numerous notable photographers, including Philip Hyde, Benjamen Chinn, Bill Heick, and C. Cameron Macauley.

1950s

In 1952 Adams was one of the founders of the magazine Aperture, which was intended as a serious journal of photography showcasing its best practitioners and newest innovations. He was also a contributor to Arizona Highways, a photo-rich travel magazine. His article on Mission San Xavier del Bac, with text by longtime friend , was enlarged into a book published in 1954. This was the first of many collaborations with her.[64] In June 1955, Adams began his annual workshops, teaching thousands of students until 1981,[65] He continued with commercial assignments for another twenty years, and became a consultant on a monthly retainer for Polaroid Corporation, which was founded by good friend Edwin Land.[66] He made thousands of photographs with Polaroid products, El Capitan, Winter, Sunrise (1968) being the one he considered his most memorable. In the final twenty years of his life, the 6x6cm Hasselblad was his camera of choice, with Moon and Half Dome (1960) being his favorite photo made with that marque of camera.[67] Adams published his fourth portfolio, What Majestic Word, in 1963, and dedicated it to the memory of his Sierra Club friend Russell Varian,[68] who was a co-inventor of the klystron and who had died in 1959. The title was taken from the poem “Sand ,” by John Varian, Russell’s father,[18] and the fifteen photographs were accompanied by the writings of both John and Russell Varian. Russell’s widow, Dorothy, wrote the preface, and explained that the photographs were selected to serve as interpretations of the character of Russell Varian.[68] 4.1. ANSEL ADAMS 87

Baton practice at the Manzanar War Relocation Center, 1943

Later career

In the 1960s, a few mainstream art galleries (without a photographic emphasis) which originally would have consid- ered photos unworthy of exhibit alongside fine paintings decided to show Adams’s images, particularly the former Kenmore Gallery in Philadelphia.[69] In March 1963, Ansel Adams and Nancy Newhall accepted a commission from Clark Kerr, the president of the , to produce a series of photographs of the University’s cam- puses to commemorate its centennial celebration. The collection, titled Fiat Lux after the University’s motto, was published in 1967 and now resides in the Museum of Photography at the University of California, Riverside. In 1974, Adams was guest of honor at the Rencontres d'Arles festival (in France). An evening screening at the Arles's Théâtre Antique and an exhibition were presented. The festival celebrated the artist three more times after that: in 1976, 1982 and 1985, through screenings and exhibitions. In 1974, Adams had a major retrospective exhibition at the Metropolitan Museum of Art. Much of his time during the 1970s was spent curating and reprinting negatives from his vault, in part to satisfy the great demand of art museums which had finally created departments of photography and desired his iconic works. He also devoted his considerable writing skills and prestige to the cause of , focusing particularly on the Big Sur coastline of California and the protection of Yosemite from overuse. President Jimmy Carter commissioned him to make the first official portrait of a president made by a photograph.[70] That year he also cofounded the Center for Creative Photography at the , which handles some of his estate matters.[71]

4.1.3 Work with color film

Adams was mostly known for his boldly printed, black-and-white images, but he also worked extensively in color.[72] However, he felt closest to black-and-white photography, which he believed could be manipulated to produce a wide range of bold, expressive tones, and he felt constricted by the rigidity of the color process.[73] 88 CHAPTER 4. DAY 4

4.1.4 Contributions and influence

The Tetons and the Snake River (1942)

Romantic landscape artists Albert Bierstadt and Thomas Moran portrayed the Grand Canyon and Yosemite at the end of their reign, and were subsequently displaced by daredevil photographers Carleton Watkins, Eadweard Muybridge, and George Fiske.[74] But it was Adams’s black-and-white photographs of the West which became the foremost record of what many of the National Parks were like before , and his persistent advocacy helped expand the National Park system. He used his works to promote many of the goals of the Sierra Club and of the nascent , but always insisted that, as far as his photographs were concerned, “beauty comes first”. His images are still very popular in calendars, posters, and books. Realistic about development and the subsequent loss of habitat, Adams advocated for balanced growth, but was pained by the ravages of “progress”. He stated, “We all know the tragedy of the dustbowls, the cruel unforgivable erosions of the soil, the depletion of fish or game, and the shrinking of the noble forests. And we know that such catastrophes shrivel the spirit of the people... The wilderness is pushed back, man is everywhere. Solitude, so vital to the individual man, is almost nowhere.”[75] Adams co-founded Group f/64 with other masters like Edward Weston, Willard Van Dyke, and Imogen Cunningham. With Fred Archer, he pioneered the Zone System, a technique for translating perceived light into specific densities on negatives and paper, giving photographers better control over finished photographs. Adams also advocated the idea of visualization (which he often called "previsualization", though he later acknowledged that term to be a ) whereby the final image is “seen” in the mind’s eye before the photo is taken, toward the goal of achieving all together the aesthetic, intellectual, spiritual, and mechanical effects desired. He taught these and other techniques to thousands of amateur photographers through his publications and his workshops. His many books about photography, including the Morgan & Morgan Basic Photo Series (The Camera, The Negative, The Print, Natural Light Photography, and Artificial Light Photography) have become classics in the field. In 1966 he was elected a fellow of the American Academy of Arts and Sciences. In 1980 Jimmy Carter awarded him the Presidential Medal of Freedom, the nation’s highest civilian honor. 4.1. ANSEL ADAMS 89

Adams’s photograph The Tetons and the Snake River was one of the 115 images recorded on the Voyager Golden Record aboard the Voyager spacecraft. These images were selected to convey information about humans, plants and animals, and geological features of the Earth to a possible alien civilization. His legacy includes helping to elevate photography to an art comparable with painting and music, and equally capable of expressing emotion and beauty. He told his students, “It is easy to take a photograph, but it is harder to make a masterpiece in photography than in any other art medium.”[76] Art critic John Szarkowski wrote “Ansel Adams attuned himself more precisely than any photographer before him to a visual understanding of the specific quality of the light that fell on a specific place at a specific moment. For Adams the natural landscape is not a fixed and solid sculpture but an insubstantial image, as transient as the light that continually redefines it. This sensibility to the specificity of light was the motive that forced Adams to develop his legendary photographic technique.”[77]

4.1.5 Death and legacy

Adams died on April 22, 1984 in the ICU at the Community Hospital of the in Monterey, California at the age of 82 from cardiovascular disease. He was survived by his wife, children Michael and Anne, and five grandchildren.[78] Publishing rights for most of Adams’s photographs are now handled by the trustees of The Ansel Adams Publishing Rights Trust. An archive of Ansel Adams’s work is located at the Center for Creative Photography (CCP) at the University of Arizona in Tucson. Numerous works by the artist have been sold at auction, including a mural-sized print of “CLEARING WINTER STORM, YOSEMITE NATIONAL PARK,” which sold at Sotheby’s New York in 2010 for $722,500, the highest price ever paid for an original Ansel Adams photograph.[79] John Szarkowski states in the introduction to Ansel Adams: Classic Images (1985, p. 5), “The love that Americans poured out for the work and person of Ansel Adams during his old age, and that they have continued to express with undiminished enthusiasm since his death, is an extraordinary phenomenon, perhaps even unparalleled in our country’s response to a visual artist.” An Ansel Adams “lost negatives” controversy occurred when 61 glass plates were bought for $45 at a garage sale, then claimed by purchaser Nick Norsigian to be negatives by Adams.[80] This claim was denied by Adams’ grandson Matthew Adams and by William Turnage, manager of the Ansel Adams Publishing Rights Trust.[81] The Trust filed a lawsuit against Norsigian in 2011, and Norsigian agreed in a settlement to cease making any claims associating the negatives with Ansel Adams.[82][83]

4.1.6 Awards

Adams received a number of awards during his lifetime and posthumously, and there have been a few awards named for him.[84] Adams received an honorary artium doctor degree from Harvard University and an honorary Doctor of Fine Arts degree from . He was elected a Fellow of the American Academy of Arts and Sciences in 1966.[85] He was awarded the Conservation Service Award by the Department of the Interior in 1968, a Presidential Medal of Freedom in 1980, the Sierra Club John Muir Award in 1963,[86] and was inducted into the California Hall of Fame by California Governor Arnold Schwarzenegger and First Lady Maria Shriver in 2007.[87] The Minarets Wilderness in the Inyo National Forest and a 11,760-foot (3,580 m) peak therein were renamed the Ansel Adams Wilderness and Mount Ansel Adams respectively in 1985. Adams was presented with the in 1981.[88] The Sierra Club's Ansel Adams Award for Conservation Photography was established in 1971,[86] and the Ansel Adams Award for Conservation was established in 1980 by The Wilderness Society.[89] The Wilderness Society also has a large permanent gallery.[90] of his work on display at its Washington DC Headquarters.

4.1.7 Works 90 CHAPTER 4. DAY 4

Notable photographs

• Monolith, The Face of Half Dome, Yosemite National Park, 1927. • Rose and Driftwood, San Francisco, California, 1932. • Georgia O'Keeffe and Orville Cox, Canyon de Chelly National Monument, 1937. • Clearing Winter Storm, Yosemite National Park, 1940.[79] • Moon and Half Dome, Yosemite National Park, California, 1960. • Moonrise, Hernandez, New Mexico, 1941. • Winter Sunrise, Sierra Nevada, from Lone Pine, California, 1944. • Aspens, Northern New Mexico, 1958. • El Capitan, Winter Sunrise, 1968.

Photographic books

This list is incomplete; you can help by expanding it.

• Parmelian Prints of the High Sierras, 1927. (Grabhorn Press) • Taos Pueblo, 1930. • Sierra Nevada the John Muir Trail, 1938. (reprinted 2006 as ISBN 0-8212-5717-X). • Born Free and Equal, 1944. ISBN 1-893343-05-7. • Yosemite and the Sierra Nevada, 1948. (text from writings of John Muir) • My Camera In The National Parks, 1950. • The Land of Little Rain, 1950. (text by Mary Hunter Austin) • The Islands of Hawaii, 1958. • This is the American Earth, 1960, (with Nancy Newhall) Sierra Club Books. (reprinted by Bulfinch, ISBN 0-8212-2182-5) • These We Inherit: The Parklands of America, 1962. (with Nancy Newhall) • The Eloquent Light, 1963. (unfinished biography of Adams by Nancy Newhall) • Yosemite Valley”, 1967. (45 plates in B&W edited by Nancy Newhall, published by 5 Associates, Redwood City, California.) • The Tetons and the Yellowstone, 1970. • Ansel Adams, 1972. ISBN 0-8212-0721-0. • Images, 1923–1974, 1974. ISBN 0-8212-0600-1. • Polaroid Land Photography, 1978. ISBN 0-8212-0729-6. • Yosemite and the Range of Light, 1979. ISBN 0-8212-0750-4. • The Portfolios of Ansel Adams, 1981. ISBN 0-8212-0723-7. • Examples: The Making of 40 Photographs, 1984. ISBN 0-8212-1551-5. • Ansel Adams: Classic Images, 1986. ISBN 0-8212-1629-5. • Letters and Images 1916–1984, 1988. ISBN 0-8212-1691-0. 4.1. ANSEL ADAMS 91

• Our National Parks, 1992.

• Ansel Adams: In Color, 1993. ISBN 0-8212-1980-4.

• Photographs of the Southwest, 1994. ISBN 0-8212-0699-0.

• Yosemite and the High Sierra, 1994. ISBN 0-8212-2134-5.

• The National Park Photographs, 1995. ISBN 0-89660-056-4.

• Yosemite, 1995. ISBN 0-8212-2196-5.

• California, 1997. ISBN 0-8212-2369-0.

• America’s Wilderness, 1997. ISBN 1-56138-744-4.

• Ansel Adams at 100, 2001. ISBN 0-8212-2515-4.

• Born Free and Equal, 2002. ISBN 1-893343-05-7.

• Ansel Adams: The Photographs, 2005. ISBN 978-0-89660-056-0.

• Ansel Adams: The Spirit of Wild Places, 2005. ISBN 1-59764-069-7.

• Ansel Adams: 400 Photographs, 2007. ISBN 978-0-316-11772-2.

• Ansel Adams in the National Parks: Photographs from America’s Wild Places, 2010. ISBN 978-0-316-07846-7.

• Ansel Adams in the Canadian Rockies, 2013. ISBN 978-0-316-24341-4.

Technical books

• Making a Photograph, 1935.

• Camera and Lens: The Creative Approach, 1948. ISBN 0-8212-0716-4.

• The Negative: Exposure and Development, 1949. ISBN 0-8212-0717-2.

• The Print: Contact Printing and Enlarging, 1950. ISBN 0-8212-0718-0.

• Natural Light Photography, 1952. ISBN 0-8212-0719-9.

• Artificial Light Photography, 1956. ISBN 0-8212-0720-2.

• Examples: The Making of 40 Photographs, 1983. ISBN 0-8212-1750-X.

• The Camera, 1995. ISBN 0-8212-2184-1.

• The Negative, 1995. ISBN 0-8212-2186-8.

• The Print, 1995. ISBN 0-8212-2187-6.

4.1.8 Notes

[1] Alinder 1996, p. 192, states that the image caption for Moonrise in U.S. Camera 1943 was inaccurate, citing discrepancies in several technical details.

[2] Although verbal agreement was given on September 30, 1941, the contract was actually approved on November 3 and backdated to October 14 (Wright & 1988, p. vi).

[3] David Elmore of the High Altitude Observatory in Boulder, Colorado, determined that Moonrise was taken on October 31, 1941, at 4:03 pm (Callahan 1981, pp. 30–31). Dennis di Cicco of Sky & Telescope magazine noticed that the moon’s position at the time Elmore had determined did not match the Moon’s position in the image, and after an independent analysis, determined the time to be 4:49:20 pm on November 1, 1941. He reviewed his results with Elmore, who agreed with di Cicco’s conclusions (di Cicco 1991, pp. 529–33). 92 CHAPTER 4. DAY 4

4.1.9 References

[1] “Legacy: Think Like Ansel Adams Today”. Outdoor Photographer. Werner. February 3, 2009. Retrieved January 17, 2013.

[2] Adams 1985, p. 4.

[3] Alinder 1996, p. 4.

[4] Whittington 2010.

[5] Alinder 1996, p. 6.

[6] Alinder 1996, p. 2.

[7] Sierra Club 2008a.

[8] Adams 1985, p. 14.

[9] “Lands End”. San Francisco, CA: Golden Gate National Parks Conservancy. Archived from the original on April 12, 2010. Retrieved April 19, 2010.

[10] Aitken, R. G. (1951). “In Memoriam, Charles Hitchcock Adams 1868–1951”. Publications of the Astronomical Society of the Pacific, Vol. 63 No. 375. San Francisco, CA: Astronomical Society of the Pacific. pp. 284–286. Retrieved April 19, 2010.

[11] Adams 1985, p. 40.

[12] Alinder 1996, p. 9.

[13] Alinder 1996, p. 11.

[14] Adams 1985, p. 18.

[15] Alinder 1996, p. 276.

[16] Alinder 1996, p. 52.

[17] Adams 1985, p. 45.

[18] A. Hammond, p. 15

[19] Stillman 2007, p. 12.

[20] Adams 1985, p. 53.

[21] Alinder 1996, p. 36.

[22] Alinder 1996, p. 23.

[23] “ – LeConte Memorial Lodge”. San Francisco, CA: Sierra Club. Archived from the original on March 4, 2010. Retrieved April 19, 2010.

[24] Alinder 1996, p. 47.

[25] Adams 1985, p. 9.

[26] Adams 1985, p. 27.

[27] Alinder et al. 1988, p. 3.

[28] Adams 1985, p. 28.

[29] Alinder 1996, pp. 38–42.

[30] Adams 1985, p. 76.

[31] Alinder et al. 1988, p. 30.

[32] Alinder 1996, p. 62.

[33] Alinder 1996, p. 68. 4.1. ANSEL ADAMS 93

[34] ArtInfo 2006.

[35] Alinder 1996, pp. 73–74.

[36] Alinder 1996, p. 77.

[37] Alinder 1996, p. 87.

[38] Adams 1985, p. 115.

[39] Alinder 1996, p. 114.

[40] Alinder 1996, p. 102.

[41] Alinder 1996, p. 120.

[42] Alinder 1996, p. 158.

[43] Hamlin 2003.

[44] Alinder 1996, p. 159.

[45] Adams 1985, p. 312.

[46] Alinder 1996, p. 239.

[47] Adams 1981, p. 127.

[48] Adams 1985, pp. 273–275.

[49] Adams 1983, pp. 40–43.

[50] Maloney 1942, pp. 88–89.

[51] Adams 1983, p. 42.

[52] Alinder 1996, p. 192.

[53] Alinder 1996, p. 193.

[54] Andrew Smith Gallery 2008.

[55] Alinder 1996, pp. 189–199.

[56] Wright & Armor 1988, p. vi.

[57] Alinder 1996, p. 201.

[58] Alinder 1996, p. 172.

[59] Alinder 1996, p. 173.

[60] Alinder 1996, p. 175.

[61] Adams 1985, p. 263.

[62] Alinder 1996, p. 217.

[63] Vernacular Language North, p. 5.

[64] Alinder 1996, p. 251.

[65] Adams 1985, p. 316.

[66] Alinder 1996, p. 260.

[67] Adams 1985, p. 375.

[68] A. Hammond, p. 108

[69] Goldbloom 1990, p. 3.

[70] Alinder 1996, pp. 294–295.

[71] “Ansel Adams - Center for Creative Photography”. 94 CHAPTER 4. DAY 4

[72] “Ansel Adams Photographs”. Center for Creative Photography at University of Arizona Libraries.

[73] Woodward, Richard. “Ansel Adams in Color”. Smithsonian Magazine.

[74] Alinder 1996, p. 33.

[75] Adams 1985, pp. 290–291.

[76] Adams 1985, p. 327.

[77] Szarkowski 1976.

[78] Alinder et al. 1988, p. 396.

[79] Ilnytzky 2010.

[80] “Ansel Adams or Not? More Twists”. New York Times. Retrieved 22 August 2015.

[81] “Controversy over 'lost' Ansel Adams photos turns negative”. CNN. Retrieved 22 August 2015.

[82] “Ansel Adams, the 'lost negatives’ and a $200m lawsuit”. The Independent. Retrieved 22 August 2015.

[83] Boehm, Mike (March 15, 2011). “Lawsuits over disputed Ansel Adams 'lost negatives’ settled”. . Retrieved 27 July 2016.

[84] Ansel Adams Gallery.

[85] “Book of Members, 1780–2010: Chapter A” (PDF). American Academy of Arts and Sciences. Archived (PDF) from the original on May 10, 2011. Retrieved April 1, 2011.

[86] Sierra Club 2008b.

[87] California Museum 2007.

[88] Hasselblad Foundation 1981.

[89] Wilderness Society.

[90] “Ansel Adams Collection”. wilderness.org.

4.1.10 Sources

• Adams, Ansel (1981). The Negative. : Little Brown. ISBN 0-8212-1131-5.

• Adams, Ansel (1985). Ansel Adams, an Autobiography. Boston: Little, Brown. ISBN 0-8212-1596-5.

• Adams, Ansel (1989). Examples. Boston: Little, Brown. ISBN 0-8212-1750-X.

• Alinder, Mary (1996). Ansel Adams: A Biography. New York: Henry Holt and Company. ISBN 0-8050- 4116-8.

• Alinder, Mary; Stillman, Andrea; Adams, Ansel; Stegner, Wallace (1988). Ansel Adams: Letters and Images 1916–1984. Boston: Little, Brown. ISBN 0-8212-1691-0.

• Andrew Smith Gallery. “5 prints of “Moonrise”, 1941–1975”. Andrew Smith Gallery.

• Ansel Adams Gallery. “Biography”. Ansel Adams Gallery. Archived from the original on October 6, 2009.

• Artinfo (2006). “Ansel Adams at the Phoenix Art Museum”. Artinfo. Retrieved November 29, 2006.

• California Museum (2007). “Adams inducted into California Hall of Fame”. California Museum. Archived from the original on April 11, 2008. Retrieved April 16, 2008.

• Callahan, Sean (1981). “Short Takes: Countdown to Moonrise”. American Photographer (January 1981).

• di Cicco, Dennis (1991). “Dating Ansel Adams’ Moonrise”. Sky & Telescope (November 1991).

• Goldbloom, J. (1990). “Remembering the Kenmore” in Philly Art Walks. Fall 1990. 4.1. ANSEL ADAMS 95

• Hamlin, Jesse (December 20, 2003). “Raise a toast to Ansel Adams. Sure, he was known for landscapes, but there was more to his portfolio, as these bar photos show”. San Francisco Chronicle. Retrieved January 20, 2012.

• Hammond, Anne (2002). Ansel Adams: divine performance. Yale University Press. ISBN 978-0-300-09241- 7.

• Ilnytzky, Una (June 23, 2010). “Ansel Adams Yosemite photo fetches $722K in record-setting auction”.

• Maloney, T.J. (1942). U.S. Camera 1943 annual. New York: Duell, Sloan & Pearce.

• Papanikolas, Theresa, Georgia O'Keeffe and Ansel Adams, The Hawai'I Pictures, Honolulu Museum of Art, 2013

• Read, Michael (1993). Michael Read, ed. Ansel Adams, New light: Essays on His Legacy and Legend. San Francisco: The Friends of Photography.

• Sierra Club. “Roster of Sierra Club Directors” (PDF). Sierra Club. Retrieved April 12, 2010.

• Sierra Club (2008a). “Ansel Adams and the Sierra Club: About Ansel Adams”. Sierra Club. Archived from the original on February 1, 2010. Retrieved February 26, 2010.

• Hasselblad Foundation (1981). “Ansel Adams”. Hasselblad Foundation.

• Sierra Club (2008b). “Award Winners”. Sierra Club.

• Stillman, Andrea G. (2007). 400 Photographs. New York, New York: Little, Brown. p. 12. ISBN 978-0-316- 11772-2.

• Szarkowski, John (1976). Looking at Photographs: 100 Pictures from the Collection of the Museum of Modern Art. New York: N.Y. Graphic Society.

• Vernacular Language North. “SF Bay Area Timeline: Modernism (1930–1960)". Vernacular Language North.

• Whittington, Geoff (January 24, 2010). “Ansel Adams’ boyhood San Francisco house”. San Francisco Chron- icle. San Francisco, CA. Archived from the original on May 5, 2010. Retrieved April 20, 2010.

• Wilderness Society. “The Wilderness Society”.

• Wright, Peter; Armor, John (1988). The Mural Project. Santa Barbara: Reverie Press. ISBN 1-55824-162-0.

4.1.11 External links

• Ansel Adams at DMOZ

• Works by or about Ansel Adams in libraries (WorldCat catalog)

• Ansel and Virginia Adams letters from Imogen Cunningham, 1966 from the Smithsonian’s Archives of Amer- ican Art

• History of Ansel Adams Ansel Adams (1902–1984).

• PBS Documentary: Ansel Adams Ric Burns feature documentary Ansel Adams: A Documentary Film (2002).

• Official Family-Owned Website of Ansel Adams Ansel Adams – Museum Graphics.

• Official Site of Ansel Adams Ansel Adams Gallery.

• Ansel Adams Memorial Grove A restoration and preservation project of Ansel Adams in San Francisco.

