Pictorialism - Knowledge

639: 772: 506: 320:‒ an Italian term used by painters and art historians that refers to the use of dramatic lighting and shading to convey an expressive mood. In his book Robinson promoted what he called "combination printing", a method he had devised nearly 20 years earlier by combining individual elements from separate images into a new single image by manipulating multiple negatives or prints. Robinson thus considered that he had created "art" through photography, since it was only through his direct intervention that the final image came about. Robinson continued to expand on the meaning of the term throughout his life. 544: 991: 402:, a prolific contemporary promoter of pictorialism, advised his readers that true art photography conveyed "suggestion and mystery", in which "mystery consists in affording an opportunity for the exercise of the imagination, whereas suggestion involves stimulating the imagination by direct or indirect means." Science, pictorialists contended, might answer a demand for truthful information, but art must respond to the human need for stimulation of the senses. This could only be done by creating a mark of individuality for each image and, ideally, each print. 1231:) was started, and for many years it was the centerpiece for the advancement of and debates about pictorialism. The meaning and direction of art photography as championed by Ogawa and others was challenged in the new journal by photographers Tarō Saitō and Haruki Egashira, who, along with Tetsusuke Akiyama and Seiichi Katō, formed a new group known as Yūtsuzu-sha. This new group promoted their own concepts of what they called "the inner truth" of art photography. For the next decade many photographers aligned themselves with one of these two organizations. 297: 734: 620: 487: 1574:: Made by applying greasy inks to paper coated with a solution of gum bichromate and gelatin. When exposed through a negative, the gum-gelatin hardens where light strikes it while unexposed areas remain soft. Artist's inks are then applied by brush, and the inks adhere only to the hardened areas. Through this process a photographer can manipulate the lighter areas of a gum print while the darker areas remain stable. An oil print cannot be enlarged since it has to be in direct contact with the negative. 563: 171:, took photographs themselves, used photographs by others and incorporated images from photographs into their work. While heated debates about the relationship between photography and art continued in print and in lecture halls, the distinction between a photographic image and a painting became more and more difficult to discern. As photography continued to develop, the interactions between painting and photography became increasingly reciprocal. More than a few pictorial photographers, including 195:

services facilitated individual exchanges of ideas, techniques and, most importantly for photography, actual prints. These developments led to pictorialism being "a more international movement in photography than almost any other photographic genre." Camera clubs in the U.S., England, France, Germany, Austria, Japan and other countries regularly lent works to each other's exhibitions, exchanged technical information and published essays and critical commentaries in one another's journals. Led by

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photography's ability to create visual beauty rather than simply record facts. However, recently historians have recognized that pictorialism is more than just a visual style. It evolved in direct context with the changing social and cultural attitudes of the time, and, as such, it should not be characterized simply as a visual trend. One writer has noted that pictorialism was "simultaneously a movement, a philosophy, an aesthetic and a style."

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Typically, a pictorial photograph appears to lack a sharp focus (some more so than others), is printed in one or more colors other than black-and-white (ranging from warm brown to deep blue) and may have visible brush strokes or other manipulation of the surface. For the pictorialist, a photograph, like a painting, drawing or engraving, was a way of projecting an emotional intent into the viewer's realm of imagination.

5628: 1417:, who began as an amateur but quickly made the promotion of pictorialism his profession and obsession. Through his writings, his organizing and his personal efforts to advance and promote pictorial photographers, Stieglitz was a dominant figure in pictorialism from its beginnings to its end. Following in the footsteps of German photographers, in 1892 Stieglitz established a group he called the 5639: 1270:, Chris Schuver, and Carl Emile Mögle, began working around 1890. They initially focused on naturalistic themes and favored platinum printing. Although initially there was no Dutch equivalent of The Linked Ring or Photo-Secession, several smaller organizations collaborated to produce the First International Salon for Art Photography in 1904. Three years later Adriann Boer, Ernest Loeb, 1529:

and chemical processes to produce particular effects, and some then manipulated the tones and surface of prints with brushes, ink or pigments. The following is a list of the most commonly used pictorial processes. Readers can find more details in books by Crawford and in Daum, Ribemont, and Prodger. Unless otherwise noted, the descriptions below are summarized from these two books.

1536:: This is a variant on the oil print process that allows a print to be enlarged. In this process a regular silver gelatin print is made, then bleached in a solution of potassium bichromate. This hardens the surface of the print and allows ink to stick to it. Both the lighter and darker areas of a bromoil print may be manipulated, providing a broader tonal range than an oil print. 1220:. The breadth and depth of this exhibition had a tremendous impact on Japanese photographers, and it "galvanized the discourse of art photography throughout the country." After the exhibition ended Burton and Kajima founded a new organization, the Dai Nihon Shashin Hinpyō-kai (Greater Japan Photography Critique Society) to advance their particular viewpoints on art photography. 1374:. Cánovas claimed to be the first to introduce artistic photography to Spain, but throughout his career he remained rooted in the allegorical style of the early English pictorialists like Robinson. He refused to use any surface manipulation in his prints, saying that style "is not, cannot be and will never be photography.". Other influential photographers in the country were 103: 860:, a 20th-century photographer who continued to make pictorial photographs well into the 1960s, believed that pictorialism is eternal because it is based upon beauty first. He wrote "There is no solution in trying to eradicate pictorialism for one would then have to destroy idealism, sentiment and all sense of art and beauty. There will always be pictorialism." 801: 886:(1864–1942), who studied photographic chemistry and printing in London, Zurich and Vienna between 1889 and 1897. When he returned to his home country in 1897, he greatly influenced his colleagues by exhibiting what one newspaper called photographs that could be "mistaken for works of art." Over the next decade a core of photographer artists, including 236: 1580:: Platinum prints require a two-steps process. First, paper is sensitized with iron salts and exposed in contact with a negative until a faint image is formed. Then the paper is chemically developed in a process that replaces the iron salts with platinum. This produces an image with a very wide range of tones, each intensely realized. 827:. This was the first time photography was officially recognized as an art form worthy of a museum collection, and it signaled a definite shift in many photographers' thinking. Stieglitz, who had worked so long for this moment, responded by indicating he was already thinking of a new vision beyond pictorialism. He wrote, 982:

Camera-Klub through its international connections, and several other organizations promoting pictorialism were created in other cities throughout the region. As in other countries, interest in pictorialism faded after World War I, and eventually most of the Austrian organization slipped into obscurity during the 1920s.

284:, summed up this position in 1900 by saying "Art is not so much a matter of methods and processes as it is an affair of temperament, of taste and of sentiment ... In the hands of the artist, the photograph becomes a work of art ... In a word, photography is what the photographer makes it ‒ an art or a trade." 280:

possibly be called art. Some of the most passionate defenders of photography as art pointed out that photography should not and cannot be seen as an "either/or" medium—some photographs are indeed simple records of reality, but with the right elements some are indeed works of art. William Howe Downs, art critic for the

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Pictorial photographers began by taking an ordinary glass-plate or film negative. Some adjusted the focus of the scene or used a special lens to produce a softer image, but for the most part the printing process controlled the final appearance of the photograph. Pictorialists used a variety of papers

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It is high time that the stupidity and sham in pictorial photography be struck a solarplexus blow ... Claims of art won't do. Let the photographer make a perfect photograph. And if he happens to be a lover of perfection and a seer, the resulting photograph will be straight and beautiful – a true

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in Chicago, which attracted more than 27 million people, photography for amateurs was marketed at an unprecedented scale. There were multiple large exhibits displaying photographs from around the world, many camera and darkroom equipment manufacturers showing and selling their latest goods, dozens of

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deal about chemistry, optics, light, the mechanics of cameras and how these factors combine to properly render a scene. It was not something that one learned easily or engaged in lightly, and, as such, it was limited to a relatively small group of academics, scientists and professional photographers.

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Pictorialism as a movement thrived from about 1885 to 1915, although it was still being promoted by some as late as the 1940s. It began in response to claims that a photograph was nothing more than a simple record of reality, and transformed into a movement to advance the status of all photography as

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was purely representational ‒ that it showed reality without the filter of artistic interpretation. It was, for all intents and purposes, a simple record of the visual facts, lacking artistic intent or merit. Robinson and others felt strongly that the "usually accepted limitations of photography had

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It was during this same period that cultures and societies around the world were being affected by a rapid increase in intercontinental travel and commerce. Books and magazines published on one continent could be exported and sold on another with increasing ease, and the development of reliable mail

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Contrary to what some histories of photography portray, pictorialism did not come about as the result of a linear evolution of artistic sensibilities; rather, it was formed through "an intricate, divergent, often passionately conflicting barrage of strategies." While photographers and others debated

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and a person known only as the Conde de la Ventosa. Unlike the rest of Europe, pictorialism remained popular in Spain throughout the 1920s and 1930s, and Ventosa was the most prolific pictorialist of that period. Unfortunately very few original prints remain from any of these photographers; most of

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stated "photography is an art ‒ perhaps the only one in which the amateur soon equals, and frequently excels, the professional in proficiency." This attitude prevailed in many countries around the world. At the 1893 Hamburg International Photographic Exhibition in Germany, only the work of amateurs

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observed "Thousands of commercial photographers and a hundred times as many amateurs were producing millions of photographs annually ... The decline in the quality of professional work and the deluge of snapshots (a term borrowed from hunting, meaning to get off a quick shot without taking the

