From the daguerreotype to the digital age -- capturing more than 150 years of photographic portraiture, including nineteenth-century pioneers Hippolyte Bayard and William Henry Fox Talbot, modernist icons Lee Miller and Aleksander Rodchenko, as well as contemporary groundbreakers.

Printing techniques before the invention of photography; the photographic processes that began to appear in the early 19th century; the marriage of printing and photography; and the digital inventions of our time are covered here in a Imaginative and engaging way.

Presents a fascinating cultural history of flash photography, from its * mid-nineteenth century beginnings * to the present day. Explores flash's power to reveal shocking social conditions, its impact on the representation of race, its illumination of what would otherwise remain hidden in darkness, and its capacity to put on display the most mundane corners of everyday life.

In the first half of the nineteenth century, the introduction of telegraphy, the development of a cheaper and more reliable postal service, the rise of the mass-circulation press, and the emergence of the railway dramatically changed the way people communicated and experienced time and space. Concurrently, photography developed as a medium that changed how images were produced and circulated. Explores the intersections of photography and the "new media" during this period of fast-paced change.

Explores the broad social and cultural context for the development of portrait photography in the 19th century, showing how social and celebrity portraiture on the one hand, and scientific photography on the other, were different facets of the 19th-century fascination with classification and ordering. Between 1860 and 1900, editions of celebrity portraits, as well as the vogue for the carte de visite, fuelled the fashion for collecting and classifying photographs of the face.

Explores such topics as the identities of the people depicted in the daguerreotypes, the close relationship between photography and race, and visual narratives of slavery and its lasting effects. Includes new photography by Carrie Mae Weems and a forward by Henry Louis Gates Jr.

Born Dora Kallmus (1881-1963), the Austrian fashion and portrait photographer took the pseudonym Madame d'Ora. She was the most acclaimed portraitist of the fin-de-siècle Vienna, and went on to create one of the most stylish Art Deco studios in Paris in the 1920s. Her models included Josephine Baker, Coco Chanel, Colette, and Pablo Picasso, among many others.

Cabinet cards were America's main format for photographic portraiture throughout the last quarter of the nineteenth century. Inexpensive and sold by the dozen, they transformed getting one's portrait made from a formal event taken up once or twice in a lifetime into a commonplace practice shared with friends. They forecast the snapshot and today's ubiquitous photo sharing.

A deep dive into the pioneering collection of nineteenth-century French photographs, equipment, and ephemera, which is a cornerstone of the George Eastman Museum.

Examines 50 trends (including "Portraits, Props and Poses," "Cloudy Skies," "Stereoscopic Depth," "Tintype Types," "Soft Focus," "Candids," "Distracting Color," "Motion Blur," "Fish-Eye," "Golden Hour," "On-Camera Flash," "Digital Filters" and of course, "Selfie") Bridges content between historical (daguerreotype) to contemporary (digital).
Part I: 1839-1860 --- Part II: 1861-1900 --- Part III: 1901-1929

Explores the work of indigenous Iranian photographers and the way in which their photographs reflect their society and surroundings. In order to highlight how photography reflects local culture, Carmen Pérez González, a photographer herself, offers a comparative visual analysis of nineteenth-century Iranian photographs and paintings created during the same time period and in the same place in order to show that aesthetic preferences are rooted in the socio-cultural habits of artists. This lushly illustrated book is a testimony to the unique power and historical value of photographic portraits and their enduring power to capture local realities.

Using French and English photo journals, cartoons, art criticism, novels, and early career guides aimed at women, this volume will show why and how early photographic clubs, journals, exhibitions, and studios insisted on masculine values and authority, and how Victorian women engaged with photography despite that dominant trend. Focusing on the period before 1890, when women were yet to develop the self-assurance that would lead to broader recognition of the value of their work, this study probes the mechanisms by which exclusion took place and explores how women practiced photography anyway, both as amateurs and professionals.

Written by leading scholars in the fields of photography, art and literature, the essays examine the metaphorical as well as the material exchanges between photography and the fine, graphic, reproductive and sculptural arts.

A refreshing, new perspective highlighting the active contributions of North American Indians, both as patrons who commissioned portraits and as photographers who created collections. Features photographs that range from formal portraits to casual snapshots. Demonstrates how indigenous peoples took control of their own images and distinguished themselves as pioneers of photography.

A stunning collection of stoic portraits and intimate ephemera from the lives of Black Civil War soldiers. Explores the crucial role of photography in (re)telling and shaping African American narratives of the Civil War, pulling from a dynamic visual archive that has largely gone unacknowledged. The photographs are supplemented with handwritten captions, letters, and other personal materials. Includes stories of other African Americans involved with the struggle--from left-behind family members to female spies.

Designed to complement the Library of Congress photographic images site, this Northwestern University site provides the 5,000 page full text of Curtis's 20 volume work. More information on Edward S. Curtis: Coming To Light (Fifth Floor Stacks 973.0497 C978m)