• American Memory – Ansel Adams “Suffering Under a Great Injustice” Ansel Adams’s Photographs of Japanese- American Internment at Manzanar From the American Memory Collection of the Library of Congress.

• Densho Encyclopedia article on Adams’ work in Manzanar

• Picturing the Century – Ansel Adams Selection of photos at the National Archives. 96 CHAPTER 4. DAY 4

• Records of the National Park Service – Ansel Adams Photographs 226 high-resolution photographs from Na- tional Archives Still Picture Branch. • All Ansel Adams Images Online Center for Creative Photography (CCP) CCP at the University of Arizona has released a digital catalog of all Adams’s images. • Exhibition catalog of Ansel Adams photographs at the Metropolitan Museum of Art

• The Ansel Adams Gallery at The Wilderness Society • Ansel Adams at 100 at Los Angeles County Museum of Art review on artnet by Irit Krygier, Title: Wild America • Ansel Adams collection at the Israel Museum. Retrieved September 2016. Chapter 5

Day 5

5.1 Henri Cartier-Bresson

Henri Cartier-Bresson (French: [kaʁtje bʁɛsɔ̃]; August 22, 1908 – August 3, 2004) was a French humanist pho- tographer considered a master of , and an early user of 35 mm film. He pioneered the genre of street photography, and conceived of photography as capturing a decisive moment. His work has influenced many photographers.

5.1.1 Early life

Henri Cartier-Bresson was born in Chanteloup-en-Brie, Seine-et-Marne, France, the oldest of five children. His father was a wealthy textile manufacturer, whose Cartier-Bresson thread was a staple of French sewing kits. His mother’s family were cotton merchants and landowners from Normandy, where Henri spent part of his childhood. The Cartier-Bresson family lived in a bourgeois neighborhood in Paris, Rue de Lisbonne, near Place de l'Europe and Parc Monceau. His parents supported him financially so Henri could pursue photography more freely than his contemporaries. Henri also sketched. Young Henri took holiday snapshots with a Box Brownie; he later experimented with a 3×4 inch view camera. He was raised in traditional French bourgeois fashion, and was required to address his parents with formal vous rather than tu. His father assumed that his son would take up the family business, but Henri was strong-willed and also feared this prospect. Cartier-Bresson attended École Fénelon, a Catholic school that prepared students for the Lycée Condorcet. A gov- erness called “Miss Kitty” who came from across the Channel, instilled in him the love of - and competence in - the English language.[1] The proctor caught him reading a book by Rimbaud or Mallarmé, and reprimanded him, “Let’s have no disorder in your studies!". Cartier-Bresson said, “He used the informal 'tu', which usually meant you were about to get a good thrashing. But he went on, 'You're going to read in my office.' Well, that wasn't an offer he had to repeat.”[2]

Painting

After trying to learn music, Cartier-Bresson was introduced to oil painting by his uncle Louis, a gifted painter. But the painting lessons were cut short when uncle Louis was killed in World War I. In 1927 Cartier-Bresson entered a private art school and the Lhote Academy, the Parisian studio of the Cubist painter and sculptor André Lhote. Lhote’s ambition was to integrate the Cubists’ approach to reality with classical artistic forms; he wanted to link the French classical tradition of Nicolas Poussin and Jacques-Louis David to Modernism. Cartier-Bresson also studied painting with society portraitist Jacques Émile Blanche. During this period, he read Dostoevsky, Schopenhauer, Rimbaud, Nietzsche, Mallarmé, Freud, Proust, Joyce, Hegel, Engels and Marx. Lhote took his pupils to the Louvre to study classical artists and to Paris galleries to study contemporary art. Cartier- Bresson’s interest in modern art was combined with an admiration for the works of the Renaissance masters: Jan van Eyck, Paolo Uccello, Masaccio, Piero della Francesca. Cartier-Bresson regarded Lhote as his teacher of “photography without a camera.”

97 98 CHAPTER 5. DAY 5

Surrealists photography influence

Although Cartier-Bresson became frustrated with Lhote’s “rule-laden” approach to art, the rigorous theoretical train- ing later helped him identify and resolve problems of artistic form and composition in photography. In the 1920s, schools of photographic realism were popping up throughout Europe but each had a different view on the direction photography should take. The Surrealist movement, founded in 1924, was a catalyst for this paradigm shift. Cartier- Bresson began socializing with the Surrealists at the Café Cyrano, in the Place Blanche. He met a number of the movement’s leading protagonists, and was drawn to the Surrealist movement’s technique of using the subconscious and the immediate to influence their work. The historian Peter Galassi explains:

The Surrealists approached photography in the same way that Aragon and Breton...approached the street: with a voracious appetite for the usual and unusual...The Surrealists recognized in plain photo- graphic fact an essential quality that had been excluded from prior theories of photographic realism. They saw that ordinary photographs, especially when uprooted from their practical functions, contain a wealth of unintended, unpredictable meanings.[3]

Cartier-Bresson matured artistically in this stormy cultural and political atmosphere. But, although he knew the concepts, he couldn't express them; dissatisfied with his experiments, he destroyed most of his early paintings.

Cambridge and army

From 1928 to 1929, Cartier-Bresson studied art, literature, and English at the University of Cambridge, where he became bilingual. In 1930, during conscription in the French Army at Le Bourget near Paris, he remembered, “And I had quite a hard time of it, too, because I was toting Joyce under my arm and a Lebel rifle on my shoulder.”[2]

Receives first camera

In 1929, Cartier-Bresson’s air squadron commandant placed him under house arrest for without a license. Cartier-Bresson met American expatriate Harry Crosby at Le Bourget, who persuaded the commandant to release Cartier-Bresson into his custody for a few days. The two men both had an interest in photography, and Harry presented Henri with his first camera.[4] They spent their time together taking and printing pictures at Crosby’s home, Le Moulin du Soleil (The Sun Mill), near Paris in Ermenonville, France.[5]:163[6] Crosby later said Cartier-Bresson “looked like a fledgling, shy and frail, and mild as whey.” Embracing the open sexuality offered by Crosby and his wife Caresse, Cartier-Bresson fell into an intense sexual relationship with her that lasted until 1931.[7]

Escape to Africa

Two years after Harry Crosby committed suicide, Cartier-Bresson’s affair with Caresse Crosby ended in 1931, leaving him broken hearted. During conscription he read Conrad's Heart of Darkness. This gave him the idea of escaping and finding adventure on the Côte d'Ivoire in French colonial Africa.[7] He survived by shooting game and selling it to local villagers. From hunting, he learned methods which he later used in photography. On the Côte d'Ivoire, he contracted blackwater fever, which nearly killed him. While still feverish, he sent instructions to his grandfather for his own funeral, asking to be buried in Normandy, at the edge of the Eawy forest while Debussy's String Quartet was played. Although Cartier-Bresson took a portable camera (smaller than a Brownie Box) to Côte d'Ivoire, only seven photographs survived the tropics.[8]

Photography

Returning to France, Cartier-Bresson recuperated in in late 1931 and deepened his relationship with the Surrealists. He became inspired by a 1930 photograph by Hungarian photojournalist Martin Munkacsi showing three naked young African boys, caught in near-silhouette, running into the surf of Lake Tanganyika. Titled Three Boys at Lake Tanganyika, this captured the freedom, grace and spontaneity of their movement and their joy at being alive. That photograph inspired him to stop painting and to take up photography seriously. He explained, “I suddenly understood that a photograph could fix eternity in an instant.”[9] 5.1. HENRI CARTIER-BRESSON 99

Cartier-Bresson’s first Leica

He acquired the with 50 mm lens in that would accompany him for many years. The anonymity that the small camera gave him in a crowd or during an intimate moment was essential in overcoming the formal and unnatural behavior of those who were aware of being photographed. He enhanced his anonymity by painting all shiny parts of the Leica with black paint. The Leica opened up new possibilities in photography — the ability to capture the world in its actual state of movement and transformation. Restless, he photographed in , , Warsaw, , Budapest and . His photographs were first exhibited at the Julien Levy Gallery in New York in 1932, and subsequently at the Ateneo Club in Madrid. In 1934 in Mexico, he shared an exhibition with Manuel Álvarez Bravo. In the beginning, he did not photograph much in his native France. It would be years before he photographed there extensively. In 1934 Cartier-Bresson met a young Polish intellectual, a photographer named David Szymin who was called “Chim” because his name was difficult to pronounce. Szymin later changed his name to David Seymour. The two had much in common culturally. Through Chim, Cartier-Bresson met a Hungarian photographer named Endré Friedmann, who later changed his name to Robert Capa.

5.1.2 United States exhibits

Cartier-Bresson traveled to the United States in 1935 with an invitation to exhibit his work at New York’s Julien Levy Gallery. He shared display space with fellow photographers Walker Evans and Manuel Álvarez Bravo. Carmel Snow of Harper’s Bazaar gave him a fashion assignment, but he fared poorly since he had no idea how to direct or interact with the models. Nevertheless, Snow was the first American editor to publish Cartier-Bresson’s photographs in a magazine. While in New York, he met photographer Paul Strand, who did camerawork for the Depression-era documentary The Plow That Broke the Plains. 100 CHAPTER 5. DAY 5

Filmmaking

When he returned to France, Cartier-Bresson applied for a job with renowned French film director Jean Renoir. He acted in Renoir’s 1936 film Partie de campagne and in the 1939 La Règle du jeu, for which he played a butler and served as second assistant. Renoir made Cartier-Bresson act so he could understand how it felt to be on the other side of the camera. Cartier-Bresson also helped Renoir make a film for the Communist party on the 200 families, including his own, who ran France. During the Spanish civil war, Cartier-Bresson co-directed an anti-fascist film with Herbert Kline, to promote the Republican medical services.

Photojournalism start

Cartier-Bresson’s first photojournalist photos to be published came in 1937 when he covered the coronation of King George VI and Queen Elizabeth, for the French weekly Regards. He focused on the new monarch’s adoring subjects lining the London streets, and took no pictures of the king. His photo credit read “Cartier”, as he was hesitant to use his full family name.

5.1.3 Marriage

In 1937, Cartier-Bresson married a Javanese dancer, Ratna Mohini.[7] They lived in a fourth-floor servants’ flat in Paris at 19, rue Neuve-des-Petits-Champs (now rue Danielle Casanova), a large studio with a small bedroom, kitchen, and bathroom where Cartier-Bresson developed film. Between 1937 and 1939 Cartier-Bresson worked as a photographer for the French Communists’ evening paper, Ce Soir. With Chim and Capa, Cartier-Bresson was a leftist, but he did not join the French Communist party.

World War II service

When World War II broke out in September 1939, Cartier-Bresson joined the French Army as a Corporal in the Film and Photo unit. During the Battle of France, in June 1940 at St. Dié in the Vosges Mountains, he was captured by German soldiers and spent 35 months in prisoner-of-war camps doing forced labor under the Nazis. He twice tried and failed to escape from the prison camp, and was punished by solitary confinement. His third escape was successful and he hid on a farm in Touraine before getting false papers that allowed him to travel in France. In France, he worked for the underground, aiding other escapees and working secretly with other photographers to cover the Occupation and then the Liberation of France. In 1943, he dug up his beloved Leica camera, which he had buried in farmland near Vosges. At the end of the war he was asked by the American Office of War Information to make a documentary, Le Retour (The Return) about returning French prisoners and displaced persons. Toward the end of the War, rumors had reached America that Cartier-Bresson had been killed. His film on returning war refugees (released in the United States in 1947) spurred a retrospective of his work at the Museum of Modern Art (MoMA) instead of the posthumous show that MoMA had been preparing. The show debuted in 1947 together with the publication of his first book, The Photographs of Henri Cartier-Bresson. Lincoln Kirstein and wrote the book’s text.

5.1.4 Magnum photos

In early 1947, Cartier-Bresson, with Robert Capa, David Seymour, William Vandivert and George Rodger founded Magnum Photos. Capa’s brainchild, Magnum was a cooperative picture agency owned by its members. The team split photo assignments among the members. Rodger, who had quit Life in London after covering World War II, would cover Africa and the Middle East. Chim, who spoke a variety of European languages, would work in Europe. Cartier-Bresson would be assigned to India and China. Vandivert, who had also left Life, would work in America, and Capa would work anywhere that had an assignment. Maria Eisner managed the Paris office and Rita Vandivert, Vandivert’s wife, managed the New York office and became Magnum’s first president. Cartier-Bresson achieved international recognition for his coverage of Gandhi's funeral in India in 1948 and the last stage of the Chinese Civil War in 1949. He covered the last six months of the Kuomintang administration and the first six months of the Maoist People’s Republic. He also photographed the last surviving Imperial eunuchs in Beijing, as the city was falling to the communists. In Shanghai, he often worked in the company of photojournalist Sam Tata, whom Cartier-Bresson had previously befriended in Bombay.[10] From China, he went on to Dutch East 5.1. HENRI CARTIER-BRESSON 101

Indies (Indonesia), where he documented the gaining of independence from the Dutch. In 1950, Cartier-Bresson had traveled to the South India. He had visited Tiruvannamalai, a town in the Indian State of Tamil Nadu and photographed the last moments of Ramana Maharishi, Sri Ramana Ashram and its surroundings.[11] A few days later he also visited and photographed Sri Aurobindo, Mother and Sri Aurobindo Ashram, Pondicherry.[12] Magnum’s mission was to “feel the pulse” of the times and some of its first projects were People Live Everywhere, Youth of the World, Women of the World and The Child Generation. Magnum aimed to use photography in the service of humanity, and provided arresting, widely viewed images.

The Decisive Moment

In 1952, Cartier-Bresson published his book Images à la sauvette, whose English-language edition was titled The Decisive Moment. It included a portfolio of 126 of his photos from the East and the West. The book’s cover was drawn by Henri Matisse. For his 4,500-word philosophical preface, Cartier-Bresson took his keynote text from the 17th century Cardinal de Retz, “Il n'y a rien dans ce monde qui n'ait un moment decisif” (“There is nothing in this world that does not have a decisive moment”). Cartier-Bresson applied this to his photographic style. He said: “Photographier: c'est dans un même instant et en une fraction de seconde reconnaître un fait et l'organisation rigoureuse de formes perçues visuellement qui expriment et signifient ce fait” (“To me, photography is the simultaneous recognition, in a fraction of a second, of the significance of an event as well as of a precise organization of forms which give that event its proper expression.”).[13] Both titles came from Tériade, the Greek-born French publisher who Cartier-Bresson admired. He gave the book its French title, Images à la Sauvette, loosely translated as “images on the run” or “stolen images.” Dick Simon of Simon & Schuster came up with the English title The Decisive Moment. Margot Shore, Magnum’s Paris bureau chief, translated Cartier-Bresson’s French preface into English. “Photography is not like painting,” Cartier-Bresson told the Washington Post in 1957. “There is a creative fraction of a second when you are taking a picture. Your eye must see a composition or an expression that life itself offers you, and you must know with intuition when to click the camera. That is the moment the photographer is creative,” he said. “Oop! The Moment! Once you miss it, it is gone forever.”[14] Cartier-Bresson held his first exhibition in France at the Pavillon de Marsan in the Louvre in 1955.

5.1.5 Later career

Cartier-Bresson’s photography took him to many places, including China, Mexico, Canada, the United States, India, Japan, and the . He became the first Western photographer to photograph “freely” in the post-war Soviet Union. In 1962, on behalf of Vogue, he went to Sardinia for about twenty days. There he visited Nuoro, Oliena, Orgosolo Mamoiada Desulo, Orosei, Cala Gonone, Orani (hosted by his friend Costantino Nivola), San Leonardo di Siete Fuentes, and Cagliari.[15] Cartier-Bresson withdrew as a principal of Magnum (which still distributed his photographs) in 1966 to concentrate on portraiture and landscapes. In 1967, he was divorced from his first wife of 30 years, Ratna “Elie”. In 1968, he began to turn away from photog- raphy and return to his passion for drawing and painting. He admitted that perhaps he had said all he could through photography. He married Magnum photographer Martine Franck, thirty years younger than himself, in 1970.[16] The couple had a daughter, Mélanie, in May 1972. Cartier-Bresson retired from photography in the early 1970s, and by 1975 no longer took pictures other than an occasional private portrait; he said he kept his camera in a safe at his house and rarely took it out. He returned to drawing and painting. He held his first exhibition of drawings at the Carlton Gallery in New York in 1975.

5.1.6 Death and legacy

Cartier-Bresson died in Céreste (Alpes-de-Haute-Provence, France)[17] on August 3, 2004, aged 95. No cause of death was announced. He was buried in the local cemetery nearby in Montjustin[18]and was survived by his wife, Martine Franck, and daughter, Mélanie.[19] 102 CHAPTER 5. DAY 5

1952 US edition of Cartier-Bresson’s 1952 book, The Decisive Moment (Images à la sauvette).

Cartier-Bresson spent more than three decades on assignment for Life and other journals. He traveled without bounds, documenting some of the great upheavals of the 20th century — the Spanish civil war, the liberation of Paris in 1944, the 1968 student rebellion in Paris, the fall of the Kuomintang in China to the communists, the assassination of Mahatma Gandhi, the , and the deserts of Egypt. And along the way he paused to document portraits of Camus, Picasso, Colette, Matisse, Pound and Giacometti. But many of his most renowned photographs, such as Behind the Gare St. Lazare, are of seemingly unimportant moments of ordinary daily life. Cartier-Bresson did not like to be photographed and treasured his privacy. Photographs of Cartier-Bresson are scant. 5.1. HENRI CARTIER-BRESSON 103

Photograph of Alberto Giacometti by Cartier-Bresson 104 CHAPTER 5. DAY 5

When he accepted an honorary degree from Oxford University in 1975, he held a paper in front of his face to avoid being photographed.[2] In a Charlie Rose interview in 2000, Cartier-Bresson noted that it wasn't necessarily that he hated to be photographed, but it was that he was embarrassed by the notion of being photographed for being famous.[20] Cartier-Bresson believed that what went on beneath the surface was nobody’s business but his own. He did recall that he once confided his innermost secrets to a Paris taxi driver, certain that he would never meet the man again. In 2003, he created the Henri Cartier-Bresson Foundation with his wife and daughter to preserve and share his legacy.

Cinéma vérité

Cartier-Bresson’s photographs were also influential in the development of cinéma vérité film. In particular, he is credited as the inspiration for the National Film Board of Canada's early work in this genre with its 1958 Candid Eye series.[21]

5.1.7 Technique

Cartier-Bresson nearly always used a Leica 35 mm rangefinder camera fitted with a normal 50 mm lens, or occasionally a wide-angle lens for landscapes.[22] He often wrapped black tape around the camera’s chrome body to make it less conspicuous. With fast film and sharp lenses, he was able to photograph events unnoticed. No longer bound by a 4×5 or a medium format twin-lens reflex camera, miniature-format cameras gave Cartier-Bresson what he called “the velvet hand...the hawk’s eye.”[23] He never photographed with flash, a practice he saw as “impolite...like coming to a concert with a pistol in your hand.”[22] He believed in composing his photographs in the viewfinder, not in the darkroom. He showcased this belief by having nearly all his photographs printed only at full-frame and completely free of any cropping or other darkroom manipulation.[2] He insisted that his prints were not cropped as they include the first few millimeters of the unexposed negative around the image area, resulting in a black frame around the developed picture. Cartier-Bresson worked exclusively in black and white, other than a few unsuccessful attempts in color. He disliked developing or making his own prints[2] and showed a considerable lack of interest in the process of photography in general, likening photography with the small camera to an “instant drawing”.[24] Technical aspects of photography were valid for him only where they allowed him to express what he saw:

Constant new discoveries in chemistry and optics are widening considerably our field of action. It is up to us to apply them to our technique, to improve ourselves, but there is a whole group of fetishes which have developed on the subject of technique. Technique is important only insofar as you must master it in order to communicate what you see... The camera for us is a tool, not a pretty mechanical toy. In the precise functioning of the mechanical object perhaps there is an unconscious compensation for the anxieties and uncertainties of daily endeavor. In any case, people think far too much about techniques and not enough about seeing. — Henri Cartier-Bresson[13]

He started a tradition of testing new camera lenses by taking photographs of ducks in urban parks. He never published the images but referred to them as 'my only superstition' as he considered it a 'baptism' of the lens.[25] Cartier-Bresson is regarded as one of the art world’s most unassuming personalities.[26] He disliked publicity and exhibited a ferocious shyness since his days of hiding from the Nazis during World War II. Although he took many famous portraits, his face was little known to the world at large. This, presumably, helped allow him to work on the street undisturbed. He denied that the term “art” applied to his photographs. Instead, he thought that they were merely his gut reactions to fleeting situations that he had happened upon.

In photography, the smallest thing can be a great subject. The little human detail can become a leitmotiv. — Henri Cartier-Bresson[13] 5.1. HENRI CARTIER-BRESSON 105

5.1.8 Exhibitions

• 1933 Cercle Atheneo, Madrid • 1933 Julien Levy Gallery, New York • 1934 Palacio de Bellas Artes, (with Manuel Alvarez Bravo) • 1947 Museum of Modern Art, New York, Martin-Gropius-Bau, Berlin, Germany; Museum of Modern Art, , Italy; Dean Gallery, Edinburgh; Museum of Modern Art, ; Museo Nacional de Bellas Artes, Santiago, Chile • 1952 Institute of Contemporary Arts, London • 1955 Retrospektive – Musée des Arts décoratifs, Paris • 1956 Photokina, , Germany • 1963 Photokina, Cologne, Germany • 1964 The Phillips Collection, Washington • 1965–1967 2nd retrospective, , Musée des Arts Décoratifs, Paris, New York, London, , Rome, Zurich, Cologne and other cities. • 1970 En France – Grand Palais, Paris. Later in the US, USSR, Australia and Japan • 1971 Les Rencontres d'Arles festival. Movies screened at Théatre Antique. • 1972 Les Rencontres d'Arles festival. “Flagrant Délit " (Production Delpire) screened at Théatre Antique. • 1974 Exhibition about the USSR, International Center of Photography, New York • 1974–1997 Galerie Claude Bernard, Paris • 1975 Carlton Gallery, New York • 1975 Galerie Bischofberger, Zurich, Switzerland • 1980 Portraits – Galerie Eric Franck, , Switzerland • 1981 Musée d'Art Moderne de la Ville de Paris, France • 1982 Hommage à Henri Cartier-Bresson – Centre National de la Photographie, Palais de Tokyo, Paris • 1983 Printemps Ginza – Tokyo • 1984 Osaka University of Arts, Japan • 1984–1985 Paris à vue d’œil – Musée Carnavalet, Paris • 1985 Henri Cartier-Bresson en Inde – Centre National de la Photographie, Palais de Tokyo, Paris • 1985 Museo de Arte Moderno de México, Mexico • 1986 L'Institut Français de • 1986 Pavillon d'Arte contemporanea, , Italy • 1986 Tor Vergata University, Rome, Italy • 1987 Museum of Modern Art, Oxford, UK (drawings and photography) • 1987 Early Photographs – Museum of Modern Art, New York • 1988 Institut Français, Athen, Greece • 1988 Palais Lichtenstein, , Austria • 1988 Salzburger Landessammlung, Austria 106 CHAPTER 5. DAY 5

• 1988 Group exhibition: “Magnum en Chine” at Rencontres d'Arles, France.