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later stated it this way: "Atmosphere is the medium through which we see all things. In order, therefore, to see them in their true value on a photograph, as we do in Nature, atmosphere must be there. Atmosphere softens all lines; it graduates the transition from light to shade; it is essential to

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camera. It was marketed with the slogan "You press the button, we do the rest." The camera was pre-loaded with a roll of film that produced about 100 2.5" round picture exposures, and it could easily be carried and handheld during its operation. After all of the shots on the film were exposed, the

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For the first forty years after a practical process of capturing and reproducing images was invented, photography remained the domain of a highly dedicated group of individuals who had expert knowledge of and skills in science, mechanics and art. To make a photograph, a person had to learn a great

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The evolution of pictorialism from the 19th century well into the 1940s was both slow and determined. From its roots in Europe it spread to the U.S. and the rest of the world in several semi-distinct stages. Prior to 1890 pictorialism emerged through advocates who were mainly in England, Germany,

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One of the challenges in promoting photography as art was that there were many different opinions about how art should look. After the Third Philadelphia Salon 1900, which showcased dozens of pictorial photographers, one critic wondered "whether the idea of art in anything like the true sense had

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All of these elements—the debates over photography and art, the impacts of Kodak cameras, and the changing social and cultural values of the times—combined to set the stage for an evolution in how art and photography, independently and together, would appear at the turn of the century. The course

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Many serious photographers were appalled. Their craft, and to some their art, was being co-opted by a newly engaged, uncontrolled and mostly untalented citizenry. The debate about art and photography intensified around the argument that if anyone could take a photograph then photography could not

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Following are two lists of prominent photographers who engaged in pictorialism during their careers. The first list includes photographers who were predominantly pictorialists for all or almost all of their careers (generally those active from 1880 to 1920). The second list includes 20th-century

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later summarized this concept in an article entitled "What Difference Is There Between a Good Photograph and an Artistic Photograph?". He wrote "We must realize that, on undertaking pictorial photography, we have, unwittingly perhaps, bound ourselves to the strict observance of rules hundreds of

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during the later 19th and early 20th centuries. There is no standard definition of the term, but in general it refers to a style in which the photographer has somehow manipulated what would otherwise be a straightforward photograph as a means of creating an image rather than simply recording it.

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and one or more artist's colored pigments to paper. This sensitized solution slowly hardens where light strikes it, and these areas remain pliable for several hours. The photographer had a great deal of control by varying the mixture of the solution, allowing a shorter or longer exposure and by

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Online Catalogue of the Kunstbibliothek – Staatliche Museen zu Berlin (the art library of the National Museums of Berlin) with 2,300 objects, including over 600 pictorialist works of the own collection, and references to 300 publications and exhibitions in which the photographs were originally

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Many of the strongest voices that championed pictorialism at its beginning were a new generation of amateur photographers. In contrast to its meaning today, the word "amateur" held a different connotation in the discussions of that time. Rather than suggesting an inexperienced novice, the word

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saw the interpretation of the experience of nature, as contrasted with simply recording an image of nature, as the artist's highest duty. To these artists it was essential that their paintings convey an emotional response to the viewer, which was elicited through an emphasis on the atmospheric

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These debates reached their peak during the late nineteenth and early twentieth centuries, culminating in the creation of a movement that is usually characterized as a particular style of photography: pictorialism. This style is defined first by a distinctly personal expression that emphasizes

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After The Linked Ring invited a select group of Americans as members, debates broke out about the goals and purpose of the club. When more American than British members were shown at their annual exhibit in 1908, a motion was introduced to disband the organization. By 1910 The Linked Ring has

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Photography as a technical process involving the development of film and prints in a darkroom originated in the early 19th century, with the forerunners of traditional photographic prints coming into prominence around 1838 to 1840. Not long after the new medium was established, photographers,

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formed an organization called Das Kleeblatt (The Trilfolium) expressly to increase the exchange of information with other organizations in other countries, especially, France, Germany and the United States. Initially a small, informal group, Das Kleeblatt increased it influence in the Wiener

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in France, first hundreds and then thousands of photographers passionately pursued common interests in this multi-dimensional movement. Within the span of little more than a decade, notable pictorial photographers were found in Western and Eastern Europe, North America, Asia and Australia.

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affected people around the world, the public's taste for the art of the past began to change. Developed countries of the world focused more and more on industry and growth, and art reflected this change by featuring hard-edged images of new buildings, airplanes and industrial landscapes.

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or another pigment and gelatin. Carbon prints can provide extraordinary detail and are among the most permanent of all photographic prints. Due to the stability of the paper both before and after processing, carbon printing tissue was one of the earliest commercially made photographic

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characterized someone who strived for artistic excellence and a freedom from rigid academic influence. An amateur was seen as someone who could break the rules because he or she was not bound by the then rigid rules set forth by long-established photography organizations like the

1346:. In 1894 the Russian Photographic Society was established in Moscow, but differences of opinion among the members led to the establishment of a second organization, the Moscow Society of Art Photography. Both were the primary promoters of pictorialism in Russia for many years. 1144:, Theodor and Oskar, of Hamburg were among the first to advocate for photography as art in their country. At meetings of the Society for the Promotion of Amateur Photography (Gesellschaft zur Förderung der Amateur-Photographie), other photographers, including Heinrich Beck, 38: 124:

points out that "the dual character of the medium—its capacity to produce both art and document— demonstrated soon after its discovery ... Nevertheless, a good part of the nineteenth century was spent debating which of these directions was the medium's true function."

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was the most common means of recording a person's likeness. Thousands of painters were engaged in this art form. But photography quickly negated the need for and interest in miniature portraits. One example of this effect was seen at the annual exhibition of the

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While some photographers saw themselves becoming true artists by emulating painting, at least one school of painting directly inspired photographers. During the 1880s, when debates over art and photography were becoming commonplace, a style of painting known as

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whole camera was returned to the Kodak company in Rochester, New York, where the film was developed, prints were made, and new photographic film was placed inside. Then the camera and prints were returned to the customer, who was ready to take more pictures.

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the artist's personal comment and interpretation, capable of transmitting an emotional response to the mind of a receptive spectator. It should show originality, imagination, unity of purpose, a quality of repose, and have an infinite quality about it."

940:, was founded to foster relationships with photographic groups in other countries. After Alfred Buschbeck became head of the club in 1893, it simplified its name to Wiener Camera-Klub (Vienna Camera Club) and began publishing a lavish magazine called 405:

For pictorialists, true individuality was expressed through the creation of a unique print, considered by many to be the epitome of artistic photography. By manipulating the appearance of images through what some called "ennobling processes", such as

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proposed that the camera could produce artistic results if the photographer would keep an image slightly out of focus. Others vehemently believed that a photograph was equivalent to the visual record of a chemistry experiment. Photography historian

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in London; in 1830 more than 300 miniature paintings were exhibited, but by 1870 only 33 were on display. Photography had taken over for one type of art form, but the question of whether photography itself could be artistic had not been resolved.

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As early as 1853 amateur photographer William J. Newton proposed the idea that "a 'natural object', such as a tree, should be photographed in accordance 'the acknowledged principles of fine art'". From there other early photographers, including

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Austria and France. During the 1890s the center shifted to New York and Stieglitz's multi-faceted efforts. By 1900 pictorialism had reached countries around the world, and major exhibitions of pictorial photography were held in dozens of cities.

1468:, who produced extraordinary pictorial photographs while in Ohio, went on to teach a whole new generation of photographers. On the West Coast the California Camera Club and Southern California Camera Club included prominent pictorialists 1441:, Stieglitz built a circle of friends who had enormous individual and collective influence over the movement to have photography accepted as art. Stieglitz also continually promoted pictorialism through two publications he edited, 1337: 1299: 1553:: One of the earliest photographic processes, cyanotypes experienced a brief renewal when pictorialists experimented with their deep blue color tones. The color came from coating paper with light-sensitive iron salts. 146:

Some painters soon adopted photography as a tool to help them record a model's pose, a landscape scene or other elements to include in their art. It is known that many of the great 19th-century painters, including

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a true art form. For more than three decades painters, photographers and art critics debated opposing artistic philosophies, ultimately culminating in the acquisition of photographs by several major art museums.

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that drove pictorialism was set almost as soon as photographic processes were established, but it was not until the last decade of the 19th century that an international pictorialist movement came together.

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In 1891 the Club der Amateur Photographen in Wien (Vienna Amateur Photographers' Club) held the first International Exhibition of Photography in Vienna. The Club, founded by Carl Sma, Federico Mallmann and

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In the 1920s new organizations were formed that bridged the transition between pictorialism and modernism. Most prominently among these was the Shashin Geijustu-sha (Photographic Art Society) formed by

1011:(1880–1956), the first of his countrymen to be elected to the Photo-Secession. This inspired him to bring together a group of pictorial photographers in Toronto, the Studio Club in Toronto, with 1015:(1872–1970) and fellow Secessionist Percy Hodgins. In 1907 Carter organized Canada's first major exhibition of pictorial photography at Montreal's Art Association. Carter and fellow photographer 1421:

in New York. Stieglitz hand-picked the members of the group, and he tightly controlled what it did and when it did it. By selecting photographers whose vision was aligned with his, including

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the reproduction of the sense of distance. That dimness of outline which is characteristic for distant objects is due to atmosphere. Now, what atmosphere is to Nature, tone is to a picture."