• 1989 Chapelle de l'École des Beaux-Arts, Paris

• 1989 Fondation Pierre Gianadda, Martigny, Switzerland (drawings and photographs)

• 1989 Mannheimer Kunstverein, Mannheim, Germany (drawings and photography)

• 1989 Printemps Ginza, Tokyo, Japan

• 1990 Galerie Arnold Herstand, New York

• 1991 Taipei Fine Arts Museum, Taiwan (drawings and photographs)

• 1992 Centro de Exposiciones, Saragossa and Logrono, Spain

• 1992 Hommage à Henri Cartier-Bresson – International Center of Photography, New York

• 1992 L'Amérique – FNAC, Paris

• 1992 Musée de Noyers-sur-Serein, France

• 1992 Palazzo San Vitale, Parma, Italy

• 1993 Photo Dessin – Dessin Photo, Arles, France

• 1994 “Henri Cartier-Bresson, point d'interrogation” by Sarah Moon screened at Rencontres d'Arles festival, France.

• 1994 Dessins et premières photos – La Caridad, Barcelona, Spain

• 1995 Dessins et Hommage à Henri Cartier-Bresson – CRAC (Centre Régional d’Art Contemporain) Valence, Drome, France

• 1996 Henri Cartier-Bresson: Pen, Brush and Cameras – The Minneapolis Institute of Arts, US

• 1997 Les Européens – Maison Européenne de la Photographie, Paris

• 1997 Henri Cartier-Bresson, dessins – Musée des Beaux-Arts,

• 1998 Galerie Beyeler, Basel, Switzerland

• 1998 Galerie Löhrl, Mönchengladbach, Germany

• 1998 Howard Greenberggh Gallery, New York

• 1998 Kunsthaus Zürich, Zurich, Switzerland

• 1998 Kunstverein für die Rheinlande und Westfalen, Düsseldorf, Germany

• 1998 Line by Line – Royal College of Art, London

• 1998 Tête à Tête – National Portrait Gallery, London

• 1998–1999 Photographien und Zeichnungen – Baukunst Galerie, Cologne, Germany

• 2003–2005 Rétrospective, Bibliothèque Nationale, Paris; La Caixa, Barcelona; Martin Gropius Bau, Berlin; Museum of Modern Art, Rome; Dean Gallery, Edinburgh; Museum of Modern Art, New York; Museo Na- cional de Bellas Artes, Santiago, Chile

• 2004 Baukunst Galerie, Cologne

• 2004 Martin-Gropius-Bau, Berlin

• 2004 Museum Ludwig, Cologne

• 2008 Henri Cartier-Bresson’s Scrapbook Photographs 1932-46, National Media Museum, , UK

• 2008 National Gallery of Modern Art, Mumbai, India 5.1. HENRI CARTIER-BRESSON 107

• 2008 Santa Catalina Castle, Cadiz, Spain

• 2009 Musée de l'Art Moderne, Paris

• 2010 Museum of Modern Art, New York

• 2010 The Art Institute of , Chicago

• 2011 Museum of Design Zürich[27]

• 2011 High Museum of Art, , GA

• 2011 Maison de la Photo, , France

• 2011 Kunstmuseum Wolfsburg, Germany

• 2011 Queensland Art Gallery, Brisbane, Australia

• 2011-2012 KunstHausWien, Vienna, Austria

• 2014 Centre Georges Pompidou, Paris.[28]

• 2015 Palacio de Bellas Artes, Mexico City[29]

• 2015 Ateneum, Helsinki

• 2017 Leica Gallery, San Francisco.[30]

5.1.9 Collections

Cartier-Bresson’s work is held in the following public collections:

• Bibliothèque Nationale de France, Paris, France

• De Menil Collection, Houston, Texas, US

• University of Fine Arts, Osaka, Japan

• Victoria and Albert Museum, London, United Kingdom

• Maison Européenne de la Photographie, Paris, France

• Musée Carnavalet, Paris, France

• Museum of Modern Art, New York City

• The Art Institute of Chicago, Illinois, US

• J. Paul Getty Museum, Los Angeles

• Institute for Contemporary Photography, New York City

• The Philadelphia Art Institute, Philadelphia, Pennsylvania, US

• The Museum of Fine Arts, Houston, US

• Kahitsukan Kyoto Museum of Contemporary Art, Kyoto, Japan

• Museum of Modern Art, Tel Aviv, Israel

• Moderna Museet, Stockholm, Sweden 108 CHAPTER 5. DAY 5

5.1.10 Awards (selected)

• 1948: Overseas Press Club of America Award • 1953: The A.S.M.P. Award • 1954: Overseas Press Club of America Award • 1959: The Prix de la Société française de photographie • 1960: Overseas Press Club of America Award • 1964: Overseas Press Club of America Award • 1974: The Culture Prize, Deutsche Gesellschaft für Photographie • 1981: Grand Prix National de la Photographie • 1982 Hasselblad Award • 2006: Prix Nadar for the photobook Henri Cartier-Bresson: Scrapbook

5.1.11 Notable portrait subjects

• Avigdor Arikha • • • Samuel Beckett • • André Breton • Alexander Calder • Albert Camus • Truman Capote • Coco Chanel • Colette • Marcel Duchamp • Paul Éluard • William Faulkner • Martine Franck • Mahatma Gandhi • Jean Genet • Alberto Giacometti • Julie Harris • Langston Hughes • Isabelle Huppert • John Huston • Jean-Marie Gustave Le Clézio 5.1. HENRI CARTIER-BRESSON 109

• Martin Luther King, Jr

• Henri Matisse

• François Mauriac

• Carson McCullers

• Arthur Miller

•

• Pablo Neruda

•

• Robert Oppenheimer

• Pablo Picasso

• Katherine Anne Porter

• Ezra Pound

• Jean Renoir

• Jean-Paul Sartre

• Alfred Stieglitz

•

• Kenzo Tange

• Elsa Triolet

• Harry S. Truman

• Malcolm X

5.1.12 Works

Bibliography

• 1947: The Photographs of Henri Cartier-Bresson. Text by Lincoln Kirstein. New York: Museum of Modern Art.

• 1952: The Decisive Moment. Texts and photographs by Cartier-Bresson. Cover by Henri Matisse. New York: Simon & Schuster. French edition

• 2014: Göttingen: Steidl. ISBN 978-3869307886. Facsimile edition. Includes booklet with an essay by Clément Chéroux, “A Bible for Photographers”.

• 1954: Les Danses à Bali. Texts by Antonin Artaud on Balinese theater and commentary by Béryl de Zoete Paris: Delpire. German edition.

• 1955: The Europeans. Text and photographs by Cartier-Bresson. Cover by Joan Miró. New York: Simon & Schuster. French edition.

• 1955: People of Moscow. London: Thames & Hudson. French, German and Italian editions.

• 1956: China in Transition. London: Thames & Hudson. French, German and Italian editions.

• 1958: Henri Cartier-Bresson: Fotografie. Prague and : Statni nakladatelstvi krasné. Text by Anna Farova. 110 CHAPTER 5. DAY 5

• 1963: Photographs by Henri Cartier-Bresson. New York: Grossman Publisher. French, English, Japanese and Swiss editions.

• 1964: China. Photographs and notes on fifteen months spent in China. Text by Barbara Miller. New York: Bantam. French edition.

• 1966: Henri Cartier-Bresson and the Artless Art. Text by Jean-Pierre Montier. Translated from the French L'Art sans art d'Henri Cartier-Bresson by Ruth Taylor. New York: Bulfinch Press.

• 1968: The World of HCB. New York: Viking Press. French, German and Swiss editions.

• 1969: Man and Machine. Commissioned by IBM. French, German, Italian and Spanish editions.

• 1970: France. Text by François Nourissier. London: Thames & Hudson. French and German editions.

• 1972: The Face of Asia. Introduction by Robert Shaplen. New York and Tokyo: John Weatherhill; Hong Kong: Orientations. French edition.

• 1973: About Russia. London: Thames & Hudson. French, German and Swiss editions.

• 1976: Henri Cartier-Bresson. Texts by Cartier-Bresson. History of Photography Series. History of Photogra- phy Series. French, German, Italian, Japanese and Italian editions.

• 1979: Henri Cartier-Bresson Photographer. Text by Yves Bonnefoy. New York: Bulfinch. French, English, German, Japanese and Italian editions.

• 1983: Henri Cartier-Bresson. Ritratti = Henri Cartier-Bresson. Portraits. Texts by André Pieyre de Mandiargues and Ferdinando Scianna, “I Grandi Fotografi”. Milan: Gruppo Editoriale Fabbri. English and Spanish editions.

• 1985:

• Henri Cartier-Bresson en Inde. Introduction by Satyajit Ray, photographs and notes by Cartier-Bresson. Text by Yves Véquaud. Paris: Centre National de la Photographie. English edition. • Photoportraits. Texts by André Pieyre de Mandiargues. London: Thames & Hudson. French and German editions.

• 1987:

• Henri Cartier-Bresson. The Early Work. Texts by Peter Galassi. New York: Museum of Modern Art. French edition. • Henri Cartier-Bresson in India. Introduction by Satyajit Ray, photographs and notes by Cartier-Bresson, texts by Yves Véquaud. London: Thames & Hudson. French edition.

• 1989:

• L'Autre Chine. Introduction by Robert Guillain. Collection Photo Notes. Paris: Centre National de la Photographie. • Line by Line. Henri Cartier-Bresson’s drawings. Introduction by Jean Clair and John Russell. London: Thames & Hudson. French and German editions.

• 1991:

• America in Passing. Introduction by Gilles Mora. New York: Bulfinch. French, English, German, Italian, Portuguese and Danish editions. • Alberto Giacometti photographié par Henri Cartier-Bresson. Texts by Cartier-Bresson and Louis Clayeux. Milan: Franco Sciardelli.

• 1994:

• A propos de Paris. Texts by Véra Feyder and André Pieyre de Mandiargues. London: Thames & Hudson. French, German and Japanese editions. • Double regard. Drawings and photographs. Texts by Jean Leymarie. Amiens: Le Nyctalope. French and English editions. 5.1. HENRI CARTIER-BRESSON 111

• Mexican Notebooks 1934–1964. Text by Carlos Fuentes. London: Thames & Hudson. French, Italian, and German editions. • L'Art sans art. Text de Jean-Pierre Montier. Paris: Editions Flammarion. English, German and Italian editions. • 1996: L'Imaginaire d'après nature. Text by Cartier-Bresson. Paris: Fata Morgana. German and English editions’ • 1997: Europeans. Texts by Jean Clair. London: Thames & Hudson. French, German, Italian and Portuguese editions. • 1998: Tête à tête. Texts by Ernst H. Gombrich. London: Thames & Hudson. French, German, Italian and Portuguese editions. • 1999: The Mind’s Eye. Text by Cartier-Bresson. New York: Aperture. French and German editions. • 1999: Henri Cartier-Bresson: A Biography. Text by Pierre Assouline, translated by David Wilson. London: Thames and Hudson. • 2001: Landscape Townscape. Texts by Erik Orsenna and Gérard Macé. London: Thames & Hudson. French, German and Italian editions. • 2003: The Man, the Image and the World. Texts by Philippe Arbaizar, Jean Clair, Claude Cookman, , Jean Leymarie, Jean-Noel Jeanneney and Serge Toubiana. London: Thames & Hudson, 2003. Ger- man, French, Korean, Italian and Spanish editions. • 2006: An Inner SIlence: The portraits of Henri Cartier-Bresson, New York: Thames & Hudson. Texts by Agnès Sire and Jean-Luc Nancy.

Filmography

Films directed by Cartier-Bresson Cartier-Bresson was second assistant director to Jean Renoir in 1936 for La vie est à nous and Une partie de campagne, and in 1939 for La Règle du Jeu.

• 1937: Victoire de la vie. Documentary on the hospitals of Republican Spain: Running time: 49 minutes. Black and white. • 1938: L’Espagne Vivra. Documentary on the Spanish Civil War and the post-war period. Running time: 43 minutes and 32 seconds. Black and white. • 1938 Avec la brigade Abraham Lincoln en Espagne, Henri Cartier-Bresson ja Herbert Kline. Running time 21 minutes. Black and white. • 1944–45: Le Retour. Documentary on prisoners of war and detainees. Running time: 32 minutes and 37 seconds. Black and white. • 1969–70: Impressions of California. Running time: 23 minutes and 20 seconds. Color. • 1969–70: Southern Exposures. Running time: 22 minutes and 25 seconds. Color.

Films compiled from photographs by Cartier-Bresson

• 1956: A Travers le Monde avec Henri Cartier-Bresson. Directed by Jean-Marie Drot and Henri Cartier- Bresson. Running time: 21 minutes. Black and white. • 1963: Midlands at Play and at Work. Produced by ABC Television, London. Running time : 19 minutes. Black and white. • 1963–65: Five fifteen-minute films on Germany for the Süddeutscher Rundfunk, . • 1967: Flagrants délits. Directed by Robert Delpire. Original music score by Diego Masson. Delpire produc- tion, Paris. Running time: 22 minutes. Black and white. 112 CHAPTER 5. DAY 5

• 1969: Québec vu par Cartier-Bresson / Le Québec as seen by Cartier-Bresson. Directed by Wolff Kœnig. Produced by the Canadian Film Board. Running time: 10 minutes. Black and white. • 1970: Images de France. • 1991: Contre l'oubli : Lettre à Mamadou Bâ, Mauritanie. Short film directed by Martine Franck for Amnesty International. Editing : Roger Ikhlef. Running time: 3 minutes. Black and white. • 1992: Henri Cartier-Bresson dessins et photos. Director: Annick Alexandre. Short film produced by FR3 Dijon, commentary by the artist. Running time: 2 minutes and 33 seconds. Color. • 1997: Série “100 photos du siècle": L'Araignée d'amour: broadcast by Arte. Produced by Capa Télévision. Running time: 6 minutes and 15 seconds. Color.

Films about Cartier-Bresson

• “Henri Cartier-Bresson, point d'interrogation” by Sarah Moon, screened at Rencontres d'Arles festival in 1994 • Henri Cartier-Bresson: L'amour Tout Court (70 mins, 2001. Interviews with Cartier-Bresson.) • Henri Cartier-Bresson: The Impassioned Eye (72 mins, 2006. Late interviews with Cartier-Bresson.)

5.1.13 References

[1] Henri Cartier Bresson - Clément Cheroux / Thames & Hudson 2008

[2] Kimmelman, Michael (August 4, 2004). “Henri Cartier-Bresson, Artist Who Used Lens, Dies at 95”. New York Times. Archived from the original on 2013-05-10. Retrieved August 8, 2007.

[3] Galassi, Henri Cartier-Bresson, The Early Work.

[4] Young, Carolin C. (2002). Apples of Gold in Settings of Silver: Stories of Dinner as a Work of Art. New York: Simon & Schuster. p. 281. ISBN 978-0743222020. Retrieved 15 June 2015.

[5] Geoffrey Wolff (2003). Black Sun: The Brief Transit and Violent Eclipse of Harry Crosby. New York Review of Books. ISBN 1-59017-066-0.

[6] “Harry Crosby”. Literary Kicks. November 27, 2002. Retrieved 18 March 2010.

[7] Turner, Christopher (12 April 2010). “Expert Witness: Henri Cartier-Bresson”. London: . Retrieved 3 November 2015.

[8] Montier, 1996, p. 12

[9] Robin Pogrebin (January 14, 2007). “Art”. New York Times.

[10] Dessureault, Pierre. The Tata Era / L'Epoque Tata. Canadian Museum of Contemporary Photography. Ottawa, 1988.

[11] https://www.magnumphotos.com/Catalogue/Henri-Cartier-Bresson/1949/INDIA-1950-NN143117.html

[12] http://savitrieradevotees.blogspot.in/2012/09/hidden-cartier-bresson-images-exhibited.html

[13] Henri Cartier-Bresson (1952). The Decisive Moment. New York: Simon and Schuster. pp. 1–14.

[14] Bernstein, Adam (August 5, 2004). “The Acknowledged Master of the Moment”. The Washington Post. Retrieved May 4, 2010.

[15] La fotografia in Sardegna. Lo sguardo esterno 1960-1980, Fondazione Banco di Sardegna, Ilisso Edizioni, 2010.

[16] Lynne Warren. Encyclopedia of twentieth-century photography. p. 248.

[17] “Photographer Cartier-Bresson dies”. London: BBC News. 4 August 2004. Retrieved 19 September 2016.

[18] “Legendary Photojournalist Cartier-Bresson Is Buried in South of France” Photo Central. Accessed 19 September 2016

[19] Robinson, Andrew (5 August 2004). “Henri Cartier-Bresson”. . London. Retrieved 19 September 2016.

[20] Cartier-Bresson on Charlie Rose. Charlie Rose interview. July 6, 2000. 5.1. HENRI CARTIER-BRESSON 113

[21] Aitken, Ian (October 27, 2005). Encyclopedia of the Documentary Film. Routledge. p. 168. ISBN 978-1579584450.

[22] Frank Van Riper (2002). Talking photography: Viewpoints on the art, craft and business. Allworth Communications, Inc. ISBN 1-58115-208-6.

[23] Van Riper, Frank (August 5, 2004). “Cartier-Bresson: Mourning the Hawk’s Eye”. The Washington Post. Retrieved 2015-02-06.

[24] Khen Lim (October 6, 2007). “Henri Cartier-Bresson – A Decisive Moment in Time”. Retrieved June 26, 2010.

[25] J.M Dirac, ed. (1962). Cartier-Bresson Interviews and Notes. Paris. p. 122.

[26] “Best of the Best: Henri Cartier-Bresson - Lomography”. lomography.com. 2015. Retrieved 5 January 2015.

[27] Museum of Design Zürich

[28] “HCB is reappraised, 10 years after his death”. British Journal of Photography. Apptitude Media Limited. 161 (7831): 34–36. 2014.

[29] ""Henri Cartier-Bresson” cierra con 140 mil visitantes”. Excélsior.

[30] Current Exhibitions, Leica Gallery

5.1.14 Sources

• Assouline, P. (2005). Henri Cartier-Bresson: A Biography. London: Thames & Hudson.

• Galassi, Peter (2010). Henri Cartier-Bresson: the Modern Century. London: Thames & Hudson.

• Montier, J. (1996). Portrait: First Sketch. Henri Cartier-Bresson and the Artless Art (p. 12). New York: Bulfinch Press.

• Warren, J (2005), Encyclopedia of Twentieth-Century Photography. Routledge

5.1.15 External links

• Fondation Henri Cartier-Bresson

• Cartier-Bresson’s portfolio at Magnum Photos • Magnum Photos

• Special Report: Henri Cartier-Bresson (1908–2004) – by Eamonn McCabe in The Guardian • Henri Cartier-Bresson at Find a Grave

• Tête à Tête: Portraits by Henri Cartier-Bresson at the National Portrait Gallery, Washington DC • Tête à Tête: Special Feature by Washington Post of the Exhibition by Henri Cartier-Bresson

• Henri Cartier-Bresson at the Metropolitan Museum of Art, NY • Henri Cartier-Bresson (1908 – 2004): When photography becomes art

• List of links concerning Cartier-Bresson on ArtCyclopedia • "John Berger pays tribute to his good friend", in .

• Henri Cartier-Bresson’s Cats Chapter 6

Day 6

6.1 Sebastião Salgado

Sebastião Salgado (born February 8, 1944) is a Brazilian social documentary photographer and photojournalist. He has traveled in over 120 countries for his photographic projects. Most of these have appeared in numerous press publications and books. Touring exhibitions of this work have been presented throughout the world. Salgado is a UNICEF Goodwill Ambassador. He was awarded the W. Eugene Smith Memorial Fund Grant in 1982,[1] Foreign Honorary Membership of the American Academy of Arts and Sciences in 1992[2] and the Royal Photographic Society's Centenary Medal and Honorary Fellowship (HonFRPS) in 1993.[3]

6.1.1 Biography

Salgado was born on February 8, 1944 in Aimorés, in the state of Minas Gerais, Brazil. After a somewhat itinerant childhood, Salgado initially trained as an economist, earning a master’s degree in economics from the University of São Paulo in Brazil. He began work as an economist for the International Coffee Organization, often traveling to Africa on missions for the World Bank, when he first started seriously taking photographs. He chose to abandon a career as an economist and switched to photography in 1973, working initially on news assignments before veering more towards documentary-type work. Salgado initially worked with the photo agency and the Paris-based , but in 1979, he joined the international cooperative of photographers Magnum Photos. He left Magnum in 1994 and with his wife Lélia Wanick Salgado formed his own agency, Amazonas Images, in Paris, to represent his work. He is particularly noted for his social documentary photography of workers in less developed nations. They reside in Paris. He has been a UNICEF Goodwill Ambassador since 2001.[4] Salgado works on long term, self-assigned projects many of which have been published as books: The Other Americas, Sahel, Workers, Migrations and Genesis. The latter three are mammoth collections with hundreds of images each from all around the world. His most famous pictures are of a gold mine in Brazil called Serra Pelada. Between 2004 and 2011, Salgado worked on “Genesis,” aiming at the presentation of the unblemished faces of nature and humanity. It consists of a series of photographs of landscapes and wildlife, as well as of human communities that continue to live in accordance with their ancestral traditions and cultures. This body of work is conceived as a potential path to humanity’s rediscovery of itself in nature. In September and October 2007, Salgado displayed his photographs of coffee workers from India, , Ethiopia and Brazil at the Brazilian Embassy in London. The aim of the project was to raise public awareness of the origins of the popular drink. Together, Lélia and Sebastião, have worked since the 1990s on the restoration of a small part of the Atlantic Forest in Brazil. In 1998, they succeeded in turning this land into a nature reserve and created the Instituto Terra. The Instituto is dedicated to a mission of , conservation and environmental education. Salgado and his work are the focus of the film The Salt of the Earth (2014), directed by Wim Wenders and Salgado’s son, Juliano Ribeiro Salgado. The film won a special award at Cannes Film Festival[5] and was nominated for the best

114 6.1. SEBASTIÃO SALGADO 115

Documentary Feature at the 2015 Academy Awards.[6]

6.1.2 Awards

• 1982: W. Eugene Smith Grant from the W. Eugene Smith Memorial Fund.[1] • 1985: Oskar Barnack Award.[7] • 1989: Hasselblad Award, Hasselblad Foundation, Gothenburg, Sweden.[8] • 1992: Oskar Barnack Award.[9] • 1992: Foreign Honorary Member of the American Academy of Arts and Sciences.[2] • 1993: Centenary Medal from the Royal Photographic Society.[3] • 1993: Honorary Fellowship (HonFRPS) from the Royal Photographic Society.[3] • 1994: Grand Prix National French Ministry of Culture. • 1998: Prince of Asturias Awards, Arts category. • 1998: King of Spain Journalism. • 2003: International Award from the Photographic Society of Japan.[10] • 2007: M2-El Mundo People’s Choice Award for best exhibition, PhotoEspaña, for Africa.

6.1.3 Publications

• An Uncertain Grace. Essays by Eduardo Galeano and Fred Ritchin. • New York, NY: Aperture, 1990. ISBN 9780893814601. • London: Thames & Hudson, 2004. ISBN 9780500284896. • Workers: Archaeology of the Industrial Age. • Workers: Archaeology of the Industrial Age. London: Phaidon, 1993. ISBN 978-0714829319. • Trabalho: Uma Arqueologia da Era Industrial. Portugal: Caminho, 1993. ISBN 978-9722108348. • Trabalhadores: Uma Arqueologia da Era Industrial. São Paulo, Brazil: Schwarcz, 1997. ISBN 978- 8571645882. • Terra: Struggle of the landless. London: Phaidon Press, 1997. ISBN 0-7148-3636-2. • Migrations. New York, NY: Aperture, 2000. ISBN 978-0893818913. • Exodus. Cologne: Taschen, 2016. ISBN 978-3-8365-6130-3. • The Children: Refugees and Migrants. New York, NY: Aperture, 2000. ISBN 978-0893818944. • Sahel: The End of the Road. Oakland, CA: University of California Press, 2004. ISBN 978-0520241701. • Africa. Cologne: Taschen, 2007. ISBN 978-3836523431. • Genesis. Cologne: Taschen, 2013. ISBN 978-3836538725. • From my Land to the Planet. Roma: Contrasto, 2014. ISBN 978-88-6965-537-1. • The Scent of a Dream: Travels in the World of Coffee. New York: Abrams, 2015. ISBN 978-1-4197-1921-9.

6.1.4 Filmography

• The Salt of the Earth (2014). Documentary about and including Salgado, directed by Wim Wenders and his son Juliano Ribeiro Salgado. 116 CHAPTER 6. DAY 6

Salgado (left) gives former Brazilian president Lula da Silva his new book in 2006.

6.1.5 Exhibitions

• Genesis, Royal Ontario Museum, Toronto, Canada, May–September 2013[11] and toured, Natural History Mu- seum, London, April–September 2013;[12] Maison Européenne de la Photographie, Paris, September 2013– January 2014;[13] National Museum of Singapore, April–August 2014;[14] Palácio das Artes, Belo Horizonte, Brazil, May–August 2014; Fotografiska, Stockholm, June–September 2014; Palazzo della Ragione, Milan, Italy, June–November 2014; International Center of Photography, New York, NY, 19 September 2014 – 11 January 2015.[15] CaixaForum Barcelona, Barcelona, Spain, 9 October 2014 – 1 February 2015; Sejong Cen- ter, Seoul, Korea, 15 December 15 2014 – 20 March 20 2015; Cordoaria Nacional, Lisbon, Portugal, April – July 2015; CaixaForum Palma, Palma, Spain, 25 February – 31 May 2015; Amerika Haus Berlin, Berlin, Germany, 18 April – 18 August 2015; Power Station of Art Shanghai, China, April – June 2015; Kunstfoyer Munich, Germany, 09 October 2015 - 24 January 2016.

6.1.6 References

[1] “1982: Recipients: Sebastião Salgado”. W. Eugene Smith Memorial Fund. Retrieved 15 October 2015.

[2] "Mr. Sebastiao Ribeiro Salgado", American Academy of Arts and Sciences. Accessed 13 August 2014.

[3] Royal Photographic Society’s Centenary Award Accessed 13 August 2012

[4] “Sebastião Salgado”. UNICEF. 29 April 2005. Retrieved 20 February 2012.

[5] "http://www.imdb.com/title/tt3674140/ The Salt of the Earth (2014) ]", IMDB. Accessed 11 may 2015.

[6] "http://www.imdb.com/title/tt3674140/awards?ref_=tt_awd/" Accessed 6 may 2016. 6.1. SEBASTIÃO SALGADO 117

Salgado’s Genesis exhibition in 2014

[7] “Sebastião Salgado”. Oskar Barnack Award. Retrieved 2 May 2015.

[8] “Sebastião Salgado”. Hasselblad Foundation. Retrieved 6 March 2015.

[9] “Sebastião Salgado”. Leica Oskar Barnack Award. Retrieved 2 May 2015.

[10] “Photographic Society of Japan Awards”. Photographic Society of Japan. Retrieved 5 March 2015.

[11] "Sebastião Salgado: Genesis", Royal Ontario Museum. Accessed 17 August 2014. 118 CHAPTER 6. DAY 6

[12] Coomes, Phil (10 April 2013). “Sebastiao Salgado’s Genesis”. BBC News. Retrieved 13 August 2014.

[13] "Sebastião Salgado, Genesis", Paris Photo. Accessed 13 August 2014.

[14] "Genesis", National Museum of Singapore. Accessed 17 August 2014.

[15] http://www.icp.org/museum/exhibitions/sebastiao-salgado-genesis

6.1.7 External links

• Instituto Terra

• Amazonas Images Photo agency formed by Salgado and his wife Lélia Wanick. • Biography at The Guardian

• 'Sebastião Salgado: The silent drama of photography' TED Talk (17 minute video)

• “Back to Nature, in Pictures and Action,” New York Times, 2009 • “Genesis by Sebastião Salgado: Exhibition Review”, Huffington Post UK, 2013 Chapter 7

Day 7

7.1 Robert Frank

For other people named Robert Frank, see Robert Frank (disambiguation).

Robert Frank (born November 9, 1924) is an American photographer and documentary filmmaker. His most notable work, the 1958 book titled The Americans, earned Frank comparisons to a modern-day de Tocqueville for his fresh and nuanced outsider’s view of American society. Critic Sean O'Hagan, writing in The Guardian in 2014, said The Americans “changed the nature of photography, what it could say and how it could say it. [ . . . ] it remains perhaps the most influential photography book of the 20th century.”[1] Frank later expanded into film and video and experimented with manipulating photographs and photomontage.

7.1.1 Background and early photography career

Frank was born in Switzerland. Frank states in the 2005 documentary “Leaving Home, Coming Home” by Director Gerald Fox, that his mother, Rosa (other sources state her name as Regina), had a Swiss passport, while his father, Hermann originating from , Germany had become stateless after losing his German citizenship as a Jew. They had to apply for the Swiss citizenship of Frank and his older brother, Manfred. Though Frank and his family remained safe in Switzerland during World War II, the threat of Nazism nonetheless affected his understanding of oppression. He turned to photography, in part as a means to escape the confines of his business-oriented family and home, and trained under a few photographers and graphic designers before he created his first hand-made book of photographs, 40 Fotos, in 1946. Frank emigrated to the United States in 1947, and secured a job in New York City as a fashion photographer for Harper’s Bazaar. He soon left to travel in South America and Europe. He created another hand-made book of photographs that he shot in Peru, and returned to the U.S. in 1950. That year was momentous for Frank, who, after meeting Edward Steichen, participated in the group show 51 American Photographers at the Museum of Modern Art (MoMA); he also married fellow artist Mary Frank née Mary Lockspeiser, with whom he had two children, Andrea and Pablo. Though he was initially optimistic about the United States’ society and culture, Frank’s perspective quickly changed as he confronted the fast pace of American life and what he saw as an overemphasis on money. He now saw America as an often bleak and lonely place, a perspective that became evident in his later photography. Frank’s own dissatis- faction with the control that editors exercised over his work also undoubtedly colored his experience. He continued to travel, moving his family briefly to Paris. In 1953, he returned to New York and continued to work as a freelance photojournalist for magazines including McCall’s, Vogue, and Fortune. Associating with other contemporary photog- raphers such as Saul Leiter and Diane Arbus, he helped form what Jane Livingston has termed The New York School of photographers (not to be confused with the New York School of art) during the 1940s and 1950s.

7.1.2 The Americans

Main article: The Americans (photography)

119 120 CHAPTER 7. DAY 7

Frank’s noted book, The Americans (1958)

With the aid of his major artistic influence, the photographer Walker Evans, Frank secured a Guggenheim Fellowship from the John Simon Guggenheim Memorial Foundation[2] in 1955 to travel across the United States and photograph all strata of its society. Cities he visited included Detroit and Dearborn, Michigan; Savannah, Georgia; Miami Beach and St. Petersburg, Florida; New Orleans, ; Houston, Texas; Los Angeles, California; Reno, Nevada; , ; Butte, Montana; and Chicago, Illinois.[3] He took his family along with him for part of his series of road trips over the next two years, during which time he took 28,000 shots. 83 of these were selected by him for publication in The Americans.[4] Frank’s journey was not without incident. He later recalled the anti-Semitism to which he was subject in a small town. “I remember the guy [policeman] took me into the police station, and he sat there and put his feet on the table. It came out that I was Jewish because I had a letter from the Guggenheim Foundation. They really were primitive.” He was told by the sheriff, “Well, we have to get somebody who speaks Yiddish. They wanted to make a thing out of it. It was the only time it happened on the trip. They put me in jail. It was scary. Nobody knew where I was.”[5] Elsewhere in the South, he was told by a sheriff that he had “an hour to leave town.” Shortly after returning to New York in 1957, Frank met Beat writer Jack Kerouac on the sidewalk outside a party and showed him the photographs from his travels. Kerouac immediately told Frank “Sure I can write something about these pictures,” and he contributed the introduction to the U.S. edition of The Americans. Frank also became lifelong friends with Allen Ginsberg, and was one of the main visual artists to document the Beat subculture, which felt an affinity with Frank’s interest in documenting the tensions between the optimism of the 1950s and the realities of class and racial differences. The irony that Frank found in the gloss of American culture and wealth over this tension gave his photographs a clear contrast to those of most contemporary American photojournalists, as did his use of unusual focus, low lighting and cropping that deviated from accepted photographic techniques.[4] 7.1. ROBERT FRANK 121

This divergence from contemporary photographic standards gave Frank difficulty at first in securing an American publisher. Les Américains was first published in 1958 by Robert Delpire in Paris, as part of its Encyclopédie Essentielle series, with texts by Simone de Beauvoir, Erskine Caldwell, William Faulkner, Henry Miller and John Steinbeck that Delpire positioned opposite Frank’s photographs.[6] It was finally published in 1959 in the United States, without the texts, by Grove Press, where it initially received substantial criticism. Popular Photography, for one, derided his images as “meaningless blur, grain, muddy exposures, drunken horizons and general sloppiness.” Though sales were also poor at first, the fact that the introduction was by the popular Kerouac helped it reach a larger audience. Over time and through its inspiration of later artists, The Americans became a seminal work in American photography and art history, and is the work with which Frank is most clearly identified. Critic Sean O'Hagan, writing in The Guardian in 2014, said “it is impossible to imagine photography’s recent past and overwhelmingly confusing present without his lingeringly pervasive presence.” and that The Americans “changed the nature of photography, what it could say and how it could say it. [ . . . ] it remains perhaps the most influential photography book of the 20th century.”[1] In 1961, Frank received his first individual show, entitled Robert Frank: Photographer, at the Art Institute of Chicago. He also showed at MoMA in New York in 1962. To mark the fiftieth anniversary of the first publication of The Americans, a new edition was released worldwide on May 30, 2008. For this new edition from Steidl most photographs are uncropped compared with the cropped versions in previous editions, and two photographs are replaced with those of the same subject but from an alternate perspective. A celebratory exhibit of The Americans, titled Looking In: Robert Frank’s The Americans, was displayed in 2009 at the National Gallery of Art in Washington, D.C., the San Francisco Museum of Modern Art (SFMOMA), and at the Metropolitan Museum of Art in New York.[7] The second section of the four-section, 2009, SFMOMA[8] exhibition displays Frank’s original application to the John Simon Guggenheim Memorial Foundation (which funded the primary work on The Americans project), along with vintage contact sheets, letters to photographer Walker Evans and author Jack Kerouac, and two early manuscript versions of Kerouac’s introduction to the book. Also exhibited were three collages (made from more than 115 original rough work prints) that were assembled under Frank’s supervision in 2007 and 2008, revealing his intended themes as well as his first rounds of image selection. An accompanying book, also titled Looking In: Robert Frank’s The Americans, was published.

7.1.3 Films

By the time The Americans was published in the United States, Frank had moved away from photography to concen- trate on filmmaking. Among his films was the 1959 Pull My Daisy, which was written and narrated by Kerouac and starred Ginsberg, Gregory Corso and others from the Beat circle. The Beats emphasized spontaneity, and the film conveyed the quality of having been thrown together or even improvised.[4] Pull My Daisy was accordingly praised for years as an improvisational masterpiece, until Frank’s co-director, Alfred Leslie, revealed in a November 28, 1968 article in that the film was actually carefully planned, rehearsed, and directed by him and Frank, who shot the film with professional lighting. In 1960, Frank was staying in Pop artist George Segal's basement while filming Sin of Jesus with a grant from Walter K. Gutman. Isaac Babel's story was transformed to center on a woman working on a chicken farm in New Jersey. It was originally supposed to be filmed in six weeks in and around New Brunswick, but Frank ended up shooting for six months. Frank’s 1972 documentary of , Cocksucker Blues, is arguably his best known film. The film shows the Stones on tour, engaging in heavy drug use and group sex. Frank said of the Stones, “It was great to watch them — the excitement. But my job was after the show. What I was photographing was a kind of boredom. It’s so difficult being famous. It’s a horrendous life. Everyone wants to get something from you.’’[4] Mick Jagger reportedly told Frank, “It’s a fucking good film, Robert, but if it shows in America we'll never be allowed in the country again.” The Stones sued to prevent the film’s release, and it was disputed whether Frank as the artist or the Stones as those who hired the artist owned the copyright. A court order restricted the film to being shown no more than five times per year, and only in the presence of Frank. Frank’s photography also appeared on the cover of the Rolling Stones’ album Exile on Main St.. Other films by Frank include Me and My Brother, Keep Busy, and Candy Mountain which he co-directed with Rudy Wurlitzer. 122 CHAPTER 7. DAY 7

7.1.4 Return to still images

Though Frank continued to be interested in film and video, he returned to still images in the 1970s, publishing his second photographic book, The Lines of My Hand, in 1972. This work has been described as a “visual autobiography”, and consists largely of personal photographs. However, he largely gave up “straight” photography to instead create narratives out of constructed images and collages, incorporating words and multiple frames of images that were directly scratched and distorted on the negatives. None of this later work has achieved an impact comparable to that of The Americans. As some critics have pointed out, this is perhaps because Frank began playing with constructed images more than a decade after Robert Rauschenberg introduced his silkscreen composites—in contrast to The Americans, Frank’s later images simply were not beyond the pale of accepted technique and practice by that time. Frank and Mary separated in 1969. He remarried, to sculptor June Leaf, and in 1971, moved to the community of Mabou, Nova Scotia in Cape Breton Island, Nova Scotia in Canada. In 1974, tragedy struck when his daughter, Andrea, was killed in a plane crash in Tikal, Guatemala. Also around this time, his son, Pablo, was first hospitalized and diagnosed with schizophrenia. Much of Frank’s subsequent work has dealt with the impact of the loss of both his daughter and subsequently his son, who died in an Allentown, Pennsylvania hospital in 1994. In 1995, he founded the Andrea Frank Foundation, which provides grants to artists. Since his move to Nova Scotia, Canada, Frank has divided his time between his home there in a former fisherman’s shack on the coast, and his Bleecker Street loft in New York. He has acquired a reputation for being a recluse (particularly since the death of Andrea), declining most interviews and public appearances. He has continued to accept eclectic assignments, however, such as photographing the 1984 Democratic National Convention, and directing music videos for artists such as New Order (“Run”), and Patti Smith ("Summer Cannibals"). Frank continues to produce both films and still images, has helped organize several retrospectives of his art, and his work has been represented by Pace/MacGill Gallery in New York since 1984.[9] In 1994, the National Gallery of Art in Washington, D.C. presented the most comprehensive retrospective of Frank’s work to date, entitled Moving Out.

7.1.5 Exhibitions

• 1997: Flamingo, Hasselblad Award exhibition, Hasselblad Center, Goteborg, Sweden.

• 2004: Storylines Modern Museum, London. First major exhibition in the UK.[10]

• 2008: Robert Frank, Paris, Museum Folkwang, Essen.

• 2009: Robert Frank. Die Filme, C/O Berlin, Berlin.

• 2009: Looking In: Robert Frank’s The Americans, National Gallery of Art, Washington, D.C., 18 January – 26 April 2009 and then toured to San Francisco Museum of Modern Art, San Francisco, 16 May – 23 August 2009; The Metropolitan Museum of Art, New York, 22 September – 27 December 2009.[11]

• 2012: Robert Frank, From the collections of Fotomuseum Winterthur and Fotostiftung Schweiz,[12] Multimedia Art Museum, Moscow.

• 2014: Robert Frank In America, from the Cantor Art Center at Stanford collection, Stanford University.

7.1.6 Awards

• 1955: Guggenheim Fellowship from the John Simon Guggenheim Memorial Foundation.[2]

• 1996: Hasselblad Foundation International Award in Photography from the Hasselblad Foundation.[13]

• 2002: Edward MacDowell Medal, MacDowell Colony, Peterborough, NH.[14][15]

7.1.7 Bibliography

Books

• Les Américains = The Americans 7.1. ROBERT FRANK 123

• Paris: Delpire, 1958. French. Includes text in French by Simone de Beauvoir, Erskine Caldwell, William Faulkner, Henry Miller and John Steinbeck about American political and social history, selected by Alain Bosquet. Part of the Encyclopédie Essentielle series. • New York: Grove Press, 1959. Introduction by Jack Kerouac. • New York: Aperture; Museum of Modern Art, 1969. Revised and enlarged edition. With an introduction by Jack Kerouac, a brief introduction by Frank, and a survey of Frank’s films, each represented by a page of film frame stills. • Göttingen: Steidl, 2008. ISBN 978-3-86521-584-0. Most photographs are uncropped compared with cropped versions in previous editions, and two photographs are replaced with those of the same subject but from an alternate perspective.

• The Lines of my Hand.

• Tokyo: Yugensha. Deluxe, slipcased edition. Edition of 1000 copies, 500 featured the slipcase photo- graph of “New York City, 1948”, 500 featured the slipcase photograph of “Platte River, ”. • New York: Lustrum Press, 1972. Paperback. • New York: Pantheon. ISBN 9780394552552.

• Flamingo. Göteborg, Sweden: Hasselblad Center, 1997. ISBN 9783931141554. Catalogue for Hasselblad Award exhibition, Hasselblad Center, Goteborg, Sweden.

• London/Wales. Published in collaboration with the Corcoran Gallery, Washington, D.C., for an exhibition held May 10-July 14, 2003.

• Zurich; New York: Scalo, 2003. ISBN 9783908247678. • Göttingen: Steidl, 2007. ISBN 978-3865213624.

• Come Again. Göttingen: Steidl, 2006. ISBN 9783865212610. According to the back cover, “Photos have been taken within the context of the photographical project 'Beirut, city centre, 1991', Éditions de Cyprès, Paris.”

• Paris. Göttingen: Steidl, 2006. ISBN 978-3865215246.

• Peru. Göttingen: Steidl, 2006. ISBN 978-3865216922.

• Zero Mostel Reads a Book. Göttingen: Steidl, 2006. ISBN 978-3865215864.

• Pangnirtung. Göttingen: Steidl, 2011. ISBN 978-3869301983.

• Pull My Daisy. Göttingen: Steidl, 2011. ISBN 978-3865216731. A transcript of Kerouac’s narration from the film Pull My Daisy (1959) with film stills and an introduction by Jerry Tallmer.

• Ferne Nähe: Hommage für Robert Walser = Distant Closeness: A Tribute to Robert Walser. Bern: Robert Walser-Zentrum, 2012. ISBN 978-3-9523586-2-7.

Critical studies, reviews and biography

• Looking In: Robert Frank’s The Americans. Washington, D.C.: National Gallery of Art; Göttingen: Steidl, 2009. ISBN 978-3-86521-806-3. By Sarah Greenough. With essays by Stuart Alexander, Phillip Brook- man, Michel Frizot, Martin Gasser, Jeff L. Rosenheim, Kuc Sante and Anne Wilkes Tucker. Published to accompany an exhibition organised by the National Gallery of Art, Washington, D.C.

• Prose, Francine (Jan 2010). “You got eyes : Robert Frank imagines America”. Harper’s. 320 (1916): 67–73. Reviews The Americans.

Films

• Don't Blink – Robert Frank (2015). Documentary directed by Laura Israel. 124 CHAPTER 7. DAY 7

7.1.8 Filmography

• 1959: Pull My Daisy (with Alfred Leslie) • 1961: The Sin of Jesus • 1963: O.K. End Here • 1965/1968: Me And My Brother • 1969: Conversations in Vermont • 1969: Life-Raft Earth • 1971: About Me: A Musical • 1972: Cocksucker Blues • 1975: Keep Busy (with Rudy Wurlitzer) • 1980: Life Dances On • 1981: Energy and How to Get It (with Rudy Wurlitzer) • 1983: This Song For Jack • 1985: Home Improvements • 1987: Candy Mountain (with Rudy Wurlitzer) • 1989: Hunter • 1990: C’est vrai! (One Hour) • 1992: Last Supper • 1994: Moving Pictures • 2002: Paper Route • 2004/2008: True Story

7.1.9 References

[1] O'Hagan, Sean (7 November 2014). “Robert Frank at 90: the photographer who revealed America won't look back”. The Guardian. Retrieved 27 December 2014.

[2] “Robert Frank”. John Simon Guggenheim Memorial Foundation. Retrieved 5 July 2015.

[3] Lane, Anthony (14 September 2009). “Road Show: The journey of Robert Frank’s “The Americans."". . Retrieved 27 December 2014.

[4] Dawidoff, Nicholas (14 July 2012). “The Man Who Saw America”. Magazine. Retrieved 15 September 2015.

[5] Gefter, Philip (12 December 2008). "Snapshots from the American Road.”The New York Times. Retrieved 5 July 2015.

[6] Ladd, Jeffrey (9 May 2012). “Master of the Photobook: Robert Delpire’s Long and Legendary Influence”. Time. Retrieved 14 September 2015.

[7] “Robert Frank: The Americans”. Steidl.

[8] “Looking In: Robert Frank’s “The Americans"". San Francisco Museum of Modern Art. Retrieved 27 December 2014.

[9] “Art: Evoking the World of Some Great Painters”, The New York Times

[10] Robert Frank: Storylines, Tate Modern: Exhibition, 28 October 2004 – 23 January 2005

[11] Greenough, Sarah (2009). Looking In: Robert Frank’s The Americans. Göttingen: Steidl. ISBN 978-3-86521-806-3. 7.1. ROBERT FRANK 125

[12] “Robert Frank: From the collection of Fotomuseum Winterthur, MAMM”. Multimedia Art Museum, Moscow. Retrieved 27 December 2014.

[13] “Robert Frank”. Hasselblad Foundation. Retrieved 26 December 2014.

[14] “Medal Day History”. MacDowell Colony. Retrieved 20 November 2015.

[15] “MacDowell Medal winners 1960-2011”. London: The Daily Telegraph. 13 April 2011. Retrieved 20 November 2015.

7.1.10 Sources

• Philip Gefter, Snapshots From The American Road, The New York Times, Dec. 14, 2008.