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whether photography could be art, the advent of photography directly affected the roles and livelihoods of many traditional artists. Prior to the development of photography, a painted

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Pictorial Photography at the Minneapolis Institute of Arts: History of Exhibitions, Publications, and Acquisitions with Biographies of all 243 Pictorialists in the Collection

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years more ancient than the oldest formulae of our chemical craft. We have slipped into the Temple of Art by a back door, and found ourselves amongst the crowd of adepts."

1281:, and others founded the Dutch Club for Art Photography (Nederlandsche Club voor Foto-Kunst), which amassed an important collection of pictorial photography now housed at 5543: 505: 271:

Concurrent with this change was the development of national and international commercial enterprises to meet the new demand for cameras, films and prints. At the 1893

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The impact of this change was enormous. Suddenly almost anyone could take a photograph, and within the span of a few years photography became one of the biggest

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painters and others began to argue about the relationship between the scientific and artistic aspects of the medium. As early as 1853, English painter

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Pictorial Effect in Photography: Being Hints on Composition and Chiaro-oscuro for Photographers. To which is Added a Chapter on Combination Printing

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Faure-Conorton, Julien; Frizot, Michel; Aumont, Jacques; Barbillon, Claire; Lavédrine, Bertrand; Martin, François-René; Mondenard, Anne de (2015).

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believed "the only good portraiture in any medium was being done by amateurs photographers, who had the economic freedom and time to experiment."

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portrait studios and even on-the-spot documentation of the Exposition itself. Suddenly photography and photographers were household commodities.

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first appeared. Within a few years it became a significant artistic influence on the development of pictorialism. Painters such as

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and others, to join them. Soon The Linked Ring was at the forefront of the movement to have photography regarded as an art form.

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This is the first common use of the term "pictorial" referring to photography in the context of a certain stylistic element,

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elements in the picture and by the use of "vague shapes and subdued tonalities ... a sense of elegiac melancholy."

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As in other countries, opposing viewpoints engaged a wider range of photographers in defining what pictorialism meant.

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and by establishing and running a gallery in New York that for many years exhibited only pictorial photographers (the

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Pictorialism gradually declined in popularity after 1920, although it did not fade out of popularity until the end of

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Tikhoe soprotivlenie: Russkiĭ piktorializm, 1900-1930-kh / Quiet Resistance: Russian Pictorialism of the 1900s-1930s

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The main centers of pictorial photography in Spain were Madrid and Barcelona. Leading the movement in Madrid was

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Characterization, contextualization and reception of the photographic production of Robert Demachy (1859-1936)

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came into vogue, and the public's interest shifted to more sharply focused images such as seen in the work of

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Caractérisation, contextualisation et réception de la production photographique de Robert Demachy (1859-1936)

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While much initially centered on Stieglitz, pictorialism in the U.S. was not limited to New York. In Boston

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printing, pictorialists were able to create unique photographs that were sometimes mistaken for drawings or

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Pictorialism spread to Russia first through European magazines and was championed by photography pioneers

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that continued until 1898. It regularly featured articles from influential foreign photographers such as

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time to aim) resulted in a world awash with technically good but aesthetically indifferent photographs."

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Photographic Impressionists of Spain: A History of the Aesthetics and Technique of Pictorial Photography

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from Poland. Soon after a new generation of pictorialists became active. These included Aleksei Mazuin,

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photographers who used a pictorial style early in the careers but who are more well known for pure or

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One of the key figures in establishing both the definition and direction of pictorialism was American

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and others took over the leadership of a new generation of photographers. As the harsh realities of

335:, echoed these ideas. One of the primary forces behind the rise of pictorialism was the belief that 217: 191:, were originally trained as painters or took up painting in addition to their photographic skills. 5842: 5832: 5338: 5311: 5281: 4935: 4850: 4754: 4632: 4612: 4602: 4597: 4567: 4459: 4372: 4200: 4195: 3665: 3627: 2836: 1948: 1719: 1489: 1360: 1332: 1271: 1213: 1145: 1037: 1020: 399: 148: 116: 1516: 1375: 5755: 5482: 5145: 5095: 4920: 4775: 4734: 4714: 4652: 4607: 4572: 4547: 4104: 4069: 3269:. Boston, Seattle: Boston University Art Gallery; Distributed by University of Washington Press. 2798: 2005: 1929: 1869: 1725: 1343: 1156: 1066: 956: 819:

A culminating moment for pictorialism and for photography in general occurred in 1910, when the

438: 188: 134: 1816: 1256: 1236: 1105:. They are the most famous members of the Photo-Club de Paris, a separate organization from the 3767:(in Dutch and English). Leiden: Stichting Vrienden van het Prentenkabinet van de Universiteit. 3641: 2057: 1846: 1057:, established the first organization devoted specifically to the ideal of photography as art ‒ 213: 209: 5914: 5837: 5452: 5388: 5375: 5306: 4970: 4895: 4885: 4875: 4860: 4724: 4692: 4552: 4387: 4158: 3982: 3972: 3952: 3942: 3925: 3915: 3894: 3884: 3853: 3836: 3826: 3809: 3799: 3778: 3768: 3751: 3741: 3720: 3710: 3689: 3685: 3681: 3655: 3645: 3606: 3596: 3588: 3576: 3566: 3546: 3536: 3512: 3488: 3478: 3457: 3447: 3423: 3413: 3389: 3367: 3357: 3336: 3326: 3309: 3280: 3270: 3249: 3239: 3219: 3209: 3192: 3182: 3165: 3157: 3126: 3116: 3095: 3085: 3065: 3044: 3023: 2987: 2977: 2956: 2946: 2925: 2915: 2891: 2881: 2866: 2856: 2846: 2824: 2814: 2634: 1981: 1822: 1610: 1571: 1542:: This is an extremely delicate print made by coating tissue paper with potassium bichromate, 1533: 1282: 1078: 1074: 836:

Soon after Stieglitz began to direct his attention more to modern painting and sculpture, and

824: 716: 697: 411: 372: 314:

Pictorial Effect in Photography: Being Hints on Composition and Chiaroscuro for Photographers.

264: 1802: 5685: 5507: 5457: 5415: 5400: 5383: 5353: 5348: 4992: 4950: 4900: 4662: 4622: 4562: 4417: 3876: 3637: 3524: 3500: 3473:

Between Amateur and Aesthete: The Legitimization of Photography as Art in America, 1880-1900

3301: 3036: 3015: 2939: 2908: 2017: 1993: 1773: 1414: 1240: 1169: 1005: 978: 945: 739: 720: 568: 434: 392: 384: 5909: 5889: 5732: 5512: 5420: 5037: 4785: 4667: 4362: 4309: 4304: 4272: 4257: 4215: 3440: 3401: 3231: 3077: 2969: 2011: 1899: 1707: 1665: 1616: 1501: 1497: 1481: 1434: 1418: 1062: 1058: 887: 785: 663: 587: 324: 200: 196: 176: 152: 121: 37: 2840: 379: 5827: 5812: 5289: 5115: 5057: 4825: 4506: 4412: 4397: 4392: 4287: 4094: 4084: 4074: 3908: 3792: 3734: 3631: 3529: 3471: 3350: 3263: 3109: 2999: 2802: 2606: 1881: 1828: 1791: 1695: 1683: 1635: 1577: 1556: 1461: 1185: 1176:

represents the style of pictorialism in the field of theatrical backstage photography.

1110: 1102: 1040:, continued to promote the concept of photography as art. In 1892 Robinson, along with 949: 644: 549: 473: 407: 343: 248: 5929: 5879: 5817: 5442: 5410: 5395: 5360: 5120: 4965: 4930: 4880: 4516: 4489: 4469: 4437: 4382: 3964: 3703: 3558: 3406: 3383: 2903: 2029: 2023: 1969: 1917: 1834: 1761: 1755: 1659: 1641: 1627: 1505: 1473: 1469: 1438: 1193: 1098: 972: 935: 903: 899: 895: 758: 678: 606: 530: 492: 364: 139: 3765:

Juwelen voor een fotomuseum / Masterpieces of Dutch Pictorial Photography, 1890-1915

5864: 5740: 5608: 5502: 5497: 5492: 5447: 5333: 5328: 4982: 4702: 4454: 4449: 4432: 4277: 4099: 4089: 4079: 3435: 3305: 3138: 1987: 1975: 1743: 1737: 1731: 1543: 1539: 1443: 1276: 1189: 1150: 907: 891: 445: 102: 83: 1109:. They are particularly well known for their use of pigment processes, especially 448:

defined a Pictorial photograph as "mainly an aesthetic symbolic record of a scene

3910:

Pictorial photography in Britain, 1900-1920 : [exhibition catalogue]

3669: 3064:] (Thesis) (in French). Paris: École des hautes études en sciences sociales. 2941:

The Keepers of Light: A History and Working Guide to Early Photographic Processes

2576:

Liddy, Brian. "The Origins and Development of Pictorial Photography in Britain".