7.1.11 Further reading

• Alexander, Stuart. – Robert Frank: A Bibliography, Filmography, and Exhibition Chronology, 1946-1985 (Center for Creative Photography, 1986). OCLC 16798695

• Gefter, Philip. - Photography After Frank (Aperture, 2009). ISBN 978-1-59711-095-2

• Green, Jonathan. – American Photography: A Critical History 1945 to the Present (Abrams, 1984). Chapter 5, “The Americans: Politics and Alienation.” ISBN 0-8109-1814-5

• Janis, Eugenia Parry and Wendy MacNeil, eds. – Photography Within the Humanities (Addison House, 1977). “Robert Frank” (transcript of a talk and interview conducted at Wellesley College on 14 April 1975), pp. 52– 65. ISBN 0-89169-013-1

• Leo, Vince. – Robert Frank: From Compromise to Collaboration. Parkett, 1994, Issue 42, pp. 8–23.

• Papageorge, Tod. – Walker Evans and Robert Frank: An Essay on Influence (Yale University Art Gallery, 1981). ISBN 0-89467-015-8

• Penman, Ian. – Robert Frank: Storylines (Steidl, 2004). ISBN 3-86521-041-4

• Sandeen, Eric. – Picturing An Exhibition (University of New Mexico Press, 1995). Chapter 5, “Edward Steichen, Robert Frank, and American Modernism.” ISBN 0-8263-1558-5

• Tucker, Anne and Philip Brookman, eds. – Robert Frank: New York to Nova Scotia (Museum of Fine Arts - Houston, 1986). ISBN 0-8212-1623-6

Bibliographies

• Frank Bibliography (via UC Berkeley)

7.1.12 External links

• Robert Frank, Pace/MacGill Gallery

• Robert Frank at the Internet Movie Database

• Robert Frank’s Masterpiece: “The Americans” at 50

• Robert Frank at the Art Institute of Chicago

• Looking In: Robert Frank’s “The Americans”, National Gallery of Art, 2009

• Elson Lecture 2009: Robert Frank, National Gallery of Art

• Robert Frank Collection Guide, National Gallery of Art, 2014 (with “more than 430 images”)

• “Seeing Beauty in Our Shadows Robert Frank’s 'The Americans,' unpopular when first published, has shaped the way America looks at itself,” , September 19–20, 2009 126 CHAPTER 7. DAY 7

• Robert Frank on National Public Radio

• 'Walker Evans and Robert Frank: an Essay on Influence' by Tod Papageorge • Nericcio, William Anthony. – Cinematography, Photography, and Literature: Robert Frank’s Aesthetic Trip- tych (MOPA, San Diego, 2000). (An online essay on Pull My Daisy with illustrations and film-clip.) • 'Robert Frank: Dissecting The American Image' by Jno Cook

• Illustrated book review of The Americans • Robert Frank at the Internet Movie Database

• Works by or about Robert Frank in libraries (WorldCat catalog) 7.1. ROBERT FRANK 127

Flamingo, exhibition catalog for Frank’s 1996 Hasselblad Award show Chapter 8

Day 8

8.1 Boris Mikhailov (photographer)

Borys Andriyovych Mykhailov (Бори́с Андрі́йович Миха́йлов, born August 25, 1938) is a photographer who has been described as “one of the most important artists to have emerged from the former USSR.”[1]

8.1.1 Life and work

Born in the former Soviet Union, Mykhailov lived and worked for several decades in his hometown of Kharkiv, Ukraine. He received an education as an engineer and started to teach himself photography. Today he is one of the most successful and well-known among the photographers who were already active in the Soviet era. His work combines conceptual art and social documentary photography. Mykhailov had his first exhibition at the end of the 1960s. After the KGB found nude pictures of his wife he was laid off his job as an engineer and started to work full-time as a photographer. From 1968 to 1975 he shot several series documenting everyday scenes, the best known of them being the Red Series. In these photographs he mainly used the colour red, to picture people, groups and city-life. Red symbolized the October Revolution, political party and the social system of Soviet society. It is often said that within those works critical elements toward the existing political circumstances can be found. In Mykhailov’s Klebrigkeit (1982), he added explanatory notes, or diary-like text. In Case History, considered an important part of contemporary art, he examines the consequences of the breakdown of the Soviet Union for its people. He systematically took pictures of homeless people. It shows the situation of people who after the breakdown of the Soviet Union were not able to find their place in a secure social system. In a very direct way Mykhailov points out his critique against the “mask of beauty” of the emerging post-Soviet capitalistic way of life. In 2004 Mykhailov first exhibited in Berlin in an exhibition concerning people living at the edge of society.

8.1.2 Publications

• If I were a German. : Verlag der Kunst Dresden, 1995. ISBN 3-364-00352-1

• Boris Michaijlov. Stuttgart: Oktagon, 1995. ISBN 9783896110015.

• By the Ground. Stuttgart: Oktagon, 1996. ISBN 3-927789-91-7.

• At DUSK. Stuttgart: Oktagon, 1996. ISBN 3-927789-91-7.

• Unfinished Dissertation. Zurich: Scalo, 1998. ISBN 978-3931141974. With an essay by Margarita Tupitsyn.

• Case History. Zurich: Scalo, 1999. ISBN 978-3908247098.

• Boris Michajlov: The Hasselblad Award 2000. Zurich: Scalo, 2001. ISBN 978-3908247425.

128 8.1. BORIS MIKHAILOV (PHOTOGRAPHER) 129

Mykhailov in 2002

• Äußere Ruhe / Äussere Ruhe (Drucksache N.F. 4). Düsseldorf: Richter, 2000. ISBN 3-933807-21-2. Pho- tographs and Russian text. Includes a German translation of the photograph notes, an interview with the artist (in German) by Marina Achenbach, and biographies (in German). Edition of 1000 copies. • Boris Mykhailov. Phaidon 55 series. London: Phaidon, 2000. • Salt Lake. 2002 ISBN 3-88243-815-0 • Boris Mykhailov: A Retrospective. • Zurich: Scalo, 2003. ISBN 978-3908247722. 130 CHAPTER 8. DAY 8

• Eine Retrospektive. • Look at Me I Look at Water . . . or Perversion of Repose, Göttingen: Steidl, 2004. ISBN 978-3882439687. • Crimean Snobbism. Tokyo: Rathole, 2006. • Suzi Et Cetera. Cologne: Walther König, 2007. ISBN 978-3865601131. • Yesterday’s . London: Phaidon, 2009. ISBN 978-0714848563. • Maquette Braunschweig. 2010. ISBN 978-3-86521-834-6 • The Wedding. London: Mörel Books, 2011. ISBN 978-1907071195.[n 1] • Tea Coffee Cappuccino. Cologne: Walther König, 2011. ISBN 978-3865608772. • Time is out of Joint. Berlin: Distanz, 2012. ISBN 978-3942405645.

8.1.3 Exhibitions

Selected solo exhibitions

• 2001: , London. • 2001: Case History & Heiner Müller Project, Haus der Kulturen der Welt, Berlin. • 2002: The Insulted and the Injured, Pace/MacGill Gallery, New York. • 2003: Private Freuden, lastende Langweile, öffentlicher Zerfall - eine Retrospective, Fotomuseum Winterthur, Winterthur, Switzerland. • 2004: Institute of Contemporary Art, Boston, MA. • 2004: In the Street, Galerie Barbara Weiss, Berlin. • 2004: Palau de la Virreina, Barcelona. • 2005: Look at me I look at Water, Centre de la Photographie, Geneve. • 2005: , Galerie Ilka Bree, Bordeaux. • 2006: Yesterday’s Sandwich, Shugoarts, Tokyo. • 2006: Moments/Monuments, Bereznitsky Gallery, Berlin. • 2013: Unrespectable, Yermilov Center, Kharkiv.

Selected collective exhibitions

• 2009: Ça me touche, Rencontres d'Arles festival, Arles, France. Curated by Nan Goldin. • 2012: Revolution vs Revolution, Beirut Art Center, Beirut, Lebanon.[2]

8.1.4 Awards

• 1997: Albert Renger-Patzsch Buchpreis. • 1996: Award of Coutts Contemporary Art Foundation, Switzerland. • 2000: Hasselblad Foundation International Award in Photography, Sweden.[3] • 2001: Citigroup Photography Prize (later renamed Deutsche Börse Photography Prize), The Photographers’ Gallery, London.[4] • 2001: Foto-Buchpreis der Krazna-Krausz-Stiftung, London (Kraszna-Krausz Book Award). • 2013: premio novel a la paz mundial. 8.1. BORIS MIKHAILOV (PHOTOGRAPHER) 131

8.1.5 Notes

[1] Page about The Wedding, Mörel Books.

8.1.6 References

[1] Christine Toomey, “The barefaced cheek of Boris Mikhailov”, The Sunday Times, June 3, 2007.

[2] “Revolution vs Revolution”. Beirut Art Center. Retrieved 6 February 2012.

[3] Previous award winners, Hasselblad Foundation.

[4] “About The Photography Prize”. The Photographers’ Gallery. Retrieved 22 October 2015.

8.1.7 External links

• “Boris Mikhailov photographs taken at twilight”. Photography. Victoria and Albert Museum. Retrieved 2007- 08-25. Chapter 9

Day 9

9.1 Robert Capa

Robert Capa (born Endre Friedmann;[1] October 22, 1913 – May 25, 1954) was a Hungarian war photographer and photo journalist, arguably the greatest combat and adventure photographer in history.[2] Capa fled political repression in Hungary when he was a teenager, moving to Berlin, where he enrolled in college. He witnessed the rise of Hitler, which led him to move to Paris, where he changed his name and became a photojournalist. He subsequently covered five wars: the Spanish Civil War, the Second Sino-Japanese War, World War II across Europe, the 1948 Arab–Israeli War, and the , with his photos published in major magazines and newspapers. During his career he risked his life numerous times, most dramatically as the only photographer landing with the first wave on Omaha Beach on D-Day. He documented the course of World War II in London, North Africa, Italy, and the liberation of Paris. His friends and colleagues included Irwin Shaw, John Steinbeck, Ernest Hemingway and director John Huston. In 1947, for his work recording World War II in pictures, U.S. President Dwight D. Eisenhower awarded Capa the Medal of Freedom. That same year, Capa co-founded Magnum Photos in Paris. The organization was the first cooperative agency for worldwide freelance photographers. Hungary has issued a stamp and a gold coin in his honor.

9.1.1 Early years

He was born Endre Friedmann to the Jewish family of Júlia (née Berkovits) and Dezső Friedmann in Budapest, Austria-Hungary October 22, 1913.[2] His mother, Julianna Henrietta Berkovits was a native of Nagy Kapos (now Velke Kapusany, Slovakia) and Dezső Friedmann came from the Transylvanian village of Csucsa (now Ciucea, Romania).[2] At the age of 18, he was accused of alleged communist sympathies and was forced to flee Hungary.[3]:154 He moved to Berlin where he enrolled at Berlin University where he worked part-time as a darkroom assistant for income and then became a staff photographer for the German photographic agency, Dephot.[3]:154 It was during that period that the Nazi party came into power, which made Capa, a Jew, decide to leave Germany and move to Paris.[3]:154 He became romantically involved with Gerda Taro,[4] a German-Jewish photographer who had also moved to Paris for the same reasons he did.[3]:154[5] He shared a darkroom with French photographer Henri Cartier-Bresson, with whom he would later co-found the Magnum Photos cooperative.[3]:154 Capa originally wanted to be a writer; however, he found work in photography in Berlin and grew to love the art.[6] In 1933, he moved from Germany to Paris because of the rise of Nazism and its persecution of Jews, but found it difficult to find work as a freelance journalist. He changed his name to the more American-sounding name, Robert Capa, to avoid religious discrimination then common in France, which allowed him to find work more easily.[3]:154 Capa’s first published photograph was of Leon Trotsky making a speech in on “The Meaning of the Russian Revolution” in 1932.[7]

132 9.1. ROBERT CAPA 133

9.1.2 Career

Spanish Civil War, 1936

All you could do was to help individuals caught up in war, try to raise their spirits for a moment, perhaps flirt a little, make them laugh; . . . and you could photograph them, to let them know that somebody cared. Robert Capa[8] From 1936 to 1939, Capa worked in Spain, photographing the Spanish Civil War, along with Gerda Taro, his com- panion and professional photography partner, and David Seymour.[9] Taro died when she was run over by a tank on maneuvers.[3]:155 It was during that war that Capa took the photo now called "", showing the death of a Republican soldier. The photo was published in magazines in France and then by Life magazine and .[10] In later years, there has been some dispute about the authenticity of the photo.[lower-alpha 1] Picture Post, a pioneering photojournalism magazine published in the United Kingdom, described then twenty-five year old Capa as “the greatest war photographer in the world.”[3]:155 Capa accompanied then journalist and author Ernest Hemingway to photograph the war, which Hemingway would later describe in his novel, For Whom the Bell Tolls (1940).[14] Life magazine published an article about Hemingway and his time in Spain, along with numerous photos by Capa.[15] In December 2007, three boxes filled with rolls of film, containing 4,500 35mm negatives of the Spanish Civil War by Capa, Taro, and Chim (David Seymour), which had been considered lost since 1939, were discovered in Mexico.[16][17][18][19][20] In 2011 Trisha Ziff directed a film about those images, entitled, .

Chinese resistance to Japan, 1938

In 1938, he traveled to the Chinese city of Hankou, now within Wuhan, to document the resistance to the Japanese invasion.[21] He sent his images to Life magazine, which published some of them in its May 23, 1938 issue.[22]

World War II

At the start of World War II, Capa was in New York City, having moved there from Paris to look for work, and to escape Nazi persecution. During the war, Capa was sent to various parts of the European Theatre on photography assignments. He first photographed for Collier’s Weekly, before switching to Life after he was fired by Collier’s. He was the only "enemy alien" photographer for the Allies.

American invasion of Sicily, 1943 During July and August 1943 Capa was in Sicily with American troops, near Sperlinga, Nicosia and Troina. The Francais were advancing toward Troina, a strategically located town which controlled the road to Messina (Sicily’s main port to the Italian mainland). The town was heavily defended by the Germans Nazis, in an attempt to evacuate all German troops. Capa’s pictures show the Sicilian population’s sufferings under German bombing and their happiness when American soldiers arrive. One notable photograph from this period shows a Sicilian peasant indicating the direction in which German troops had gone, very near the Castle of Sperlinga, in the district of Contrada Capostrà of the medieval Sperlinga village. The picture of Sperlinga, a few weeks later, became very popular, not only in the US but around all the world, as a symbol of the Allied US Army landings in Sicily and the liberation of Italy from the Nazis.[23] On October 7, 1943 Robert Capa was in Naples with Life reporter Will Lang Jr., and there he photographed the Naples post office bombing.[24]

D-Day, Omaha beach, 1944 Main article: The Magnificent Eleven

Probably his most famous images, The Magnificent Eleven, are a group of photos of D-Day.[25] Taking part in the Allied invasion, Capa was with the first wave of American troops on Omaha Beach.[6][26] The men storming Omaha Beach faced some of the heaviest resistance from German troops inside the bunkers of the Atlantic Wall. While under constant fire, Capa took 106 pictures, all but eleven were destroyed in a photo lab accident back in London.[27] The eleven prints that survived were included in Life magazine’s issue on June 19, 1944.[28] The article described how Capa got some of his shots: 134 CHAPTER 9. DAY 9

Immense excitement of moment made photographer Capa move his camera and blur the picture....As he waded out to get aboard, his cameras were thoroughly soaked.[6]

“The picture of the last man to die” Main article: Raymond J. Bowman

On April 18, 1945, Capa captured images of a fight to secure a bridge in Leipzig, Germany. These pictures included an image of Raymond J. Bowman's death by sniper fire. This image became famous in a spread in Life magazine with the caption “The picture of the last man to die.”[29]

Post-war Russia, 1947

In 1947 Capa traveled to the Soviet Union with his friend, the American writer John Steinbeck.[30] They originally met when they shared a room in an Algiers hotel with other war correspondents before the Allied invasion of Italy in 1942.[30] They reconnected in New York, where Steinbeck told him he was thinking about visiting the Soviet Union, now that the war was over.[30] Capa suggested they go there together and collaborate on a book, with Capa documenting the war-torn nation with photographs.[31] The trip resulted in Steinbeck’s, , which was published both as a book and a syndicated newspaper serial.[30] Photos were taken in Moscow, Kiev, Tbilisi, Batumi and among the ruins of Stalingrad.[30][32][33][34] They remained good friends until Capa’s death; Steinbeck took the news of Capa’s death very hard.[30][35]

Magnum Photos agency, 1947

In 1947, Capa founded the cooperative venture Magnum Photos in Paris with Henri Cartier-Bresson, William Van- divert, David Seymour, and George Rodger. It was a cooperative agency to manage work for and by freelance photographers, and developed a reputation for the excellence of its photo-journalists. In 1952, he became the presi- dent.

Founding of Israel, 1948

Capa toured Israel during its founding and while it was being attacked by neighboring states. He took the numerous photographs that accompanied Irwin Shaw's book, Report on Israel.[36]

Documenting film productions, 1953

In 1953 he joined screenwriter Truman Capote and director John Huston in Italy where Capa was assigned to photo- graph the making of the film, Beat the Devil.[37] During their off time they, and star Humphrey Bogart, would enjoy playing poker.[38][39]

First Indochina War and death, 1954

In the early 1950s, Capa traveled to Japan for an exhibition associated with Magnum Photos. While there, Life magazine asked him to go on assignment to Southeast Asia, where the French had been fighting for eight years in the First Indochina War, and was killed when he stepped on a land mine.[3]:155 He was 40 years old. Although a few years earlier he had said he was finished with war, Capa accepted and accompanied a French regiment with two Time-Life journalists, John Mecklin and Jim Lucas. The regiment was passing through a dangerous area under fire when Capa decided to leave his Jeep and go up the road to photograph the advance. It was there that he stepped on the mine.[40] He is buried in plot #189 at Amawalk Hill Cemetery (also called Friends Cemetery), Amawalk, Westchester County, New York along with his mother, Julia, and his brother, Cornell Capa. 9.1. ROBERT CAPA 135

9.1.3 Personal life

Capa was born into a Jewish family in Budapest,[41] where his parents were tailors. At the age of 18, Capa moved to Vienna, later relocated to Prague, and finally settled in Berlin: all cities that were centers of artistic and cultural ferment in this period. He started studies in journalism at the German Political College, but the Nazi Party instituted restrictions on Jews and prohibited them from colleges. Capa relocated to Paris, where he adopted the name 'Robert Capa' in 1934. At that time, he had already been a hobby-photographer. In 1934 “André Friedman”, as he still called himself then, met Gerda Pohorylle, a German Jewish refugee. The couple lived in Paris where André taught Gerda photography. Together they created the name and image of “Robert Capa” as a famous American photographer. Gerda took the name Gerda Taro and became successful in her own right. She travelled with Capa to Spain in 1936 intending to document the Spanish Civil War. In July 1937, Capa traveled briefly to Paris while Gerda remained in Madrid. She was killed near Brunete during a battle. Capa, who was reportedly engaged to her, was deeply shocked and never married. In February 1943 Capa met Elaine Justin, then married to the actor John Justin. They fell in love and the relationship lasted until the end of the war. Capa spent most of his time in the frontline. Capa called the redheaded Elaine “Pinky,” and wrote about her in his war memoir, Slightly Out of Focus. In 1945, Elaine Justin broke up with Capa; she later married Chuck Romine. Some months later Capa became the lover of the actress Ingrid Bergman, who was touring in Europe to entertain American soldiers.[42]p. 176 In December 1945, Capa followed her to Hollywood, where he worked for American International Pictures for a short time. The relationship ended in the summer of 1946 when Capa traveled to Turkey.[6]

9.1.4 Legacy

The government of Hungary issued a postage stamp in Capa’s honor in 2013. That same year it issued a 5,000 forint ($20) gold coin, also in his honor, showing an engraving of Capa.[43]

• His younger brother, Cornell Capa, also a photographer, worked to preserve and promote Robert’s legacy as well as develop his own identity and style. He founded the International Fund for Concerned Photography in 1966. To give this collection a permanent home, he founded the International Center of Photography in New York City in 1974. This was one of the foremost and most extensive conservation efforts on photography to be developed. Indeed, Capa and his brother believed strongly in the importance of photography and its preservation, much like film would later be perceived and duly treated in a similar way. • The Overseas Press Club created the in the photographer’s honor.[44]

Capa is known for redefining wartime photojournalism. His work came from the trenches as opposed to the more arms-length perspective that was the precedent. He was famed for saying, “If your photographs aren't good enough, you're not close enough.”[45]

• He is credited with coining the term Generation X. He used it as a title for a photo-essay about the young people reaching adulthood immediately after the Second World War. It was published in 1953 in Picture Post (UK) and Holiday (USA). Capa said, “We named this unknown generation, The Generation X, and even in our first enthusiasm we realised that we had something far bigger than our talents and pockets could cope with.”[46]

In 1947, for his work recording World War II in pictures, U.S. President Dwight D. Eisenhower awarded Capa the Medal of Freedom Citation[6][8] The International Center of Photography organized a travelling exhibition titled This Is War: Robert Capa at Work, which displayed Capa’s innovations as a photojournalist in the 1930s and 1940s. It includes vintage prints, contact sheets, caption sheets, handwritten observations, personal letters and original magazine layouts from the Spanish Civil War, the Second Sino-Japanese War and World War II. The exhibition appeared at the Barbican Art Gallery, the International Center of Photography of Milan, and the Museu Nacional d'Art de Catalunya in the fall of 2009, before moving to the Nederlands Fotomuseum from October 10, 2009 until January 10, 2010.[47]

9.1.5 Politics

As a young boy, Capa was drawn to the Munkakör (Employment Circle), a group of socialist and avant-garde artists, photographers, and intellectuals centered around Budapest. He participated in the demonstrations against the Miklós 136 CHAPTER 9. DAY 9

Hungarian commemorative stamp issued in 2013

Horthy regime. In 1931, just before his first photo was published, Capa was arrested by the Hungarian secret police, beaten, and jailed for his radical political activity. A police official’s wife—who happened to know his family—won Capa’s release on the condition that he would leave Hungary immediately.[7] The Boston Review has described Capa as “a leftist, and a democrat—he was passionately pro-Loyalist and passionately anti-fascist ...” During the Spanish Civil War, Capa travelled with and photographed the Workers’ Party of Marxist Unification (POUM), which resulted in his best-known photograph.[7] The British magazine Picture Post ran his photos from Spain in the 1930s accompanied by a portrait of Capa, in profile, with the simple description: “He is a passionate democrat, and he lives to take photographs.”[7]

9.1.6 In popular culture

• In 2012, the Japanese Female Musical Theater group, Takarazuka Revue, produced a musical piece based on the life of Capa. Ms. Ouki Kaname performed the lead role as Capa. The group performed the musical in 9.1. ROBERT CAPA 137

2012 in Takarazuka and Tokyo and in 2014 in Nagoya.

• In Patrick Modiano's novella Afterimage Capa is a mentor for the subject of the novella, Francis Jansen, a photographer who retires to Mexico.

• In Alfred Hitchcock's movie Rear Window, the protagonist L. B. “Jeff” Jefferies () was partly based on Capa.[48]

• Poet Owen Sheers wrote a poem about Capa, named Happy Accidents. It can be found in the anthology Skirrid Hill.

• In English indie rock group Alt-J's 2012 album An Awesome Wave, the love between Capa and Taro, and the circumstances of his death are immortalised in the last track, Taro

9.1.7 Publications

Publications by Capa

• The Battle of Waterloo Road. New York: Random House, 1941. OCLC 654774055. Photographs by Capa. With a text by Diana Forbes-Robertson.