5872: 5792: 5613: 5477: 5472: 5405: 5318: 5155: 5130: 4960: 4955: 4940: 4795: 4677: 4657: 4526: 4427: 4319: 4282: 4252: 4205: 4173: 4168: 4129: 4050: 3181:. Studies in art and religious interpretation. Lewiston, N.Y.: E. Mellen Press. 3004:"What Difference Is There Between a Good Photograph and an Artistic Photograph?" 2488: 2139:

Nordström, Alison Devine; Wooters, David. "Crafting the Art of the Photograph".

1963: 1887: 1701: 1604: 1449: 1016: 841: 800: 415: 332: 317: 91: 71: 48: 3565:(in Russian and English). Moskva: Multimedijnyj Kompleks Aktualnych Iskusstv . 5603: 5125: 5105: 5019: 5009: 4870: 4835: 4810: 4739: 4479: 4464: 4444: 4326: 4262: 4178: 4124: 3898: 3236:

Shadows of a Fleeting World: Pictorial Photography and the Seattle Camera Club

3069: 3027: 2929: 1779: 1671: 1647: 1560: 1358:, who founded the Real Sociedad Fotográfica de Madrid and edited the magazine 1305: 164: 3956: 3871:. Coleccion Ensayos Selectos. Ediciones Novarte – via Internet Archive. 3857: 3813: 3755: 3693: 3649: 3580: 3427: 3393: 3371: 3340: 3313: 3253: 3161: 3048: 2960: 2860: 5517: 5090: 5052: 5014: 4910: 4800: 4267: 4230: 4225: 4210: 4163: 4146: 3986: 3879:; Philippi, Simone; Kieseyer, Ute; Roberts, Pam (2021). Roberts, Pam (ed.). 3782: 3724: 3610: 3550: 3492: 3461: 3284: 3223: 3196: 3169: 3130: 3082:

The Linked Ring: The Secession Movement in Photography in Britain, 1892-1910

2991: 2895: 2828: 1767: 1550: 1493: 87: 17: 4008:

Catalogs of Pictorialist photography exhibitions held between 1888 and 1914

3929: 3840: 3516: 3099: 1855: 1851: 235: 1559:: One of the pictorialists' favorites, these prints were made by applying 5110: 4925: 4422: 4352: 4220: 4141: 4136: 3265:

California Dreamin': Camera Clubs and the Pictorial Photography Tradition

1492:

was started by a group of Japanese-American pictorialists, including Dr.

356: 3794:

The Collection of Alfred Stieglitz: Fifty Pioneers of Modern Photography

3705:

Pictorialism into Modernism: The Clarence H. White School of Photography

3292:

Morozov, Samuel (1977). "Early photography in Eastern Europe – Russia".

2813:(Media notes). American Masters. New York, NY: Fox Lorber Centre Stage. 5150: 4299: 4245: 854: 168: 3356:. Minneapolis, New York: Institute of Arts ; W.W. Norton and Co. 3043:. George Eastman House Monograph. New York: The George Eastman House. 4697: 4114: 4064: 3511:(3). New York, NY: The Society of Amateur Photographers of New York. 1355: 1051: 1019:

attempted to introduce pictorialist principles to the members of the

880: 4012: 3868:

Contemporary Pictorialism: Amanda Bouchenoire and her poetic visions

3352:

After the Photo-Secession: American Pictorial Photography, 1910-1955

1368: 5654: 4004:. A discussion on pictorial photography and examples of this style. 2878:

Contesting Images: Photography and the World's Columbian Exposition

2593: 5365: 4780: 4240: 3111:

Capturing Light: Masterpieces of California Photography, 1850-2000

2534:

Hübscher, Manon, "The Vienna Camera Club, Catalyst and Crucible",

1515: 1464:

was one of the most prolific and noted pictorialists of his time.

1162: 799: 378: 295: 252: 240: 234: 160: 156: 101: 3971:(in English and Spanish). Austin, TX: University of Texas Press. 1168:, advanced the cause of pictorialism. The Homeisters, along with 351:

ever been heard or thought by the great majority of exhibitors."

3701:

Fulton, Marianne; Yochelson, Bonnie; Erwin, Kathleen A. (1996).

3323:

Truth Beauty: Pictorialism and the Photograph as Art, 1845 -1945

3206:

Private Realms Of Light: Amateur Photography in Canada 1839-1940

2974:

Impressionist Camera: Pictorial Photography in Europe, 1888-1918

2806: 70:

is an international style and aesthetic movement that dominated

5658: 4023: 4019: 3412:(3rd ed.). New York, London: Abbeville Press Publishers. 873:

One of the primary catalysts of pictorialism in Australia was

260: 1405:

their images are now known only from magazine reproductions.

340:

to be overcome if an equality of status was to be achieved."

2655:

Leijerzapf, Ingeborg Th. "Pictorialism in The Netherlands".

3969:

Image and Memory: Photography from Latin America, 1866-1994

3505:

Journal of the Society of Amateur Photographers of New York

243:

camera, 1888 – "No knowledge of photography is necessary."

3937:

Tucker, Anne; Iizawa, Kōtarō; Kinoshita, Naoyuki (2003).

2491:. "Australian Pictorial Photography: Seeing the Light". 2386: 1023:, although their efforts were met with some resistance. 3531:

Stieglitz on Photography: His Selected Essays and Notes

2910:

A Photographic Vision: Pictorial Photography, 1889–1923

2211: 2209: 1568:

brushing or rubbing the pigmented areas after exposure.

1255:

The first generation of Dutch pictorialists, including

247:

All of that changed in a few years' time span. In 1888

4002:

In Praise of Pictorialism: Early Pictorial Photography

3503:(June 1890). "A Plea for Art Photography in America". 3321:

Nordström, Alison Devine; Padon, Thomas, eds. (2008).

1500:

and Iwao Matsushita (prominent members later included

3881:

Alfred Stieglitz: The Complete Photographs: 1903–1917

2976:. London, New York: Merrell; Saint Louis Art Museum. 2459: 1957:

20th-century photographers who began as pictorialists

3906:

Taylor, John; Arts Council of Great Britain (1978).

1061:. They invited like-minded photographers, including 5856: 5803: 5784: 5692: 5579: 5526: 5431: 5374: 5280: 5164: 5076: 5028: 4768: 4535: 4335: 4057: 3823:

French Photography, from Its Origins to the Present

2781: 2658: 2612: 2579: 2537: 2082: 86:. During this period the new style of photographic 57: 3907: 3791: 3733: 3702: 3593:Pictorialism in California: Photographs, 1900-1940 3528: 3470: 3439: 3405: 3349: 3262: 3108: 2938: 2907: 2510:"Rose Simmonds: Queensland pictorial photographer" 1598:Photographers who were predominantly pictorialists 1097:Pictorialism in France is dominated by two names, 251:introduced the first handheld amateur camera, the 3633:Pictorial photography its principles and practice 2672: 1196:and several others formed the Nihon Shashin-kai ( 1113:. In 1906, they published a book on the subject, 823:in Buffalo bought 15 photographs from Stieglitz' 2529: 2527: 1117:. Both of them also wrote many articles for the 3477:. Albuquerque: University of New Mexico Press. 3156:. London: Royal Photographic Society: 188–191. 3014:(2). New York: Camera Club of New York: 45–48. 2745: 2227: 2122: 1089:dissolved, and its members went their own way. 391:Applying this same sensibility to photography, 323:Other photographers and art critics, including 2757: 2640: 2629: 2627: 2625: 2623: 2494: 2142: 5670: 4035: 3204:Koltun, Lilly A.; Birrell, Andrew J. (1984). 2563: 2551: 998:Pictorialism in Canada initially centered on 8: 3527:; Whelan, Richard; Greenough, Sarah (2000). 3208:. Markham, Ont.: Fitzhenry & Whiteside. 30: 5587:Conservation and restoration of photographs 2733: 2330: 2156: 2094: 5677: 5663: 5655: 5324:Comparison of digital and film photography 4042: 4028: 4020: 3852:. Minneapolis, MN: Christian A. Peterson. 3680:(76). London: Hazell, Watson & Viney: 3041:Photo-Secession: Photography as a Fine Art 2698:"José María Álvarez de Toledo y Samaniego" 2435: 2346: 2246: 36: 29: 5544:Photographs considered the most important 3914:. London: Arts Council of Great Britain. 3115:. Oakland: Oakland Museum of California. 3002:(October 1899). Stieglitz, Alfred (ed.). 2382: 2363: 2270: 3798:. New York: Metropolitan Museum of Art. 3595:. Malibu, CA, US: J. Paul Getty Museum. 2945:. Dobbs Ferry, NY: Morgan & Morgan. 2769: 2471: 2402: 2286: 2052:José María Álvarez de Toledo y Samaniego 989: 3967:; Zamora, Lois Parkinson, eds. (1998). 3261:McCarroll, Stacey; Sichel, Kim (2004). 2880:. Tucson: University of Arizona Press. 2431: 2429: 2427: 2418: 2359: 2357: 2355: 2314: 2298: 2106: 2075: 2043: 1455:Little Galleries of the Photo-Secession 463: 3865:Rodríguez, Alejandro Castillo (2020). 2447: 2387:Stieglitz, Whelan & Greenough 2000 2242: 2240: 2215: 2196: 2184: 2172: 3535:. New York, NY: Aperture Foundation. 2258: 7: 3636:. Philadelphia: J.B. Lippincott Co. 2721: 2684: 2637:. "Pictorial Photography in Japan". 426:. An article in the British journal 263:in the world. Photography collector 5539:Museums devoted to one photographer 3939:The History of Japanese Photography 2514:University of Queensland Art Museum 1210:Foreign Photographic Art Exhibition 5086:Timeline of photography technology 3469:Sternberger, Paul Spencer (2001). 2811:Alfred Stieglitz: The Eloquent Eye 1327:, Piotr Klepikov, Vassily Ulitin, 1115:Les Procédés d'art en Photographie 25: 3763:Leijerzapf, Ingeborg Th. (1998). 3736:Camera Work: A Critical Anthology 2782:Daum, Ribemont & Prodger 2006 2659:Daum, Ribemont & Prodger 2006 2613:Daum, Ribemont & Prodger 2006 2580:Daum, Ribemont & Prodger 2006 2538:Daum, Ribemont & Prodger 2006 2083:Daum, Ribemont & Prodger 2006 1107:Société française de photographie 5637: 5627: 5626: 2520:from the original on 2019-03-18. 770: 751: 732: 709: 690: 671: 656: 637: 618: 599: 580: 561: 542: 523: 504: 485: 466: 383:"Spring Showers, the Coach", by 5638: 3941:. New Haven: Yale Univ. Press. 3848:Peterson, Christian A. (2012). 3348:Peterson, Christian A. (1997). 3143:"Some Thoughts on Pictorialism" 1243:. They promoted the concept of 1119:Bulletin du Photo-Club de Paris 912:Australian Photographic Journal 3670:"Photography, A Pictorial Art" 3408:A World History of Photography 3388:. London: Piper & Carter. 3306:10.1080/03087298.1977.10442936 3234:; Bromberg, Nicolette (2011). 2026:, 1885–1971, Japanese-American 1884:, 1885–1975, American/Canadian 1770:, 1878–1947, Japanese-American 1223:In 1904 a new magazine called 1206:Gaikoku Shashin-ga Tenrain-kai 942:Wiener Photographische Blätter 1: 5136:Painted photography backdrops 5068:Golden triangle (composition) 4343:35 mm equivalent focal length 3932:– via Internet Archive. 3816:– via Internet Archive. 3758:– via Internet Archive. 3727:– via Internet Archive. 3652:– via Internet Archive. 3642:2027/gri.ark:/13960/t1pg6b31b 3553:– via Internet Archive. 3495:– via Internet Archive. 3464:– via Internet Archive. 3430:– via Internet Archive. 3396:– via Internet Archive. 3374:– via Internet Archive. 3287:– via Internet Archive. 3133:– via Internet Archive. 2968:Daum, Patrick; Ribemont, F.; 2963:– via Internet Archive. 2932:– via Internet Archive. 2863:– via Internet Archive. 2673:Sviblova & Misalandi 2005 1680:, 1882–1966, American/English 1522:Portrait Alexander J. Golovin 308:In 1869 English photographer 5900:Readymades of Marcel Duchamp 3825:. New York: Pantheon Books. 3107:Johnson, Drew Heath (2001). 2845:. Philadelphia: Lippincott. 2702:Real Academia de la Historia 2008:, born 1968, German American 782:Blessed Art Thou Among Women 4846:Intentional camera movement 3740:. Millerton, NY: Aperture. 3561:; Misalandi, Elena (2005). 3446:. New York: Penguin Books. 2914:. Santa Barbara: P. Smith. 2842:The Fine Art of Photography 2746:McCarroll & Sichel 2004 2228:McCarroll & Sichel 2004 2123:McCarroll & Sichel 2004 1331:, Nikolai Svishchov-Paola, 227:The impact of Kodak cameras 46:, circa 1907. Published in 5972: 5749:From the Back Window - 291 5534:Most expensive photographs 4891:Multi-exposure HDR capture 2937:Crawford, William (1979). 2758:Martin & Bromberg 2011 2641:Nordström & Padon 2008 2594:Faure-Conorton et al. 2015 2495:Nordström & Padon 2008 2143:Nordström & Padon 2008 1813:, 1868–1949, French/German 1486:William Edward Dassonville 1198:Japan Photographic Society 424:Royal Photographic Society 312:published a book entitled 273:World Columbian Exposition 5725:Spring Showers, the Coach 5622: 3696:– via Google Books. 2564:Koltun & Birrell 1984 2552:Koltun & Birrell 1984 917:Australasian Photo-Review 796:Transition into Modernism 666:, "Marchesa Casati", 1912 282:Boston Evening Transcript 35: 5941:19th-century photography 5774:Georgia O'Keeffe - Hands 5766:Georgia O'Keeffe - Torso 5468:Digital image processing 3790:Naef, Weston J. (1978). 3732:Green, Jonathan (1973). 3674:The Amateur Photographer 3020:2027/uga1.32108001672149 2876:Brown, Julie K. (1994). 1498:Frank Asakichi Kunishige 1123:La Revue de Photographie 497:Soul of the Blasted Pine 5701:The Last Joke, Bellagio 5141:Photography and the law 3591:; Reed, Dennis (1994). 2734:Doty & Newhall 1960 2095:Doty & Newhall 1960 1978:, 1911–2003, Australian 1843:, 1868?