• Invasion!. New York, London: D. Appleton-Century, 1944. OCLC 1022382. Photographs by Capa. With text by Charles Wertenbaker.

• Slightly Out of Focus. New York: Henry Holt and Company, 1947. New York: Modern Library, 2001. ISBN 9780375753961. Text and photographs by Capa. With a foreword by Cornell Capa and an introduction by Richard Whelan. A memoir.

• Images of War. New York: Grossman, 1964. Text and photographs by Capa. OCLC 284771. With a text by John Steinbeck.

• Robert Capa: Photographs. New York: Aperture, 1996. ISBN 978-0893816759. New York: Aperture, 2004.

• Heart of Spain: Robert Capa’s Photographs of the Spanish Civil War. New York: Aperture, 1999. ISBN 9780893818319. New York: Aperture, 2005. ISBN 978-1931788021.

• Robert Capa: The Definitive Collection. London, New York: Phaidon, 2001. ISBN 9780714840673. London, New York: Phaidon, 2004. ISBN 978-0714844497. Edited by Richard Whelan.

• Robert Capa at Work: This is War!. Göttingen: Steidl, 2009. ISBN 9783865219442. Photographs by Capa. With a foreword by Willis E. Hartshorn, an introduction by Christopher Phillips, and text by Richard Whelan. Published to accompany an exhibition at the International Center of Photography, New York, September 2007 – January 2008. “A detailed examination of six of Robert Capa’s most important war reportages from the first half of his career: the Falling Soldier (1936), Chinese resistance to the Japanese invasion (1938), the end of the Spanish Civil War in Catalonia (1938–39), D-Day, the US paratroop invasion of Germany and the liberation of Leipzig (1945).”[49]

• Questa è la Guerra!: Robert Capa al Lavoro. Italy: Contrasto, 2009. ISBN 9788869651601. Published to accompany an exhibition in Milan, March–June 2009.[50]

Publications with others

• Death in the Making. New York: Covici Friede, 1938. Photographs by Capa and Taro.

• A Russian Journal. New York: Viking, 1948. Text by Steinbeck, illustrated with photographs by Capa.

• Report on Israel. New York: Simon & Schuster, 1950. By Irwin Shaw and Capa. 138 CHAPTER 9. DAY 9

Publications about Capa

• Robert Capa: a Biography. New York: Knopf, 1985. By Richard Whelan. ISBN 0-394-52488-8. • Blood and Champagne: The Life and Times of Robert Capa. Macmillan, 2002; Thomas Dunne, 2003; ISBN 978-0312315641. Da Capo Press, 2004; ISBN 978-0306813566. By Alex Kershaw. • La foto de Capa. Córdoba: Paso de Cebra Ediciones, 2011. A fictionalised account of the discovery of the exact location of the “Falling Soldier” photograph. ISBN 978-84-939103-0-3. • Nizza oder die Liebe zur Kunst. Bad König: Vantage Point World, 2013. By Axel Dielmann. ISBN 978-3-981- 53549-5. Text in German.

9.1.8 See also

• Castle of Sperlinga • Magnum Photos • Photojournalism

9.1.9 Notes

[1] The authenticity of the photograph is today in doubt, with some questioning its location, the identity of its subject, and the discovery of staged photographs taken at the same time and place.[11][12][13]

9.1.10 References

[1] “Capa, Robert”. Retrieved February 18, 2009.

[2] Kershaw, Alex. Blood and Champagne: The Life and Times of Robert Capa, Macmillan (2002) ISBN 978-0306813566

[3] Davenport, Alma. The History of Photography: An Overview, Univ. of New Mexico Press (1991)

[4] Photo of Gerda Taro

[5] “Dramatic story of 1930s pioneer Gerda Taro, the first female photographer to die in battle, brought to life in new book”, Daily Mail, November 5, 2013

[6] “Robert Capa’s Longest Day”, Vanity Fair, June 2014

[7] Linfield, Boston Review

[8] George Stevens Jr., “Robert Capa: A Photographer at War”, Washington Post, September 29, 1985

[9] “New Works by Photography’s Old Masters”, New York Times, April 30, 2009

[10] Ingledew, John. Photography, Laurence King Publishing (2005) p. 184

[11] Richard Whelan, Proving that Robert Capa’s Falling Soldier is Genuine: a Detective Story, American Masters, PBS Website.

[12] “Iconic Capa war photo was stage: newspaper”, AFP

[13] “Faking Soldier: The photographic evidence that Capa’s camera DOES lie... and that his iconic 'Falling Soldier' was staged”, Daily Mail

[14] Photo of Capa (far left) with Hemingway (far right) in Spain

[15] “Life Documents Hemingway’s New Novel with War Shots”, Life magazine, January 6, 1941

[16] The Mexican Suitcase trailer

[17] “The Capa Cache”, New York Times, January 27, 2008

[18] “THE MEXICAN SUITCASE, Rediscovered Spanish Civil War Negatives by Capa, Chim, and Taro”, International Center of Photography 9.1. ROBERT CAPA 139

[19] Photo of the Spanish Civil War

[20] “The Fascinating Story of The Mexican Suitcase”, ORMS

[21] Stephen R. MacKinnon includes photographs by Robert Capa, in Wuhan, 1938: War, Refugees, and the Making of Modern China (Berkeley: University of California Press, 2008).

[22] Capa photos of the Chinese resistance, Life, May 23, 1938

[23] “Castello di Sperlinga – Storia Castello di Sperlinga – XX e XXI secolo”.

[24] Slightly Out of Focus, Henry Holt and Company, New York, 1947, p.104

[25] Photo by Capa on D-Day

[26] Multiple photos by Capa on D-Day

[27] Simon Kuper, “Interview: John Morris on his friend Robert Capa”, Financial Times, May 31, 2013. Retrieved June 1, 2013.

[28] Life magazine story with Capa’s images

[29] “Bowman, Raymond J.”. ww2awards.com. Retrieved April 23, 2016.

[30] Railsback, Brian E., Meyer, Michael J. A John Steinbeck Encyclopedia, Greenwood Publishing Group (2006) p. 50

[31] Photo of John Steinbeck and Robert Capa boarding a plane for the USSR, 1947

[32] Photo of Stalingrad, taken by Capa

[33] Photo of Tiflis, Georgia, 1947

[34] Photo of Georgian farmworkers

[35] Photo of Capa and Steinbeck

[36] “Robert Capa’s Road to Jerusalem”, Jewish Review of Books, Winter 2016

[37] “Robert Capa Remembered”, Independent UK, October 12, 1996

[38] Photo of Capa, John Huston and Burl Ives

[39] Photo of Capa visiting John Huston in the hospital

[40] Badenbroek, Michael. “Robert Capa – war photographer”. army-photographer.com. Retrieved April 28, 2016.

[41] “Robert Capa”, Jewish History, Hungary

[42] Marton, Kati (2006). The Great Escape: Nine Jews Who Fled Hitler and Changed the World. New York: Simon & Schuster. ISBN 978-0-7432-6115-9. LCCN 2006049162. OCLC 70864519.

[43] Photo of Hungarian gold coin dedicated to Capa

[44] Overseas Press Club of America, Awards Archive.

[45] “Robert Capa”. Magnum Photos. Archived from the original on April 15, 2012.

[46] Ulrich, John (November 1, 2003). “Introduction: A (Sub)cultural Genealogy”. In Andrea L. Harris. GenXegesis: Essays on Alternative Youth. p. 3. ISBN 9780879728625.

[47] Travelling exhibitions: This Is War! Robert Capa at Work, International Center of Photography

[48] Belton, John (2000). Alfred Hitchcock’s Rear Window (PDF). Cambridge, United Kingdom: Cambridge University Press. p. 5. ISBN 0-521-56423-9.

[49] https://www.worldcat.org/title/robert-capa-at-work-this-is-war/oclc/755099561&referer=brief_results

[50] https://www.worldcat.org/title/questa-e-la-guerra-robert-capa-al-lavoro/oclc/772645394?ht=edition&referer=di 140 CHAPTER 9. DAY 9

9.1.11 External links

• Robert Capa Biography; Magnum Website • Robert Capa’s Photography Portfolio — Magnum Photos

• Magnum Photos • Robert Capa in Sperlinga – Sicily II War

• “Capa and Taro: Together at Last” — The Digital Journalist • PBS biography and analysis of Falling Soldier authenticity

• Discussion on the authenticity of Capa’s “Fallen Republican Soldier” Does it matter if it was faked? • Robert Capa’s “Lost Negatives”

• Death of a Loyalist Soldier, Spain, 1936.

• The D-Day photographs of Robert Capa • A biographical page regarding Capa

• Hultquist, Clayton. “Robert Capa ~ Pictures of War.” • Photography Temple. “Photographer Robert Capa”

• VNS. May 2004. “Photographers mark Capa’s passing”. • International Photography Hall of Fame & Museum

• The woman who captured Robert Capa’s heart, The Independent, 13 June 2010 • Robert Capa’s Long-Lost Negatives – slideshow by Life magazine

• Driven to Shoot on the Frontlines, The Japan Times, 14 February 2014 • 1947 Radio interview with the only recording of his voice (24 minutes) Chapter 10

Day 10

10.1 List of street photographers

This is a list of notable street photographers. Street photography is photography conducted for art or enquiry that features unmediated chance encounters and random incidents[1] within public places. Street photography does not necessitate the presence of a street or even the urban environment. Though people usually feature directly, street photography might be absent of people and can be of an object or environment where the image projects a decidedly human character in facsimile or aesthetic.[2]

10.1.1 Street photographers

This is a dynamic list and may never be able to satisfy particular standards for completeness. You can help by expanding it with reliably sourced entries.

• Jun Abe

• Berenice Abbott

•

• Yūtokutaishi Akiyama

• Blake Andrews

• Nobuyoshi Araki

• Eugène Atget

• Xyza Cruz Bacani

• Shirley Baker

• James Barnor

• Lou Bernstein

• Brassaï

• Manuel Alvarez Bravo

• Henri Cartier-Bresson

• Mark Cohen

• Joan Colom

141 142 CHAPTER 10. DAY 10

• Bill Cunningham[3] • Maciej Dakowicz • Peter Dench • Robert Doisneau • Ken Domon • Don Donaghy • Nikos Economopoulos • Alfred Eisenstaedt • Martin Elkort • Elliott Erwitt • Walker Evans • Arthur Fields • Robert Frank • Leonard Freed • Lee Friedlander • Cristina García Rodero • Herbert Gauls • William Gedney • George Georgiou • David Gibson • Bruce Gilden • Shigeo Gochō • Sid Grossman • • Siegfried Hansen • Erich Hartmann • Tadahiko Hayashi • Lewis W. Hine • Yasuhiro Ishimoto • James Jarché • James Jowers • Richard Kalvar • Osamu Kanemura • André Kertész • Hiroh Kikai • Ihei Kimura 10.1. LIST OF STREET PHOTOGRAPHERS 143

• William Klein • Josef Koudelka • Seiji Kurata • Kineo Kuwabara • Dorothea Lange • Manfred Baumann • Jacques-Henri Lartigue • Jens Olof Lasthein • Guy Le Querrec • Arthur Leipzig • Yau Leung • Thomas Leuthard • Helen Levitt • Vivian Maier • Jesse Marlow • Susan Meiselas • Louis Mendes • Jeff Mermelstein • Olivier Meyer • Joel Meyerowitz • Xavier Miserachs • Lisette Model • Inge Morath • Daidō Moriyama • Shigeichi Nagano • Masatoshi Naitō • Hildegard Ochse • Mitsugu Ōnishi • Trent Parke • Martin Parr • Charlie Phillips • Mark Powell • Raghu Rai • Tony Ray-Jones • Ronny Robinson • Willy Ronis 144 CHAPTER 10. DAY 10

• Paul Russell • Boris Savelev • Jamel Shabazz • Irakly Shanidze • Raghubir Singh • Aaron Siskind • Gary Mark Smith • W. Eugene Smith • David Solomons • Brandon Stanton • Fred Stein • Louis Stettner • Gary Stochl • Beat Streuli • Christer Strömholm • Matt Stuart • Issei Suda • Michael Ernest Sweet • Homer Sykes • Yutaka Takanashi • Takeyoshi Tanuma • Sam Tata • Anya Teixeira • Elsa Thiemann • Alexey Titarenko • Toyoko Tokiwa • Haruo Tomiyama • Peter Turnley • Nick Turpin • Marius Vieth • Dougie Wallace • Jeff Wassmann • Weegee • William Whiffin • Garry Winogrand • Michael Wolf 10.1. LIST OF STREET PHOTOGRAPHERS 145

•

• Michio Yamauchi

• Nakaji Yasui

• Street photographers

• Bill Cunningham, 2010

• Louis Mendes in New York with his Speed Graphic camera

• Inge Morath (1923–2002), self-portrait, Jerusalem, 1958 146 CHAPTER 10. DAY 10

• W. Eugene Smith (1918–1978), self-portrait

• Anya Teixeira (1913–1992)

10.1.2 See also

• List of photographers • List of photojournalists

10.1.3 References

[1] Warner Marien, Mary (2012). 100 ideas that changed photography. London: Laurence King Publishing. p. 169. ISBN 978-1-85669-793-4.

[2] Colin Westerbeck. Bystander: A History of Street Photography. 1st ed. Little, Brown and Company, 1994.

[3] Collins, Lauren (16 March 2009). “Man on the Street: Bill Cunningham Takes Manhattan”. The New Yorker: 50. OCLC 423290672. Retrieved 5 September 2012.

10.1.4 External links

• Media related to Street photographers at Wikimedia Commons

10.2 List of photojournalists

This is a list of photojournalists. This is a dynamic list and may never be able to satisfy particular standards for completeness. You can help by expanding it with reliably sourced entries.

• Eddie Adams • Lynsey Addario • Timothy Allen 10.2. LIST OF PHOTOJOURNALISTS 147

• Ali Hassan al-Jaber • Stephen Alvarez • Mohamed Amin • Pablo Bartholomew • Felice Beato • Joshua Benoliel • Daniel Berehulak • Marcus Bleasdale • Margaret Bourke-White • Mathew Brady • Esther Bubley • Dan Budnik • Romano Cagnoni • Robert Capa • Christopher Capozziello • Marion Carpenter • Kevin Carter • Henri Cartier-Bresson • Filip Claus • Martha Cooper • Joseph Costa • Manoocher Deghati • Lucas Dolega • Sergio Dorantes • Thomas Dworzak • Clifton C. Edom • Jacob Elbaz • Walker Evans • Najlah Feanny • Roger Fenton • Jim Fenwick • Jockel Finck • Rowe Findley • Sean Flynn • Kevin Frayer • Shiho Fukada 148 CHAPTER 10. DAY 10

• Cédric Gerbehaye • Jan Grarup • Lauren Greenfield • Carol Guzy • Anton Hammerl • Tim Hetherington • Chris Hondros • Bunyo Ishikawa • Ferzat Jarban • Chris Johns • Ed Kashi • André Kertész • Russell Klika • Gary Knight • Yuri Kozyrev • Shisei Kuwabara • Vincent Laforet • Alex Levac • Rick Loomis • Stefan Lorant • Danny Lyon • Greg Marinovich • Spider Martin • Enrico Martino • Don McCullin • Joseph McKeown • Susan Meiselas • Hansel Mieth • Lee Miller • Zoriah Miller • Ozier Muhammad • James Nachtwey • Kenji Nagai • Antonio Olmos • Ken Oosterbroek • Tim Page 10.2. LIST OF PHOTOJOURNALISTS 149

• Gordon Parks • Martin Parr • Lucian Perkins • Conrad Poirier • Fabio Polenghi • Dith Pran • Altaf Qadri • Gérard Rancinan • Ryan Spencer Reed • Fredrik Renander • Dezső Révai • Reza • Eugene Richards • Robert Riger • Manuel Rivera-Ortiz • James Robertson • Ruth Robertson • David Rubinger • Didier Ruef • Sebastião Salgado • Erich Salomon • Luis Carlos Santiago • Mike Schennum • Lawrence Schiller • Ignác Šechtl • Josef Jindřich Šechtl • Ragnar Th. Sigurdsson • João Silva • W. Eugene Smith • Pete Souza • Chris Steele-Perkins • Lisl Steiner • Dana Stone • Stanley Tretick • David C. Turnley • Peter Turnley 150 CHAPTER 10. DAY 10

• Julia Tutwiler

• • Franck Vogel

• Homai Vyarawalla • Jeff Widener

• Steve McCurry

10.2.1 See also

• List of photographers

• List of street photographers

10.2.2 References

10.2.3 External links

• Library of Congress List of Women Photojournalists Chapter 11

Text and image sources, contributors, and licenses

11.1 Text

• Photographer Source: https://en.wikipedia.org/wiki/Photographer?oldid=762078565 Contributors: Andre Engels, Camembert, Olivier, Ericd, Ixfd64, Alan Liefting, Tom harrison, Everyking, Discospinster, Vsmith, Ivan Bajlo, Stebbiv, Kjkolb, Sam Korn, Mtreinik, Jakew, Snowolf, Velella, RainbowOfLight, Brookie, JRHorse, Okc~enwiki, Stromcarlson, Edison, Amire80, Nihiltres, Srleffler, Chobot, DVdm, FeldBum, Hall Monitor, Rtkat3, Wimt, Thane, Anomalocaris, NawlinWiki, Wiki alf, Grafen, Malcolma, A.BigHead, Moe Epsilon, GraemeL, Yakudza, SmackBot, Dweller, Prodego, Jacek Kendysz, Moralis, Yamaguchi, Gilliam, Ohnoitsjamie, Skizzik, Deli nk, Oc- tahedron80, Fromgermany, FredStrauss, Laslovarga, Rrburke, T-borg, Evilgidgit, SteveHopson, EdGl, The , Rklawton, Kuru, Rigadoun, J 1982, Bjankuloski06en~enwiki, IronGargoyle, SpyMagician, Makyen, Beetstra, Waggers, BranStark, Iridescent, Maelor, Tawkerbot2, KyraVixen, Mato, Ameliorate!, Optimist on the run, Epbr123, Mactographer, Kablammo, Ishdarian, N5iln, James086, Majorly, Seaphoto, Prolog, Wikifrikiuser, Goldenrowley, Cjs2111, Modernist, North Shoreman, David Shankbone, JAnDbot, Jimmy, Bongwarrior, VoABot II, CTF83!, Jarvin, Indon, Gphoto, RebDrummer61, Jim.henderson, TheEgyptian, Mschel, Tom2898, Shell- wood, J.delanoy, Uncle Dick, Ipigott, NewEnglandYankee, Bobberman, Guyzero, Logicwiki, TheMindsEye, Philip Trueman, Ray- Ginsay, Anna Lincoln, Lkopeter, MackSalmon, Jackfork, Jeremy Bolwell, Punong bisyonaryo, Telecineguy, Omulazimoglu, Stephen- finney, Monty845, HiDrNick, Photo.guy4god, SieBot, B. 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Charming202, Northamerica1000, Reddogsix, Tesuro1212, Romaniabooking, Jameslaw99, Mark Arsten, Pocketthis, Mygirl101x, Bernikovvik- tor, Popovaira, Abraham20, Martin Greslou, Alexmakeit, Newcastlepablo, DEROZENBERG, MenkinAlRire, Lokfront, Jubairbiniqbal, Snootgrapher, David.moreno72, Lea Sarraf, 3xdvanajst, W.D., Expoarts, Sottu, Wikieditor2000man, Piktopia, Theartsnobpdx, Elet- troshock, Phoemart, Wingwalker13, Jacksoncowes, Artniveau, JP222Wiki, Dexbot, Mr. Guye, Ferdinando Castaldo, FGDuBose, Ok- jaekim, Lugia2453, Khanmehmud55, Rayhfrench, Mineaphotom, August25GC, Artboi97223, Lange.lea, MatthewHoobin, Kaghatim, Hoppeduppeanut, Kiruning, Canihone, RussellSmart, Jeffroush1953, Eraysayrac, Bratin1309, M3leica, Sarthak7, Ibrahim Husain Meraj, Waldir Bronsonn, Karenhphotos, Larantes, Kahtar, Hamburg0207, UrsalaT, Willowbean, Bijanzz, Neuralia, Samuel.sajko, Kevin Surf Mitchell, Martin Frisch, Hornet king, A.Minkowiski, Rafscorp27, Mhhossein, Jakemaxcooper, Johnny.Shokry, Tama969, Tits and pussy, Olga Frey, KBH96, Cmc2444, Asdklf;, Explorethatstore, Yunas82, Zirkusfan, Magister OFM, Gusossantos, Shmendr, Diptanshu- pandya5100, Doctor Interesting, Maplestrip, Solojaii, AlexHamel, NardixGrapiko, Daffdaffs, Happysquirrel, Gallerynaga, LUD Flock, Martinogk, HC401RI, Anneketanneketoverheks, Manishhiranandani25, SayLeWeekend, Lxndxn, Musa Raza, Mikaeljoan, MALAZA- MAN, Jdr1998, Atlantic306, Prahamediafanatic, Arte & Comunicación, MonikaLM, Tjf5280, Kemotoks, Moe Zoyari, Fotonals, Kid- flashkay, Albert.finnart, Nevermore 0, Wombatville, Karthick Iyer, Glocalglocal, Akshysonavane, Advik 444, Thephotojournalist7, Me- ,Diet671, Farid Ahmad Art ,پوریا غلامی اسفیدواجانی ,diaholix, Anju Raghav, EsmeraldaHandley, Felixkrater, Willgibbens, Zcarstvnz Dortar, Nmirzabeigi and Anonymous: 1051 • Unit still photographer Source: https://en.wikipedia.org/wiki/Unit_still_photographer?oldid=745273748 Contributors: DocWatson42, Danc, RHaworth, DVdm, Malcolma, SmackBot, Chris the speller, E-Kartoffel, Ekabhishek, Albany NY, Koplimek, Ilyushka88, Jmed- land, WereSpielChequers, Phynicen, MystBot, Addbot, Yobot, FrescoBot, Cramyourspam, Hollywood Shooter, Dewritech, GoingBatty, Southwell.marc, ClueBot NG, Helpful Pixie Bot, Archive1935, Mrt3366, Dexbot, Agentkronus, HamiltonFromAbove, Bender the Bot and Anonymous: 3 • Nicéphore Niépce Source: https://en.wikipedia.org/wiki/Nic%C3%A9phore_Ni%C3%A9pce?oldid=761579114 Contributors: Andre Engels, Ericd, Leandrod, Infrogmation, Wapcaplet, Karada, Kimiko, Sarrazip, Nv8200pa, Lumos3, Riddley, Robbot, Mayooranathan, Sunray, Lzur, Wyss, Curps, Bovlb, Chowbok, Antandrus, MarkSweep, Beardless, Michael L. 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Lewis, Widr, Sasakubo1717, Helpful Pixie Bot, 1988m, Darafsh, Atomician, Joydeep, TBrandley, BattyBot, Onrandom, Ashley47808, GoShow, Jethro B, Mogism, VI- AFbot, Carl263, Nimetapoeg, Monkbot, Coolzlzzlzlzzl, Iwilsonp, AlphaBetaGamma01, KasparBot, Flugs, CAPTAIN RAJU, Wiki7sq, Marianna251, GreenC bot, Cumchugler and Anonymous: 262 • Hércules Florence Source: https://en.wikipedia.org/wiki/H%C3%A9rcules_Florence?oldid=727611750 Contributors: Deb, Rsabbatini, Leandrod, DragonflySixtyseven, Bender235, Sietse Snel, Deanos, Nwerneck, Cmdrjameson, Ddlamb, Commander Keane, BD2412, CJLL Wright, Gdrbot, Wavelength, RussBot, The Ogre, Mikix, SmackBot, Rebollo fr~enwiki, Ze miguel, Unyoyega, Commander Keane bot, CSWarren, TCY, Pauloeagleton, Dantadd, Ser Amantio di Nicolao, BrownHairedGirl, Dicklyon, Tonsa, Iridescent, Phl3djo, Cydebot, Aldis90, Thijs!bot, Gcm, Waacstats, MetsBot, AkankshaG, TheMindsEye, TXiKiBoT, Phe-bot, Sudastelaro, RogDel, Addbot, Lightbot, Yobot, TaBOT-zerem, Lunazi, Xqbot, GrouchoBot, Pgcysneiros, DefaultsortBot, Full-date unlinking bot, RjwilmsiBot, AVarchaeologist, Helpful Pixie Bot, VIAFbot, OccultZone, KasparBot and Anonymous: 12 • George Eastman Source: https://en.wikipedia.org/wiki/George_Eastman?oldid=762115668 Contributors: Mav, William Avery, Rfordh, Isis~enwiki, Infrogmation, HollyAm, Tregoweth, CesarB, Egil, Ahoerstemeier, Jebba, Zoicon5, Dmercer, Johnleemk, Twang, MK~enwiki, Riddley, Robbot, Blainster, Profoss, SpellBott, Phil5329, Peruvianllama, Everyking, Michael Devore, Sunny256, Antandrus, Oneiros, DragonflySixtyseven, Karl-Henner, Klemen Kocjancic, Thorwald, Zro, Mike Rosoft, D6, Discospinster, Lady Byron, Silence, Kikie, Roy- Boy, Rimshot, Adambro, R. S. Shaw, Rajah, LibraryLion, Alansohn, 3.14159265, AzaToth, Snowolf, Wtmitchell, Animated Cascade, Jsorensen, BDD, Jef-Infojef, Richard Arthur Norton (1958- ), LOL, MONGO, Hbdragon88, Macaddct1984, Anson2995, Mandarax, Soonercary, Rjwilmsi, Nightscream, SMC, The wub, TBHecht, FlaBot, Nberardi, RexNL, Gurch, Srleffler, King of Hearts, DVdm, Korg, Bgwhite, The Rambling Man, YurikBot, TexasAndroid, Split, Sceptre, RussBot, Notyourbroom, RadioFan, Manop, Aag24, Wimt, Rattle- Man, Cquan, SaxofoneDL, Howcheng, Raven4x4x, Zwobot, Leotohill, DeadEyeArrow, Bronks, ObuK, Bgoldnyxnet, Zzuuzz, Homageto- catalonia, J. Van Meter, Cynicism addict, Mike Selinker, Donald Albury, Katieh5584, Kf4bdy, Xcen, Mlibby, A bit iffy, SmackBot, Cubs Fan, Iacobus, Person man345, Johnrcrellin, DanielPenfield, Edgar181, HalfShadow, Freddy S., PeterSymonds, Gilliam, Ennorehling, Carl.bunderson, Chris the speller, Bluebot, RayAYang, Lenin and McCarthy, Can't sleep, clown will eat me, Shalom Yechiel, Writtenright, Tim Sailor, Greenshed, NoIdeaNick, Bigturtle, Nakon, Ozdaren, ElizabethFong, Michael David, The undertow, LtPowers, BrownHaired- Girl, Teneriff, John, LWF, Osbus, DavidJHowe, Kirkoconnell, Waggers, SandyGeorgia, Geologyguy, Jim7739, Iridescent, Joseph Solis in Australia, Courcelles, Xcentaur, James pic, Mattbr, Pledgetoemerica, TwinsMetsFan, Jimknut, Avapoet, Neelix, Doctorevil64, Slazenger, Cydebot, Karimarie, Mortus Est, Intelligentguest, Dsf, Scooteristi, Thijs!bot, Epbr123, Biruitorul, Paragon12321, Highlandlord, Copper- Kettle, N5iln, Corgana, Dawnseeker2000, Mentifisto, AntiVandalBot, RobotG, Jawsper, Tjmayerinsf, Wahabijaz, ClassicSC, Mikenor- ton, Leuko, Struthious Bandersnatch, Andonic, Snowolfd4, Mr. Erik, DMGualtieri, VoABot II, Waacstats, Catgut, Animum, Cliché Online, Piezocuttlefish, LorenzoB, DerHexer, MartinBot, STBot, Treecake88, Rettetast, J.delanoy, Captain panda, Maoquai, Uncle Dick, Sirtrebuchet, Choihei, Tdadamemd, Dispenser, It Is Me Here, Gypsydoctor, PandoraX, Patrickdiego, Richard D. LeCour, NewEng- 154 CHAPTER 11. TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

landYankee, Fountains of Bryn Mawr, Yong54321, Kd4dcy, Jrcla2, Prhartcom, Christophore, KylieTastic, Juliancolton, S (usurped also), GrahamHardy, FEastman, Split Infinity, Rianthas, X!, Amaraiel, IWhisky, ABF, Hersfold, Jeff G., TheMindsEye, Emeraldcrown, Philip Trueman, TXiKiBoT, Oshwah, Technopat, Daveisall, GcSwRhIc, Crohnie, Qxz, Graymornings, Enviroboy, Burntsauce, Truthanado, Davemileham, Logan, EJF, SieBot, DBishop1984, Triwbe, Keilana, Happysailor, Flyer22 Reborn, MaynardClark, Frosty66338, T24G, Omshivaprakash, Steven Crossin, Aiden Fisher, Kumioko (renamed), Arthana, Vanished user ewfisn2348tui2f8n2fio2utjfeoi210r39jf, Janggeom, Efmovie, Fakhredinblog, Thomjakobsen, Escape Orbit, Fredmdbud, ClueBot, PipepBot, The Thing That Should Not Be, All Hallow’s Wraith, Birisi, Parkjunwung, Philosophy.dude, Ekettell, Leadustokings, Estevoaei, Parkwells, Trivialist, DragonBot, McMarcoP, Awickert, Excirial, WikiZorro, Nercromancy?, Iner22, Muhandes, NuclearWarfare, Dekisugi, Frederico1234, Thingg, Vegetator, Aitias, Versus22, BobJones77, Kuchipatchiluver, Jax 0677, Spitfire, SwirlBoy39, Stickee, Werdnawerdna, DaL33T, Rigby27, Alexius08, Trav- isAF, MystBot, Good Olfactory, EEng, Kbdankbot, Addbot, Langal1, AVand, Kirk5kirk, Tcncv, Youre dreaming eh?, TutterMouse, Can- didesgarden, CanadianLinuxUser, Kristjana~enwiki, MrOllie, Download, Urbourbo, SamatBot, Tide rolls, Lightbot, Luckas-bot, Yobot, JJARichardson, II MusLiM HyBRiD II, Max Density, THEN WHO WAS PHONE?, Tempodivalse, Zanniew, AnomieBOT, Kristen Eriksen, Kingpin13, Materialscientist, Aff123a, Bob Burkhardt, Shoowak, Xqbot, Maddiexroarr, JimVC3, Capricorn42, MaxBech1975, Aashaa, INeverCry, A.amitkumar, FrescoBot, Caliboy0051, D'ohBot, Citation bot 1, Chenopodiaceous, I dream of horses, Plucas58, Tinton5, Fat&Happy, Serols, Wiki editor 6, Dtmaurer, Vrenator, Capt. James T. Kirk, Reaper Eternal, Webbg12365, Weedwhacker128, The Utahraptor, RjwilmsiBot, EmausBot, John of Reading, Orphan Wiki, WikitanvirBot, Look2See1, Super48paul, RA0808, Re- namedUser01302013, Gwillhickers, Wikipelli, Dcirovic, ZéroBot, Ebrambot, Neryam, Wikfr, Wagino 20100516, Romanianlies, Pe- ter Karlsen, KarlsenBot, Rocketrod1960, ClueBot NG, Rich Smith, Sanclementebob, Rtucker913, Habib Muradov, AuroraNatalie, Widr, HockeyDude18, Owie4, Helpful Pixie Bot, Iste Praetor, Strike Eagle, Calabe1992, BG19bot, TCN7JM, Juro2351, MusikAnimal, Kendall-K1, Compfreak7, Analiss1, Bilderbear, Glacialfox, JOHNJEOPARDY007, Klilidiplomus, Zackmann08, Anbu121, TheEmbod- imentOfResponsibility, Antares Geminorum, Th4n3r, A R Buschert, BuzyBody, Mogism, Lugia2453, VIAFbot, Joshtaco, Graphium, Aj Mortl, Tentinator, NYBrook098, Cloudyjbg27512, Colalibrarian, Andrewmhhs, OnceaMetro, JaconaFrere, Wallywalker, Elblanco123, William Kincaide, HMSLavender, Philmv, Aedokpayi, Kyranks, Unsoundowl, Jdhfbdjfb, KasparBot, Nosy thegazelle, DatGuy, Livy17, Idenitor, GreenC bot, Bender the Bot, JosVan, JoshYaz and Anonymous: 603

• Ansel Adams Source: https://en.wikipedia.org/wiki/Ansel_Adams?oldid=762634027 Contributors: Andre Engels, William Avery, Olivier, Ericd, Leandrod, Edward, Infrogmation, D, Bbtommy, JohnOwens, Ellywa, Ahoerstemeier, Mxn, Hike395, Hashar, Mulad, RodC, Dino, DJ Clayworth, Maximus Rex, David Shay, Tempshill, Samsara, Spinster, Dimadick, Bearcat, Robbot, Dale Arnett, Goethean, Sam Spade, Postdlf, Nilmerg, Clngre, Wikibot, JackofOz, Goodralph, Alan Liefting, Pabouk, Wolf530, Vfp15, Tom harrison, Iridium77, Quinwound, Solipsist, Utcursch, Slowking Man, Tgwena, Quadell, Antandrus, Jfliu, Kaldari, PDH, Phil Sandifer, Sam Hocevar, D6, Dis- cospinster, Brianhe, Rich Farmbrough, Rhobite, Rama, UCZK, User2004, Ivan Bajlo, Pavel Vozenilek, Paul August, ESkog, Jnestorius, RJHall, Aurora~enwiki, Mwanner, Art LaPella, Nrbelex, Bobo192, NetBot, Smalljim, Viriditas, Darwinek, Andersju, NathanHawk- ing, Sam Korn, Krellis, JesseHogan, Hooperbloob, HasharBot~enwiki, Jumbuck, Alansohn, Arthena, Friday13, Andrew Gray, Hoary, Lightdarkness, Phyllis1753, Velella, Cburnett, Joekoz451, Mikeo, Zxcvbnm, Computerjoe, Tobyc75, Ceyockey, Japanese Searobin, Ron Ritzman, Fontgirl, Woohookitty, FeanorStar7, Hbobrien, Miaow Miaow, MONGO, Hypercube~enwiki, Hbdragon88, DESiegel, Dysep- sion, Emerson7, Mandarax, Graham87, Jack Cox, Sparkit, Bunchofgrapes, Dananderson, Coneslayer, Rjwilmsi, Mayumashu, Koavf, Rogerd, Lockley, Tyoda, MZMcBride, Stevekeiretsu, The wub, FlaBot, Triconda, RexNL, Gurch, Hunterd, Chobot, DVdm, Cactus.man, Mysekurity, Gwernol, Algebraist, The Rambling Man, YurikBot, Beroos, Peter G Werner, Phantomsteve, Me and, Epolk, Yllosubmarine, Gaius Cornelius, CambridgeBayWeather, Pseudomonas, Wimt, NawlinWiki, Wiki alf, Boneheadmx, Chick Bowen, Johann Wolfgang, RazorICE, Jpbowen, Tony1, Wknight94, Sstigler, Nikkimaria, Tyrenius, Fourohfour, Crunch, Mmcannis, DVD R W, Tom Morris, A bit iffy, SmackBot, Bobet, Slashme, KnowledgeOfSelf, Pgk, C.Fred, Shooga~enwiki, WookieInHeat, Eskimbot, Kintetsubuffalo, Yam- aguchi, Gilliam, Ohnoitsjamie, Hmains, Ckerr, Exlibris, Tv316, Keegan, Persian Poet Gal, Thumperward, Whispering, Wygk, Sb617, Zsinj, Can't sleep, clown will eat me, Duncancumming, Rrburke, Edivorce, Stevenmitchell, Cordless Larry, SteveHopson, Kukini, An- drei Stroe, Ohconfucius, Will Beback, Michael David, Ozhiker, Ser Amantio di Nicolao, Tomatoman, Teneriff, John, Microchip08, Heimstern, Numbxconflict, Accurizer, Javit, IronGargoyle, Syrcatbot, Mrshuptrine, TFNorman, Martinp23, Emulsive Sinner, Sleestack, Waggers, Peyre, Evjohnsen~enwiki, BranStark, Fan-1967, Iridescent, Majora4, Trialsanderrors, Dpeters11, Tawkerbot2, Kevin Murray, MightyWarrior, JForget, InvisibleK, Anthony22, James pic, Makeemlighter, Beam er, Pyrope, CmdrDan, Montanabw, Karenjc, Chiche- ley, Cydebot, Bpm32, Mike Christie, Gogo Dodo, Corpx, Thewinchester, Daniel J. Leivick, Quidnunct, Nabokov, Epbr123, Sobreira, Marek69, Dalahäst, Missvain, CharlotteWebb, Gadgetdude, MikeDunford, Escarbot, Mentifisto, AntiVandalBot, RobotG, Luna Santin, Seaphoto, Dr. Blofeld, Jj137, Modernist, Tillman, Altamel, Sluzzelin, Bballdude64, Xeno, JeffConrad, Time3000, Magioladitis, Con- normah, VoABot II, Helgrind1992, JNW, Ggetzin, Theroadislong, Sgr927, Atorero, DerHexer, Jr2349, Shadesofgrey, Defenestrating Monday, SamShearman, MartinBot, CommonsDelinker, Manticore, J.delanoy, Pharaoh of the Wizards, MrBell, Libroman, Gfox88, BrokenSphere, Johnbod, Mahewa, Taglag, Janus Shadowsong, Aboutmovies, Gurchzilla, NewEnglandYankee, SJP, FJPB, Daniel bus- tamante, Juliancolton, STBotD, Tiggerjay, Vanished user 39948282, R. A. C., Pdcook, Pedauque~enwiki, DASonnenfeld, Halmstad, CardinalDan, Funandtrvl, Spellcast, Archedroof, Vox Humana 8', Black Kite, X!, Deor, ABF, Mrh30, TheMindsEye, Kwsn, Omegas- tar, Philip Trueman, TXiKiBoT, Mercurywoodrose, Malinaccier, Walor, Wikidemon, GcSwRhIc, Combatentropy, Arnon Chaffin, Qxz, GlobeGores, LeaveSleaves, Blflm, Bcody80, Lshiozaki, Flash19901, Maxim, SpecMode, RandomXYZb, Krzysfr, Huckle B., Roxya, Enviroboy, Alecoalec, Monty845, Rep07, Logan, Ponyo, Tresiden, Mungo Kitsch, Yintan, Nathanandbrytinee, Keilana, Serveaero2, Bentogoa, Flyer22 Reborn, Oxymoron83, Byrialbot, Smilesfozwood, Lightmouse, IdreamofJeanie, OKBot, Neoguru12, Maelgwnbot, Sir~enwiki, Pianoman320, Prof saxx, Vanyagor, Denisarona, Escape Orbit, Finetooth, A21sauce, C0nanPayne, Ldabrahams, ImageR- emovalBot, ObfuscatePenguin, Loren.wilton, ClueBot, Yamanbaiia, Binksternet, The Thing That Should Not Be, All Hallow’s Wraith, Acarat, HannahMiley, Niceguyedc, Bokan, Scotwriter, Cnsp40, LizardJr8, Bballer21212121, PMDrive1061, Excirial, Jusdafax, Erebus Morgaine, Eeekster, Abrech, Liist3, Rhododendrites, ParisianBlade, AndyFielding, Psinu, Hasteur, Polly, Arguepower22, Light show, Cmacauley, 9Nak, MelonBot, Kruusamägi, Rhbo2, Fullmetal102590, Glacier Wolf, Vanished User 1004, XLinkBot, Ernst-Günther Baade, Toolssmile34, Gerhardvalentin, Billy22222, Caaristiona, Little Mountain 5, Nunya1121, Mifter, Kentlewan, Noctibus, Mar- madukePercy, Lexaxis7, Good Olfactory, TFBCT1, Imperial Star Destroyer, Addbot, Proofreader77, 1mcdonald1, Some jerk on the Internet, Thomas888b, PaterMcFly, Rustyrock933, CanadianLinuxUser, Samus3456, Socerizard, JPLei, Alsoam, Glane23, AndersBot, Chzz, DLake37, LinkFA-Bot, Americanfreedom, Levangel, Tide rolls, Chrisjames123, Okita2, LuK3, Legobot, Blah28948, Luckas-bot, Jackie, ArtPhotoLover, Tannkrem, QueenCake, IW.HG, AnomieBOT, Andrewrp, DemocraticLuntz, Jim1138, Neptune5000, Piano non troppo, Sz-iwbot, Materialscientist, Inafinus, Knowledge Incarnate, ChristianH, Xqbot, Capricorn42, Mononomic, Tomwsulcer, Omni- paedista, Illini407, Krscal, Shadowjams, Magician1111, Erik9, Hiart, Green Cardamom, FrescoBot, Kolobok1971, Climent Sostres, FrankMJohnson, D'ohBot, Jordanmichaelhill, Bhoeschcod, Jun Nijo, Rheadcannon, Lady Lotus, OriumX, Pinethicket, I dream of horses, Metricmike, Chaseolio, BigDwiki, Serols, ContinueWithCaution, Johnniecummins, Cullen328, B-Machine, Cramyourspam, Kgrad, Trappist the monk, NortyNort, Lotje, Callanecc, Catsniff, Vrenator, DragonofFire, Weedwhacker128, Chad456, DARTH SIDIOUS 11.1. TEXT 155