–1961, American 1786:Adelaide Hanscom Leeson 1668:, 1878–1953, Australian 1654:Vladimír Jindřich Bufka 1585:Pictorial photographers 1478:Adelaide Hanscom Leeson 864:Pictorialism by country 437:, then director of the 185:Oscar Gustave Rejlander 5951:History of photography 5885:Nude photography (art) 5488:Gelatin silver process 4512:Science of photography 4497:Photographic processes 4475:Perspective distortion 3294:History of Photography 3177:King, S. Carl (1989). 2784:, pp. 8, 332–334. 2436:Wilson & Reed 1994 2347:Wilson & Reed 1994 2247:Wilson & Reed 1994 1908:,1871–1936, Australian 1638:, 1866?–1943, American 1525: 1200:) in order to promote 1184:In 1889 photographers 995: 994:1917 exhibition poster 834: 812: 388: 369:Ralph Albert Blakelock 361:James McNeill Whistler 305: 244: 111: 5848:Clarence Hudson White 4946:Schlieren photography 4485:Photographic printing 4408:Exposure compensation 3821:Nori, Claude (1979). 3709:. New York: Rizzoli. 3589:Wilson, Michael Gregg 3380:Robinson, Henry Peach 3084:. London: Heinemann. 2032:, 1886–1958, American 2020:, 1864–1946, American 2014:, 1879–1973, American 2000:Karl Maria Udo Remmes 1996:, 1886‒1952, American 1990:, 1891–1979, American 1984:, 1883–1976, American 1972:1884–1939 Australian 1966:, 1902–1984, American 1951:, 1869–1956, American 1945:, 1871–1925, American 1939:, 1843–1903, Austrian 1926:, 1867–1935, American 1914:, 1849–1915, American 1906:John William Twycross 1890:, 1886–1981, American 1878:, 1880–1955, American 1872:, 1858–1935, American 1831:, 1860–1929, Japanese 1825:, 1897–1965, American 1788:, 1875–1931, American 1782:, 1860–1927, American 1776:, 1866–1944, Austrian 1758:, 1866–1924, Japanese 1740:, 1860–1929, Japanese 1734:, 1865–1936, American 1716:, 1862–1932, American 1714:Rudolf Eickemeyer Jr. 1704:, 1857–1920, American 1686:, 1864–1933, American 1674:, 1852–1942, American 1650:, 1883–1968, American 1644:, 1869–1950, American 1619:, 1869–1933, American 1613:, 1846–1946, Scottish 1607:, 1882–1937, American 1519: 1245:hikari to sono kaichō 1229:Monthly Photo Journal 1174:Karl Maria Udo Remmes 1083:Alfred Horsley Hinton 993: 829: 803: 740:Henry Buergel Goodwin 382: 299: 292:Defining pictorialism 238: 203:in the U.S., and the 105: 42:"The Black Bowl", by 5956:Photography by genre 5905:Straight photography 5709:Winter, Fifth Avenue 4730:Straight photography 4368:Chromatic aberration 3666:Emerson, Peter Henry 3628:Anderson, Paul Lewis 2837:Anderson, Paul Lewis 1920:, 1872–1953, English 1912:Elizabeth Flint Wade 1902:, 1853–1941, English 1896:, 1880–1951, Russian 1866:, 1830–1901, English 1864:Henry Peach Robinson 1860:, 1861–1935, Italian 1819:, 1870–1943, Belgian 1807:, 1872–1929, Belgian 1794:, 1874–1948, Belgian 1746:, 1901–1963, British 1728:, 1853–1943, English 1722:, 1856–1936, English 1692:, 1854–1930, English 1678:Alvin Langdon Coburn 1592:straight photography 1565:potassium bichromate 1431:Alvin Langdon Coburn 1071:Alvin Langdon Coburn 1034:Henry Peach Robinson 1013:Harold Mortimer-Lamb 626:Alvin Langdon Coburn 429:Amateur Photographer 337:straight photography 329:Marcus Aurelius Root 310:Henry Peach Robinson 302:Henry Peach Robinson 173:Alvin Langdon Coburn 27:Photography movement 5843:Katherine Stieglitz 5597:photographic plates 5282:Digital photography 4460:Hyperfocal distance 4373:Circle of confusion 4013:Pictorialism Portal 3654:Reprinted in 2019: 3442:Art and Photography 3078:Harker, Margaret F. 2865:Reprinted in 2023: 2799:Adato, Perry Miller 2675:, pp. 182–190. 2662:. pp. 139‒147. 2187:, pp. 119–125. 2002:, 1954–2014, German 1949:Myra Albert Wiggins 1837:, 1857–1933, French 1752:1852–1934, American 1720:Peter Henry Emerson 1710:, 1872–1944, French 1698:, 1859–1936, French 1662:, 1876–1950, Polish 1632:, 1888–1969, French 1520:Miron A. Sherling, 1490:Seattle Camera Club 1214:Peter Henry Emerson 1135:Hofmeister brothers 1038:Peter Henry Emerson 1021:Toronto Camera Club 400:Paul Lewis Anderson 205:Photo-Club de Paris 117:William John Newton 32: 5785:Photography series 5101:Autochrome Lumière 5096:Analog photography 4921:Pigeon photography 4710:Social documentary 4189:discontinued films 2541:, pp. 125–129 2050:This was probably 2006:Stefanie Schneider 1924:Eva Watson-Schütze 1870:Sarah Choate Sears 1798:Gustave Marissiaux 1726:Frederick H. Evans 1656:, 1887–1916, Czech 1526: 1427:Eva Watson-Schütze 1344:Alexander Grinberg 1067:Frederick H. Evans 996: 813: 439:Kunsthalle Hamburg 389: 306: 300:"Fading Away", by 245: 189:Sarah Choate Sears 135:miniature portrait 112: 108:Eva Watson-Schütze 5923: 5922: 5915:291 (art gallery) 5838:Katharine Rhoades 5823:Gertrude Käsebier 5652: 5651: 5453:Collodion process 5389:Chromogenic print 5376:Color photography 4886:Multiple exposure 4861:Lo-fi photography 4388:Color temperature 3978:978-0-292-79118-3 3948:978-0-300-09925-6 3921:978-0-7287-0170-0 3890:978-3-8365-4407-8 3883:. Köln: Taschen. 3877:Stieglitz, Alfred 3832:978-0-394-50670-8 3805:978-0-670-67051-2 3774:978-90-804274-2-6 3747:978-0-912334-73-8 3716:978-0-8478-1936-2 3660:978-0-243-75935-4 3602:978-0-89236-313-1 3572:978-5-93977-019-4 3542:978-0-89381-804-3 3525:Stieglitz, Alfred 3501:Stieglitz, Alfred 3484:978-0-8263-2151-0 3453:978-0-14-013132-1 3419:978-0-7892-0028-0 3363:978-0-393-04111-8 3332:978-1-55365-981-5 3276:978-1-881450-21-4 3245:978-0-295-99085-9 3215:978-0-88902-744-2 3188:978-0-88946-564-0 3122:978-0-393-04993-0 3091:978-0-434-31360-0 3037:Newhall, Beaumont 3035:Doty, Robert M.; 2983:978-1-85894-331-2 2952:978-0-87100-158-0 2921:978-0-87905-059-7 2904:Bunnell, Peter C. 2887:978-0-8165-1382-6 2871:978-1-02-195026-0 2852:978-0-405-04891-3 2820:978-0-7942-0085-5 2772:, pp. 85–95. 2760:, pp. 10–30. 2748:, pp. 15‒30. 2644:. pp. 81–84. 2616:. pp. 31–35. 2583:. pp. 65‒71. 2498:. pp. 97–99. 2460:Adato et al. 2001 1982:Imogen Cunningham 1943:Clarence H. White 1894:Miron A. Sherling 1823:William Mortensen 1750:Gertrude Käsebier 1611:James Craig Annan 1572:Oil print process 1466:Clarence H. White 1423:Gertrude Käsebier 1295:Evgeny Vishnyakov 1283:Leiden University 1079:James Craig Annan 1075:Frederick Hollyer 838:Clarence H. White 778:Gertrude Käsebier 717:Clarence H. White 698:Clarence H. White 592:Flatiron Building 512:Clarence H. White 265:Michael G. Wilson 181:Gertrude Käsebier 65: 64: 16:(Redirected from 5963: 5833:Georgia O'Keeffe 5686:Alfred Stieglitz 5679: 5672: 5665: 5656: 5641: 5640: 5630: 5629: 5508:Print permanence 5458:Cross processing 5416:CMYK color model 5401:Color management 5354:Foveon X3 sensor 5349:Three-CCD camera 4993:Miniature faking 4951:Sabattier effect 4563:Astrophotography 4418:Zebra patterning 4044: 4037: 4030: 4021: 3990: 3960: 3933: 3913: 3902: 3872: 3861: 3844: 3817: 3797: 3786: 3759: 3739: 3728: 3708: 3697: 3653: 3614: 3584: 3554: 3534: 3520: 3496: 3476: 3465: 3445: 3431: 3411: 3402:Rosenblum, Naomi 3397: 3375: 3355: 3344: 3317: 3288: 3268: 3257: 3232:Martin, David F. 3227: 3200: 3173: 3147: 3134: 3114: 3103: 3073: 3052: 3031: 2995: 2970:Prodger, Phillip 2964: 2944: 2933: 2913: 2899: 2864: 2832: 2785: 2779: 2773: 2767: 2761: 2755: 2749: 2743: 2737: 2736:, pp. 5–10. 