2, Noraft, Onel5969, Lopifalko, Hajatvrc, Salvio giuliano, LcawteHuggle, DASHBot, DoRD, Look2See1, Santedorazio, GoingBatty, Calliopeguy, Natashajpearce, Tommy2010, Wikipelli, ZéroBot, Josve05a, Carolinefreedman, XXxJonnyxXx, Tolly4bolly, Jsayre64, Rc- sprinter123, Yesitsraining, L Kensington, Donner60, Saralicia, Chewings72, ClamDip, Iketsi, Spicemix, 123hihi123, Gestrid, ClueBot NG, Iiii I I I, Kingcruzer, A520, Widr, Helpful Pixie Bot, Novusuna, Alafarge, HMSSolent, Jonathanmeyers1, Calabe1992, KLBot2, Garrapata, BG19bot, Scobra77, Pacerier, MusikAnimal, Mark Arsten, Dentalplanlisa, Chrispychrisno1, Itgit100, Pawbrig, EricEnfer- mero, ~riley, Kristinaeking, Mrt3366, ChrisGualtieri, Laberkiste, Winseybash, EditorE, Dexbot, Annehand, Pallino50, Webclient101, Makecat-bot, VIAFbot, Hair, Paj60wiki, WilliamDigiCol, SPECIFICO, Ejcskier, Me, Myself, and I are Here, Hillbillyholiday, Reverse polish, Naereen, Epicgenius, Backstrand, American In Brazil, Remembrent, Everymorning, Infamous Castle, B14709, AnnaBananaRama, Phazd, Chetankale21, Kaitymh, Quenhitran, JWNoctis, Paul2520, Xenxax, Kmcauliffe, W.carter, Kylo Ren, Lightandformllc, AKS.9955, Thibaut120094, MartinaDee, Tempany boland, Kinetic37, Jakemhurst, Rachasong, Abount, Aertex, Anselfan00, Kabobbobak, Zort- wort, Dennisdil, GeneralizationsAreBad, KasparBot, Anikan322, Getrekt9000, CAPTAIN RAJU, Dilidor, Gan212005, Ghert501, Inter- netArchiveBot, RRGreenough, Latisha Gonzalez, GreenC bot, Marcsilber-ayp, Cosmo0297, Bender the Bot, Ribesh pokharel, Imjavivco and Anonymous: 905 • Henri Cartier-Bresson Source: https://en.wikipedia.org/wiki/Henri_Cartier-Bresson?oldid=762447016 Contributors: Tarquin, Rmher- men, SimonP, Zadcat, Hephaestos, Ericd, Karl Stas, Karada, Penmachine, Docu, Lommer, Hashar, Popsracer, Charles Matthews, Jjshapiro, Neal Finne, Samsara, Shizhao, Topbanana, JorgeGG, Bearcat, Robbot, Hoot, JackofOz, Profoss, Lupo, Lupin, Joconnor, Yekrats, Jilland- Jack, Btphelps, Neilc, D3, Ilikeverin, Scraggy4, MarkSweep, Gauss, Burgundavia, Fg2, D6, David Sneek, Simonides, Apalsola, Imroy, Rich Farmbrough, Pmsyyz, Rama, Bender235, ESkog, Aranel, Aecis, Edward Z. Yang, Xed, Jpgordon, Robotje, Darwinek, Jumbuck, Alansohn, Denoir, Friday13, Bamber Gascoigne, Sl, Hoary, Fawcett5, Gaurav1146, Phyllis1753, Max rspct, Macgruder, CWH, Robert K S, JeremyA, GregorB, Sendai2ci, CPES, Ae7flux, Mandarax, BD2412, Ketiltrout, Sjö, Rjwilmsi, Rogerd, Rklisowski, Zbxgscqf, Lock- ley, Quiddity, Bubba73, Docether, The Rumour, Yamamoto Ichiro, SchuminWeb, Pinkville, Thenewdeal87, Chobot, Gdrbot, Adoniscik, YurikBot, Tommyt, Gyre, RussBot, Splash, French Librarian, Bullzeye, Manxruler, NawlinWiki, Wiki alf, Czyrko, Malcolma, Brandon, Jpbowen, Moe Epsilon, Xaje, Mooveeguy, Rwalker, JdwNYC, Speedoflight, Wknight94, Pil56, Nikkimaria, KGasso, Little Savage, Dis- ambigBot, Tom Morris, Joshbuddy, SmackBot, PiCo, Roger Davies, Haymaker, Hydrogen Iodide, D C McJonathan, Eskimbot, Popo le Chien, JJay, Chriskelvin77, Gilliam, Hmains, GoneAwayNowAndRetired, Bluebot, Nyikita, MalafayaBot, Dustingc, SteveHopson, Zea- mays, Rossp, Xdamr, Khazar, John, Gobonobo, Dragonballyee, IronGargoyle, Syrcatbot, Beetstra, Storm2005, Álvaro M, AntOnTrack, Violncello, Iridescent, Zootsuits, Skek, 20th Century (Zenhan) Art, Bine maya, Billy Hathorn, Tawkerbot2, CmdrObot, Rawling, JohnCD, Andrew Delong, Funnyfarmofdoom, ST47, Thijs!bot, Epbr123, Edwardx, Majorly, Atavi, Modernist, Chill doubt, JAnDbot, MER-C, Skomorokh, JNW, Jerome Kohl, Waacstats, Catgut, Theroadislong, Schumi555, Markus451, Clintonesque, MartinBot, Pjt56, Bus stop, CommonsDelinker, J.delanoy, DrKay, Trusilver, Jamesmcardle, Shawn in Montreal, Balthazarduju, Ipigott, Mr atrocity, K8bcase, Squids and Chips, Narikha, Thedjatclubrock, TheMindsEye, WOSlinker, TXiKiBoT, Helwith boy, Technopat, Anonymous Dissident, Oxford- wang, BotKung, Mikevaleriani, Ponyo, Gorpik, Tiddly Tom, Caltas, Twinkler4, Yintan, GrooveDog, Xavier-Raphael, Flyer22 Reborn, Rosspz, Monegasque, Rédacteur Tibet, Wmpearl, KPH2293, Lightmouse, WacoJacko, Arthana, Vojvodaen, Maelgwnbot, Janggeom, WikiLaurent, Budhen, ImageRemovalBot, Mx. Granger, ClueBot, Avenged Eightfold, The Thing That Should Not Be, Cp111, Park- wells, Excirial, Telrúnya, Redthoreau, Omegaosiris, 6tuart, Frongle, Subash.chandran007, Versus22, Egmontaz, Bchalifour, Nemhun, Avoided, NellieBly, Lexaxis7, Vy0123, Surtsicna, Addbot, JasonNoble, Jojhutton, Bushfire Bill, Ronhjones, Underwaterbuffalo, DavidI- ,Gail, Yobot, Worldbruce ,ماني ,HHarvey, CanadianLinuxUser, Glane23, AndersBot, Numbo3-bot, Tide rolls, Lightbot, Toothswung MarcoAurelio, ArtPhotoLover, Bility, AnomieBOT, Xqbot, Melmann, Jaltcoh, Jburlinson, Bry Bahia, MetzMaboo, GrouchoBot, Om- nipaedista, Celuici, Eastwood33, Mcelleih, Kolobok1971, Yerauy, I dream of horses, Kgrad, Trappist the monk, Dinamik-bot, Vrena- tor, RjwilmsiBot, Lopifalko, Thedragonclaw, EmausBot, John of Reading, Yeahboey11, Look2See1, ScottyBerg, K6ka, Maimeleipzig, Puddincup, Alpha Quadrant, H3llBot, SporkBot, L Kensington, ChuispastonBot, Lightspeedx, Gestrid, Petrb, ClueBot NG, Matthias- paul, ConcernedPhotographer, Eos różanopalca, Cntras, Helpful Pixie Bot, AlterBerg, Curiocurio, Op47, Christophe.moustier, Mdy66, RscprinterBot, Sanjja2201, Mmmmatthewwww, Pratyya Ghosh, The Illusive Man, Pallino50, Sixtyseemonkey, Libresavoir, Lsmll, Davi- doddsocksedge, ChristianSchd, Braveyoda, My name is not dave, MateoTimateo, Ginsuloft, Kahtar, Manul, Ack1988, W.carter, Tslnadar, Cewbot, Mcana, Doggyjoe9, KasparBot, Kurousagi, Mindram, X12-1080, Mistermontezuma, Bender the Bot and Anonymous: 348 • Sebastião Salgado Source: https://en.wikipedia.org/wiki/Sebasti%C3%A3o_Salgado?oldid=759031525 Contributors: William Avery, SimonP, Rsabbatini, Viajero, Joy, Owen, Robbot, DavidA, Raeky, Patrick-br, Guanaco, MarkSweep, Vina, Sam Hocevar, Picapica, D6, Discospinster, Rich Farmbrough, JoeSmack, Jpgordon, CDN99, AKGhetto, Darwinek, Biesior~enwiki, TheParanoidOne, Mandarax, BD2412, Crazycomputers, Tantei Kid, Alphachimp, YurikBot, Bruxism, Bota47, LeonardoRob0t, Tyrenius, Huldra, Attilios, SmackBot, Yamaguchi, Gilliam, CSWarren, Can't sleep, clown will eat me, Racklever, Dantadd, SteveHopson, Aiddy, DO11.10, John, Lazy- laces, Beetstra, Kripkenstein, Iridescent, CmdrObot, JohnCD, NickW557, Maclure, Chicheley, Trefethen, Thijs!bot, Epbr123, HappyIn- General, Andyjsmith, QuiteUnusual, Movses, JAnDbot, Gcm, Waacstats, DrRon~enwiki, Guycarmeli, Rkohin, Emmarella, MKoltnow, Krieger2000, VolkovBot, Mikeyp3, TheMindsEye, Omegastar, LeaveSleaves, Snowbot, Multivisual AB, VSerrata, Wiwi788, George- bech, Malcolmxl5, Jenuvio, ClueBot, Excirial, AgnosticPreachersKid, MystBot, Addbot, Blethering Scot, LaaknorBot, AndersBot, LuK3, Luckas-bot, Yobot, Themfromspace, AnomieBOT, Materialscientist, Xqbot, Jmundo, Guto2003, Omnipaedista, RjwilmsiBot, Lopi- falko, KissmeKate, EmausBot, Look2See1, Dewritech, ZéroBot, MonicaPronski, AcidAlex, Tadatakamorita, ClueBot NG, O.Koslowski, Giso6150, Membeth, VIAFbot, Donfbreed2, Winsley123, Nicolemarie0, W.carter, Tedzio99, Stan-art-lover, InfoDataMonger, Annewk, KasparBot, Slovebz, Stephaniebing, Bender the Bot, Velkyvezir007 and Anonymous: 82 • Robert Frank Source: https://en.wikipedia.org/wiki/Robert_Frank?oldid=761393104 Contributors: Infrogmation, Lexor, EdH, RayKiddy, Kokiri, Postdlf, Jrdioko, Woggly, MarkSweep, Sam, Joyous!, D6, RedWordSmith, Discospinster, Rich Farmbrough, Bender235, MBisanz, NetBot, Darwinek, Mdd, Hoary, Hu, Alai, Morning star, Canadian Paul, BD2412, Sjakkalle, Mayumashu, Rogerd, Lockley, Mick gold, MarnetteD, FlaBot, SchuminWeb, Pinkville, Darlene4, YurikBot, IanManka, Gaius Cornelius, Rsrikanth05, Sandstein, Nikki- maria, Closedmouth, Little Savage, Whobot, Eenu, Vulturell, SmackBot, KnowledgeOfSelf, Saihtam, Verne Equinox, Delldot, Eskim- bot, Arniep, Jim Casper, Bluebot, Chlewbot, SteveHopson, Wizardman, AmiDaniel, Michael Bednarek, Syrcatbot, Ckatz, Marylan- dArtLover, Xraytwonine, Walter Dufresne, ShelfSkewed, WeggeBot, Neelix, Cydebot, Travelbird, Gnfnrf, BetacommandBot, Michael Furey, Sing66, Nick Number, Jguad1, Modernist, David Shankbone, Ericoides, Misheu, Waacstats, Ronaldpetrou, Lutzv, MetsBot, Yrgh, Fotoeye, Libroman, Jamesmcardle, HiEv, TheMindsEye, TXiKiBoT, NPrice, GcSwRhIc, Ethicoaestheticist, BOTijo, Ponyo, SieBot, Æthelwold, Yintan, Agunther, ImageRemovalBot, Mcd1400~enwiki, All Hallow’s Wraith, Eric etheridge, 2000 Dad, The Watusi, Addi- tionalupdates, Mozucat, Alexbot, Gefter, Sophievogt, Nardog, 6tuart, DumZiBoT, XLinkBot, AlexGWU, Jim Sweeney, Addbot, DAP- inc, Hsaya, Author23, MrOllie, LaaknorBot, Tide rolls, Lightbot, Yobot, Crimsonedge34, ArtPhotoLover, Solo Zone, Gobears87, Rrrt56, Sunwin1960, Omnipaedista, Wilbeaux, FrescoBot, Neptunekh2, Beemad, InspectorSands, Toysoffire, Submarginal, I dream of horses, ,DARTH SIDIOUS 2, Erodoto1 ,بدارين ,Skyerise, Additional-new, Tsinfandel, Full-date unlinking bot, Styrous, Ccloskey, Portriga 156 CHAPTER 11. TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

Mean as custard, Lopifalko, EmausBot, John of Reading, Look2See1, GoingBatty, Artiquities, Wikipelli, Mkravitz, ClueBot NG, Dae- han, Colinj21, ConcernedPhotographer, Betempte, ProPho, Delusion23, Bernie44, Widr, Tomseattle, Helpful Pixie Bot, BG19bot, Ex- ecupix1, Sleeping is fun, Saliency~enwiki, Jcebra, Ginsuloft, W.carter, Genarians, Benaobobby, Micnic jones, KasparBot, BD2412bot, Nhwiki2015, Fotosteve, Bender the Bot and Anonymous: 130 • Boris Mikhailov (photographer) Source: https://en.wikipedia.org/wiki/Boris_Mikhailov_(photographer)?oldid=759908195 Contribu- tors: Magnus Manske, Mduvekot, Hoary, Robwingfield, DESiegel, Avalon, Arthur Rubin, SmackBot, JFHJr, Yulia Romero, Ohconfu- cius, Ser Amantio di Nicolao, Gil Gamesh, CmdrObot, Tec15, Blaise Mann, Thijs!bot, Frank, Waacstats, CommonsDelinker, J.delanoy, Ethicoaestheticist, Bereznitsky-gallery, VAwebteam, Steven Crossin, Rosiestep, TFCforever, Plastikspork, Mild Bill Hiccup, Niceguyedc, Gtstricky, Muro Bot, Чръный человек, Addbot, Turzh, Orangebag, Jatayou, AdamSiska, Omnipaedista, FrescoBot, Aron Morel, Di- annaa, RjwilmsiBot, Lopifalko, Dewritech, Lucyna Galik, Artiquities, ZéroBot, Sergii.Fiot, ClueBot NG, CharlotChaplon, Lea Sarraf, Khazar2, VIAFbot, W.carter, KasparBot, InternetArchiveBot and Anonymous: 16 • Robert Capa Source: https://en.wikipedia.org/wiki/Robert_Capa?oldid=762962651 Contributors: Gsl, Deb, Ericd, Llywrch, Lquilter, Karada, Skysmith, Dpol, Lommer, RodC, Zoicon5, Peregrine981, Raul654, Spinster, Bearcat, Robbot, RickDikeman, Lupo, Zaui, Xanzzibar, Adam78, Alan Liefting, Ancheta Wis, DocWatson42, Chinasaur, Bobblewik, Österreich, Kjetil r, MarkSweep, PACO~enwiki, Sam Hocevar, Autair, Neutrality, Robin klein, Klykinsly, D6, Simonides, Apalsola, Sicilarch, Rama, Vsmith, El C, Aurora~enwiki, Bobo192, NetBot, Smalljim, Api, Nborders1972, Darwinek, Andersju, Alfanje~enwiki, Sherurcij, Supine, Hoary, Fritzpoll, Gaurav1146, Phyllis1753, Erik, Colin Kimbrell, ProhibitOnions, Suruena, Evil Monkey, Kusma, Macgruder, PunkPod, Zntrip, Elchup4cabra, CWH, Simon Shek, JeremyA, 171046, Hbdragon88, Slocombe, GregorB, Stefanomione, Sparkit, Melesse, Rjwilmsi, Koavf, Jweiss11, Carl Logan, Lockley, Borksamoht, RexNL, Pinkville, Rbondi, Bgwhite, Cactus.man, Shervinafshar, YurikBot, Jeffpw, Ecemaml, Russ- Bot, Hellbus, NawlinWiki, Brandon, Jpbowen, Moe Epsilon, Tony1, Rwalker, Zelikazi, Alarob, Zello, Denisutku, LeonardoRob0t, Curpsbot-unicodify, Spaceboy492, Jonathan.s.kt, GrinBot~enwiki, Goob, Cig1705, Tom Morris, Vulturell, SmackBot, Tharsaile, Arniep, JJay, SmartGuy Old, Yamaguchi, Gilliam, Chris the speller, Quinsareth, Colonies Chris, Duncancumming, Msr69er, OrphanBot, Afghanets~enwiki, Bolivian Unicyclist, Threeafterthree, Shamir1, SteveHopson, Bejnar, Xdamr, John, General Ization, CPMcE, Good- nightmush, Peterlewis, SpyMagician, Syrcatbot, Beetstra, SQGibbon, RodCrosby, Longshot14, JoeBot, GiantSnowman, Randroide, Cy- debot, Edwardm, William Wiltshire~enwiki, Pustelnik, Jimcripps, PKT, JamesAM, Thijs!bot, Ning-ning, Sagaciousuk, Esemono, Liz- conno, PJMcGivney, TXiKi, AntiVandalBot, Seaphoto, Cpreovol, Jayron32, Tjmayerinsf, Modernist, Szlevi, JAnDbot, Nwe, Marneus, VoABot II, Waacstats, Freefry, KConWiki, Japo, Markus451, LexR, CommonsDelinker, Johnpacklambert, J.delanoy, Kimse, Mau- rice Carbonaro, Wikip rhyre, Ipigott, NewEnglandYankee, DadaNeem, Idioma-bot, Rdfr, Hammersoft, VolkovBot, Itsfullofstars, Indu- bitably, TheMindsEye, BertSen, Broadbot, LeaveSleaves, Lamro, Rug151617, Ensetaro, SieBot, Ttony21, YonaBot, KGyST, Android Mouse Bot 3, Rb3photo, Aberego, Randy Kryn, Squash Racket, Chrisjusell, ClueBot, Burks88, The Thing That Should Not Be, All Hallow’s Wraith, Sixtieth city, Hafspajen, Desertfax, Parkwells, David C Minor, Alexbot, Asmaybe, Gtstricky, Beepy, Iohannes Animo- sus, Redthoreau, Light show, Footballfan190, SoxBot III, DumZiBoT, XLinkBot, Kormin, Cohda2, Spoonkymonkey, MarmadukePercy, Avi1111, Good Olfactory, Radh, Addbot, Aljays, Tcncv, Fluffernutter, Ducio1234, Sherlina, Favonian, Eauhomme, Lightbot, Kiril Sime- onovski, Kabóca, Narayan, Legobot, Rwintle, Luckas-bot, Yobot, Jackie, Kbarbican, Tempodivalse, AnomieBOT, Jim1138, LarsVan- Moer, Xufanc, Charlie fong, Materialscientist, Citation bot, Ajfernandez2001, JohnnyB256, Capricorn42, Davshul, Milaripa, J JMesserly, Mabdulla, Csendesmark, Anadeiram, FrescoBot, Ubub92, Lmcelhatton, Snakespeaker, I dream of horses, WaveRunner85, Hluup, Bm- claughlin9, Baobaozhu5891, K quiche, Surfeit of palfreys, Predulus, Reaper Eternal, Jeffrd10, RjwilmsiBot, Bento00, Lopifalko, Javaweb, John of Reading, Povtula, Sjahans3622, Tommy2010, K6ka, Edmundyu1995, ZéroBot, Unused000705, Byblios, Battlecatz, Kippelboy, Cornell92, ChuispastonBot, Matthewrbowker, ClueBot NG, NapoleonX, Lvaradi, Raghith, EricWR, Shiznit612, Podparou, Widr, Help- ful Pixie Bot, Wbm1058, BG19bot, TCN7JM, Wiki13, GuggaEn, Crtew, M1234powers, Chasser123, Anbu121, Trossellini, SimmeD, Mosenazad, Andorka, Dexbot, Pallino50, VIAFbot, Brianeiffert, Burjodav, Zdphoto, Aseeda, Paul2520, Manul, Miceli vincenzo, Larkin E, Carlos Rojas77, Kinetic37, PtG, MPCaton, Alec Smithson, Zppix, YeOldeGentleman, Eteethan, Viktorengström, KasparBot, CAP- TAIN RAJU, JulietteBrod, DatGuy, JJ1214, Bender the Bot, Marta Segurado, Mikidoo and Anonymous: 335 • List of street photographers Source: https://en.wikipedia.org/wiki/List_of_street_photographers?oldid=762047695 Contributors: Mdd, Hoary, Kolbasz, Leutha, Gadget850, DavidJHowe, Theroadislong, Jessicapierce, Jamesmcardle, P. S. Burton, Boleyn, Locduong92, Srich32977, Trappist the monk, Mean as custard, Lopifalko, Maimeleipzig, Proscribe, Northamerica1000, Shakeyanorman, Spingram, Carmensmx, Fuebaey, Solojaii, LUD Flock, Boysi, Nbtchicago, Leveller1980, Musa Raza, CrafterLeeds, Anupama vohra, Anju Raghav, Melinabland, Felixkrater, Diet671, Streetphotographerlordie and Anonymous: 23 • List of photojournalists Source: https://en.wikipedia.org/wiki/List_of_photojournalists?oldid=725409511 Contributors: Jrcrin001, Lquilter, Ahoerstemeier, Docu, Fuzheado, VeryVerily, Secretlondon, Bearcat, UtherSRG, Thomascornyn, HectorRodriguez, Horatio, Alexf, Bhugh, Hubicka, Hoary, Woohookitty, Mandarax, Zbxgscqf, Pinkville, Dialectric, Spawn Man, Zanziben, Verne Equinox, Colonies Chris, Julius Sahara, SteveHopson, Rklawton, Kvng, Bookgrrl, Marokwitz, Wfosterphoto, Laureapuella, Magioladitis, Jessicapierce, Cgingold, Ipigott, Artsojourner, Squids and Chips, Pacoferia, Rick570, TheMindsEye, TXiKiBoT, Mercurywoodrose, Edward Massey, Girona7, Altafqadri, Benoit Rochon, Ubayasik, Eb1941rp, Escape Orbit, Frescom, Uncle Milty, Imaging~enwiki, Rinahollander, Autho- rAuthor, Rhododendrites, Rkwiki2007, Cary f, XLinkBot, Silvanuche, April Alvarez, Addbot, Mistersmartypants, Tassedethe, Aozukum, Oldboe, Nhantdn, Paulonunesdossantos, Rpriger, Photoarchiver, FrescoBot, Photo4peace, NSH002, Davidmgregory, Gbern3, Photo- dude88, DrilBot, Evenhanded, Keri, EKstudio, Lopifalko, Metro85, KissmeKate, Totovince, Theconcernedphotographer, Listmeister, Jaywils, Weddingphotographer, Nikolas Sharp, Kangphoto, AndyTheGrump, Vismatarchivist, ClueBot NG, Jfoto09, ConcernedPhotog- rapher, Johnnystanfet7, Northamerica1000, Crtew, FreddoR, Timeandtide2, Sistanance, J9brooklyn, Don Toribio, Lbaylen, Tama969, Schneidair, Dionysus the alcoholic, Musa Raza, Romano.patti, Prahamediafanatic and Anonymous: 66

11.2 Images

• File:1imorath.jpg Source: https://upload.wikimedia.org/wikipedia/en/8/8e/1imorath.jpg License: Fair use Contributors: Inge Morath Foundation Original artist: ? • File:Adams_The_Tetons_and_the_Snake_River.jpg Source: https://upload.wikimedia.org/wikipedia/commons/2/21/Adams_The_ Tetons_and_the_Snake_River.jpg License: Public domain Contributors: http://www.archives.gov/media_desk/press_kits/picturing_the_ century_photo_gallery/tetons_snake_river.jpg (hi-res) Original artist: Ansel Adams 11.2. IMAGES 157

• File:Ambox_important.svg Source: https://upload.wikimedia.org/wikipedia/commons/b/b4/Ambox_important.svg License: Public do- main Contributors: Own work, based off of Image:Ambox scales.svg Original artist: Dsmurat (talk · contribs) • File:Ansel_Adams_-_National_Archives_79-AA-E23_levels_adj.jpg Source: https://upload.wikimedia.org/wikipedia/commons/a/ a7/Ansel_Adams_-_National_Archives_79-AA-E23_levels_adj.jpg License: Public domain Contributors: • Ansel_Adams_-_National_Archives_79-AA-E23.jpg Original artist: Ansel Adams • File:Ansel_Adams_-_National_Archives_79-AA-Q01_restored.jpg Source: https://upload.wikimedia.org/wikipedia/commons/b/ba/ Ansel_Adams_-_National_Archives_79-AA-Q01_restored.jpg License: Public domain Contributors: • Ansel_Adams_-_National_Archives_79-AA-Q01.jpg Original artist: Ansel Adams • File:Anya_Teixeira.jpg Source: https://upload.wikimedia.org/wikipedia/commons/2/2c/Anya_Teixeira.jpg License: CC BY-SA 2.5 Contributors: ? Original artist: ? • File:Baton-practice-Manzanar-Adams.jpeg Source: https://upload.wikimedia.org/wikipedia/commons/8/84/Baton-practice-Manzanar-Adams. jpeg License: Public domain Contributors: This image is available from the United States Library of Congress's Prints and Photographs division under the digital ID ppprs.00135. This tag does not indicate the copyright status of the attached work. A normal copyright tag is still required. See Commons:Licensing for more information. Original artist: Ansel Adams • File:Beckenbauer_Pressefotografen2.jpg Source: https://upload.wikimedia.org/wikipedia/commons/7/7e/Beckenbauer_Pressefotografen2. jpg License: CC BY-SA 3.0 Contributors: Own work Original artist: DerFalkVonFreyburg • File:Bill_Cunningham.jpg Source: https://upload.wikimedia.org/wikipedia/commons/0/01/Bill_Cunningham.jpg License: CC BY 2.0 Contributors: Bill Cunningham Original artist: Georg Petschnigg from Seattle, USA • File:Bookcover_hcb_decisivemoment.jpg Source: https://upload.wikimedia.org/wikipedia/en/f/fb/Bookcover_hcb_decisivemoment. jpg License: Fair use Contributors: http://www.abebooks.co.uk Original artist: ? • File:Boris_Mikhailov.jpg Source: https://upload.wikimedia.org/wikipedia/commons/2/21/Boris_Mikhailov.jpg License: Public do- main Contributors: http://ru.wikipedia.org/wiki/Файл:Фото_Micaylov2002.jpg Original artist: Игорь Мухин (image cropped by Silin2005) • File:Bringing_up_baby_film_still.jpg Source: https://upload.wikimedia.org/wikipedia/commons/0/0b/Bringing_up_baby_film_still. jpg License: Public domain Contributors: [11] Original artist: RKO Radio Pictures (work for hire) • File:Cartier-Bresson’{}s_first_Leica.jpg Source: https://upload.wikimedia.org/wikipedia/commons/2/20/Cartier-Bresson%27s_first_ Leica.jpg License: CC BY-SA 2.0 Contributors: Flickr: Cartier-Bresson’s first Leica Original artist: Les Paris Rive Gauche - AlainB • File:Commons-logo.svg Source: https://upload.wikimedia.org/wikipedia/en/4/4a/Commons-logo.svg License: PD Contributors: ? 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