2731: 2725: 2719: 2713: 2712: 2710: 2709: 2694: 2688: 2682: 2676: 2670: 2664: 2663: 2652: 2646: 2645: 2631: 2618: 2617: 2603: 2597: 2591: 2585: 2584: 2573: 2567: 2561: 2555: 2554:, pp. 4‒11. 2549: 2543: 2542: 2531: 2522: 2521: 2506: 2500: 2499: 2485: 2479: 2469: 2463: 2457: 2451: 2445: 2439: 2433: 2422: 2416: 2410: 2400: 2394: 2380: 2374: 2361: 2350: 2344: 2338: 2331:Sternberger 2001 2328: 2322: 2312: 2306: 2296: 2290: 2284: 2278: 2268: 2262: 2256: 2250: 2244: 2235: 2225: 2219: 2213: 2204: 2194: 2188: 2182: 2176: 2170: 2164: 2157:Sternberger 2001 2154: 2148: 2147: 2136: 2130: 2120: 2114: 2104: 2098: 2092: 2086: 2080: 2064: 2062: 2059: 2048: 2018:Alfred Stieglitz 1994:Margrethe Mather 1938: 1859: 1806: 1631: 1488:. Later on, the 1415:Alfred Stieglitz 1403: 1385:, Manual Renon, 1384: 1373: 1370: 1341: 1329:Nikolay Andreyev 1326: 1310:Sergei Lobovikov 1303: 1280: 1269: 1239:and his brother 1202:geijutsu shashin 1167: 1164: 1154: 1143: 1121:(1891–1902) and 1056: 1053: 1010: 1007: 976: 965: 946:Alfred Stieglitz 939: 885: 882: 859: 856: 849:Adolf Fassbender 821:Albright Gallery 774: 755: 736: 721:Alfred Stieglitz 713: 694: 675: 660: 641: 622: 603: 584: 569:Alfred Stieglitz 565: 546: 527: 508: 489: 470: 435:Alfred Lichtwark 393:Alfred Stieglitz 385:Alfred Stieglitz 221: 199:in England, the 40: 33: 21: 5971: 5970: 5966: 5965: 5964: 5962: 5961: 5960: 5926: 5925: 5924: 5919: 5910:The Linked Ring 5890:Photo-Secession 5852: 5805: 5799: 5780: 5733:The Hand of Man 5688: 5683: 5653: 5648: 5618: 5575: 5522: 5513:Push processing 5434: 5427: 5421:RGB color model 5370: 5276: 5160: 5072: 5038:Diagonal method 5024: 4764: 4668:Photojournalism 4531: 4363:Black-and-white 4331: 4310:Slide projector 4305:Movie projector 4184:available films 4053: 4048: 3998: 3993: 3979: 3963: 3949: 3936: 3922: 3905: 3891: 3875: 3864: 3847: 3833: 3820: 3806: 3789: 3775: 3762: 3748: 3731: 3717: 3700: 3664: 3626: 3622: 3620:Further reading 3617: 3603: 3587: 3573: 3557: 3543: 3523: 3499: 3485: 3468: 3454: 3434: 3420: 3400: 3378: 3364: 3347: 3333: 3320: 3291: 3277: 3260: 3246: 3230: 3216: 3203: 3189: 3176: 3145: 3141:(August 1948). 3137: 3123: 3106: 3092: 3076: 3055: 3034: 3000:Demachy, Robert 2998: 2984: 2967: 2953: 2936: 2922: 2902: 2888: 2875: 2853: 2835: 2821: 2803:Feldshuh, Tovah 2797: 2793: 2788: 2780: 2776: 2768: 2764: 2756: 2752: 2744: 2740: 2732: 2728: 2720: 2716: 2707: 2705: 2696: 2695: 2691: 2683: 2679: 2671: 2667: 2654: 2653: 2649: 2635:Kaneko, Ryūichi 2633: 2632: 2621: 2607:Poivert, Michel 2605: 2604: 2600: 2592: 2588: 2575: 2574: 2570: 2562: 2558: 2550: 2546: 2533: 2532: 2525: 2508: 2507: 2503: 2487: 2486: 2482: 2470: 2466: 2458: 2454: 2446: 2442: 2434: 2425: 2417: 2413: 2401: 2397: 2381: 2377: 2362: 2353: 2345: 2341: 2329: 2325: 2313: 2309: 2297: 2293: 2285: 2281: 2269: 2265: 2257: 2253: 2245: 2238: 2226: 2222: 2214: 2207: 2195: 2191: 2183: 2179: 2171: 2167: 2155: 2151: 2138: 2137: 2133: 2121: 2117: 2105: 2101: 2093: 2089: 2081: 2077: 2073: 2068: 2067: 2054: 2049: 2045: 2040: 2035: 2012:Edward Steichen 1959: 1954: 1932: 1900:Frank Sutcliffe 1849: 1817:Léonard Misonne 1800: 1708:Pierre Dubreuil 1666:Harold Cazneaux 1625: 1617:Zaida Ben-Yusuf 1600: 1587: 1534:Bromoil process 1514: 1502:Ella E. McBride 1482:Emily Pitchford 1435:Edward Steichen 1419:Photo-Secession 1411: 1389: 1378: 1365: 1356:Antonio Cánovas 1352: 1335: 1312: 1297: 1291: 1274: 1259: 1253: 1237:Shinzō Fukuhara 1182: 1159: 1148: 1137: 1131: 1095: 1063:Frank Sutcliffe 1059:The Linked Ring 1048: 1029: 1002: 988: 970: 959: 933: 926: 888:Harold Cazneaux 877: 871: 866: 851: 798: 793: 792: 791: 788: 786:Brooklyn Museum 775: 766: 756: 747: 737: 728: 714: 705: 695: 686: 676: 667: 664:Adolph de Meyer 661: 652: 649:Ebony and Ivory 642: 633: 623: 614: 604: 595: 588:Edward Steichen 585: 576: 573:The Hand of Man 566: 557: 547: 538: 528: 519: 509: 500: 490: 481: 471: 459: 325:Oscar Rejlander 294: 229: 207: 201:Photo-Secession 197:The Linked Ring 177:Edward Steichen 122:Naomi Rosenblum 106:"The Rose", by 100: 53: 28: 23: 22: 15: 12: 11: 5: 5969: 5967: 5959: 5958: 5953: 5948: 5943: 5938: 5928: 5927: 5921: 5920: 5918: 5917: 5912: 5907: 5902: 5897: 5892: 5887: 5882: 5877: 5869: 5860: 5858: 5854: 5853: 5851: 5850: 5845: 5840: 5835: 5830: 5828:Dorothy Norman 5825: 5820: 5815: 5813:Alice Boughton 5809: 5807: 5801: 5800: 5798: 5797: 5788: 5786: 5782: 5781: 5779: 5778: 5770: 5762: 5753: 5745: 5737: 5729: 5721: 5713: 5705: 5696: 5694: 5690: 5689: 5684: 5682: 5681: 5674: 5667: 5659: 5650: 5649: 5647: 5646: 5635: 5623: 5620: 5619: 5617: 5616: 5611: 5606: 5601: 5600: 5599: 5594: 5583: 5581: 5577: 5576: 5574: 5573: 5572: 5571: 5566: 5561: 5556: 5546: 5541: 5536: 5530: 5528: 5524: 5523: 5521: 5520: 5515: 5510: 5505: 5500: 5495: 5490: 5485: 5480: 5475: 5470: 5465: 5460: 5455: 5450: 5445: 5439: 5437: 5429: 5428: 5426: 5425: 5424: 5423: 5418: 5413: 5408: 5398: 5393: 5392: 5391: 5380: 5378: 5372: 5371: 5369: 5368: 5363: 5358: 5357: 5356: 5351: 5346: 5341: 5331: 5326: 5321: 5316: 5315: 5314: 5309: 5304: 5303: 5302: 5290:Digital camera 5286: 5284: 5278: 5277: 5275: 5274: 5269: 5264: 5259: 5254: 5249: 5244: 5239: 5234: 5229: 5224: 5219: 5214: 5209: 5204: 5199: 5194: 5189: 5184: 5179: 5174: 5168: 5166: 5162: 5161: 5159: 5158: 5153: 5148: 5143: 5138: 5133: 5128: 5123: 5118: 5116:Camera obscura 5113: 5108: 5103: 5098: 5093: 5088: 5082: 5080: 5074: 5073: 5071: 5070: 5065: 5060: 5058:Rule of thirds 5055: 5050: 5045: 5040: 5034: 5032: 5026: 5025: 5023: 5022: 5017: 5012: 5007: 5002: 4997: 4996: 4995: 4985: 4980: 4979: 4978: 4968: 4963: 4958: 4953: 4948: 4943: 4938: 4933: 4928: 4923: 4918: 4913: 4908: 4903: 4898: 4893: 4888: 4883: 4878: 4873: 4868: 4863: 4858: 4853: 4848: 4843: 4838: 4833: 4828: 4826:Harris shutter 4823: 4821:Hand-colouring 4818: 4813: 4808: 4803: 4798: 4793: 4788: 4783: 4778: 4772: 4770: 4766: 4765: 4763: 4762: 4757: 4752: 4747: 4742: 4737: 4732: 4727: 4722: 4717: 4712: 4707: 4706: 4705: 4695: 4690: 4685: 4680: 4675: 4670: 4665: 4660: 4655: 4650: 4645: 4640: 4635: 4630: 4625: 4620: 4615: 4610: 4605: 4600: 4595: 4590: 4585: 4580: 4575: 4570: 4565: 4560: 4555: 4550: 4545: 4539: 4537: 4533: 4532: 4530: 4529: 4524: 4519: 4514: 4509: 4507:Red-eye effect 4504: 4499: 4494: 4493: 4492: 4482: 4477: 4472: 4467: 4462: 4457: 4452: 4447: 4442: 4441: 4440: 4435: 4425: 4420: 4415: 4413:Exposure value 4410: 4405: 4400: 4398:Depth of focus 4395: 4393:Depth of field 4390: 4385: 4380: 4375: 4370: 4365: 4360: 4355: 4350: 4345: 4339: 4337: 4333: 4332: 4330: 4329: 4324: 4323: 4322: 4312: 4307: 4302: 4297: 4292: 4291: 4290: 4285: 4280: 4275: 4270: 4265: 4260: 4250: 4249: 4248: 4243: 4238: 4233: 4228: 4223: 4218: 4213: 4208: 4198: 4193: 4192: 4191: 4186: 4181: 4176: 4171: 4166: 4156: 4151: 4150: 4149: 4144: 4134: 4133: 4132: 4127: 4122: 4117: 4112: 4107: 4102: 4097: 4092: 4087: 4082: 4077: 4072: 4061: 4059: 4055: 4054: 4049: 4047: 4046: 4039: 4032: 4024: 4018: 4017: 4010: 4005: 3997: 3996:External links 3994: 3992: 3991: 3977: 3965:Watriss, Wendy 3961: 3947: 3934: 3920: 3903: 3889: 3873: 3862: 3845: 3831: 3818: 3804: 3787: 3773: 3760: 3746: 3729: 3715: 3698: 3668:(1886-03-19). 3662: 3623: 3621: 3618: 3616: 3615: 3601: 3585: 3571: 3559:Sviblova, Olga 3555: 3541: 3521: 3497: 3483: 3466: 3452: 3432: 3418: 3398: 3376: 3362: 3345: 3331: 3318: 3300:(4): 327–347. 3289: 3275: 3258: 3244: 3228: 3214: 3201: 3187: 3174: 3135: 3121: 3104: 3090: 3074: 3053: 3032: 2996: 2982: 2965: 2951: 2934: 2920: 2900: 2886: 2873: 2851: 2833: 2819: 2801:; Wall, Stan; 2794: 2792: 2789: 2787: 2786: 2774: 2762: 2750: 2738: 2726: 2724:, p. 125. 2714: 2689: 2687:, p. 133. 2677: 2665: 2647: 2619: 2598: 2586: 2568: 2556: 2544: 2523: 2501: 2480: 2464: 2452: 2450:, p. 189. 2440: 2423: 2421:, p. 345. 2411: 2395: 2383:Stieglitz 1890 2375: 2364:Rosenblum 1997 2351: 2339: 2323: 2307: 2291: 2279: 2271:Rosenblum 1997 2263: 2251: 2236: 2220: 2205: 2189: 2177: 2165: 2149: 2131: 2115: 2099: 2087: 2074: 2072: 2069: 2066: 2065: 2042: 2041: 2039: 2036: 2034: 2033: 2027: 2021: 2015: 2009: 2003: 1997: 1991: 1985: 1979: 1973: 1967: 1960: 1958: 1955: 1953: 1952: 1946: 1940: 1927: 1921: 1915: 1909: 1903: 1897: 1891: 1885: 1882:Clara Sipprell 1879: 1873: 1867: 1861: 1844: 1838: 1832: 1829:Ogawa Kazumasa 1826: 1820: 1814: 1811:Adoph de Meyer 1808: 1795: 1792:Eugene Lemaire 1789: 1783: 1777: 1771: 1765: 1759: 1753: 1747: 1741: 1735: 1729: 1723: 1717: 1711: 1705: 1699: 1696:Robert Demachy 1693: 1690:George Davison 1687: 1684:F. Holland Day 1681: 1675: 1669: 1663: 1657: 1651: 1645: 1639: 1636:Alice Boughton 1633: 1623:Fernand Bignon 1620: 1614: 1608: 1601: 1599: 1596: 1586: 1583: 1582: 1581: 1578:Platinum print 1575: 1569: 1557:Gum bichromate 1554: 1548: 1537: 1513: 1510: 1462:F. Holland Day 1410: 1407: 1351: 1348: 1304:in Russia and 1290: 1287: 1252: 1249: 1218:George Davison 1186:Ogawa Kazumasa 1181: 1178: 1130: 1127: 1111:gum bichromate 1103:Robert Demachy 1094: 1091: 1046:Alfred Maskell 1042:George Davison 1028: 1025: 987: 984: 968:Hugo Henneberg 950:Robert Demachy 931:Charles Scolik 925: 922: 875:John Kauffmann 870: 867: 865: 862: 797: 794: 790: 789: 776: 769: 767: 757: 750: 748: 738: 731: 729: 715: 708: 706: 696: 689: 687: 677: 670: 668: 662: 655: 653: 645:F. Holland Day 643: 636: 634: 624: 617: 615: 605: 598: 596: 586: 579: 577: 567: 560: 558: 550:Robert Demachy 548: 541: 539: 529: 522: 520: 510: 503: 501: 491: 484: 482: 474:Alice Boughton 472: 465: 462: 461: 460: 458: 455: 373:Arnold Böcklin 344:Robert Demachy 293: 290: 249:George Eastman 228: 225: 99: 96: 63: 62: 61:1850s to 1940s 59: 55: 54: 52:, No 20 (1907) 41: 26: 24: 14: 13: 10: 9: 6: 4: 3: 2: 5968: 5957: 5954: 5952: 5949: 5947: 5946:Art movements 5944: 5942: 5939: 5937: 5934: 5933: 5931: 5916: 5913: 5911: 5908: 5906: 5903: 5901: 5898: 5896: 5893: 5891: 5888: 5886: 5883: 5881: 5880:New York Dada 5878: 5875: 5874: 5870: 5867: 5866: 5862: 5861: 5859: 5855: 5849: 5846: 5844: 5841: 5839: 5836: 5834: 5831: 5829: 5826: 5824: 5821: 5819: 5818:Paul Haviland 5816: 5814: 5811: 5810: 5808: 5806:relationships 5802: 5795: 5794: 5790: 5789: 5787: 5783: 5776: 5775: 5771: 5768: 5767: 5763: 5760: 5758: 5754: 5751: 5750: 5746: 5743: 5742: 5738: 5735: 5734: 5730: 5727: 5726: 5722: 5719: 5718: 5714: 5711: 5710: 5706: 5703: 5702: 5698: 5697: 5695: 5691: 5687: 5680: 5675: 5673: 5668: 5666: 5661: 5660: 5657: 5645: 5636: 5634: 5625: 5624: 5621: 5615: 5612: 5610: 5607: 5605: 5602: 5598: 5595: 5593: 5590: 5589: 5588: 5585: 5584: 5582: 5578: 5570: 5567: 5565: 5562: 5560: 5557: 5555: 5552: 5551: 5550: 5549:Photographers 5547: 5545: 5542: 5540: 5537: 5535: 5532: 5531: 5529: 5525: 5519: 5516: 5514: 5511: 5509: 5506: 5504: 5501: 5499: 5496: 5494: 5491: 5489: 5486: 5484: 5481: 5479: 5476: 5474: 5471: 5469: 5466: 5464: 5461: 5459: 5456: 5454: 5451: 5449: 5446: 5444: 5443:Bleach bypass 5441: 5440: 5438: 5436: 5430: 5422: 5419: 5417: 5414: 5412: 5411:primary color 5409: 5407: 5404: 5403: 5402: 5399: 5397: 5396:Reversal film 5394: 5390: 5387: 5386: 5385: 5382: 5381: 5379: 5377: 5373: 5367: 5364: 5362: 5361:Image sharing 5359: 5355: 5352: 5350: 5347: 5345: 5342: 5340: 5337: 5336: 5335: 5332: 5330: 5327: 5325: 5322: 5320: 5317: 5313: 5310: 5308: 5305: 5301: 5298: 5297: 5296: 5293: 5292: 5291: 5288: 5287: 5285: 5283: 5279: 5273: 5270: 5268: 5265: 5263: 5262:United States 5260: 5258: 5255: 5253: 5250: 5248: 5245: 5243: 5240: 5238: 5235: 5233: 5230: 5228: 5225: 5223: 5220: 5218: 5215: 5213: 5210: 5208: 5205: 5203: 5200: 5198: 5195: 5193: 5190: 5188: 5185: 5183: 5180: 5178: 5175: 5173: 5170: 5169: 5167: 5163: 5157: 5154: 5152: 5149: 5147: 5144: 5142: 5139: 5137: 5134: 5132: 5129: 5127: 5124: 5122: 5121:Daguerreotype 5119: 5117: 5114: 5112: 5109: 5107: 5104: 5102: 5099: 5097: 5094: 5092: 5089: 5087: 5084: 5083: 5081: 5079: 5075: 5069: 5066: 5064: 5061: 5059: 5056: 5054: 5051: 5049: 5046: 5044: 5041: 5039: 5036: 5035: 5033: 5031: 5027: 5021: 5018: 5016: 5013: 5011: 5008: 5006: 5003: 5001: 4998: 4994: 4991: 4990: 4989: 4986: 4984: 4981: 4977: 4974: 4973: 4972: 4969: 4967: 4966:Stopping down 4964: 4962: 4959: 4957: 4954: 4952: 4949: 4947: 4944: 4942: 4939: 4937: 4934: 4932: 4931:Rephotography 4929: 4927: 4924: 4922: 4919: 4917: 4914: 4912: 4909: 4907: 4904: 4902: 4899: 4897: 4894: 4892: 4889: 4887: 4884: 4882: 4879: 4877: 4874: 4872: 4869: 4867: 4866:Long-exposure 4864: 4862: 4859: 4857: 4854: 4852: 4849: 4847: 4844: 4842: 4839: 4837: 4834: 4832: 4829: 4827: 4824: 4822: 4819: 4817: 4814: 4812: 4809: 4807: 4804: 4802: 4799: 4797: 4794: 4792: 4789: 4787: 4784: 4782: 4779: 4777: 4774: 4773: 4771: 4767: 4761: 4758: 4756: 4753: 4751: 4748: 4746: 4743: 4741: 4738: 4736: 4733: 4731: 4728: 4726: 4723: 4721: 4718: 4716: 4713: 4711: 4708: 4704: 4701: 4700: 4699: 4696: 4694: 4691: 4689: 4686: 4684: 4681: 4679: 4676: 4674: 4671: 4669: 4666: 4664: 4661: 4659: 4656: 4654: 4651: 4649: 4646: 4644: 4641: 4639: 4636: 4634: 4631: 4629: 4626: 4624: 4621: 4619: 4616: 4614: 4611: 4609: 4606: 4604: 4601: 4599: 4596: 4594: 4591: 4589: 4586: 4584: 4581: 4579: 4576: 4574: 4571: 4569: 4566: 4564: 4561: 4559: 4558:Architectural 4556: 4554: 4551: 4549: 4546: 4544: 4541: 4540: 4538: 4534: 4528: 4525: 4523: 4520: 4518: 4517:Shutter speed 4515: 4513: 4510: 4508: 4505: 4503: 4500: 4498: 4495: 4491: 4488: 4487: 4486: 4483: 4481: 4478: 4476: 4473: 4471: 4470:Metering mode 4468: 4466: 4463: 4461: 4458: 4456: 4453: 4451: 4448: 4446: 4443: 4439: 4436: 4434: 4431: 4430: 4429: 4426: 4424: 4421: 4419: 4416: 4414: 4411: 4409: 4406: 4404: 4401: 4399: 4396: 4394: 4391: 4389: 4386: 4384: 4383:Color balance 4381: 4379: 4376: 4374: 4371: 4369: 4366: 4364: 4361: 4359: 4356: 4354: 4351: 4349: 4348:Angle of view 4346: 4344: 4341: 4340: 4338: 4334: 4328: 4325: 4321: 4318: 4317: 4316: 4313: 4311: 4308: 4306: 4303: 4301: 4298: 4296: 4295:Manufacturers 4293: 4289: 4286: 4284: 4281: 4279: 4276: 4274: 4271: 4269: 4266: 4264: 4261: 4259: 4256: 4255: 4254: 4251: 4247: 4244: 4242: 4239: 4237: 4234: 4232: 4229: 4227: 4224: 4222: 4219: 4217: 4214: 4212: 4209: 4207: 4204: 4203: 4202: 4199: 4197: 4194: 4190: 4187: 4185: 4182: 4180: 4177: 4175: 4172: 4170: 4167: 4165: 4162: 4161: 4160: 4157: 4155: 4152: 4148: 4145: 4143: 4140: 4139: 4138: 4135: 4131: 4128: 4126: 4123: 4121: 4118: 4116: 4113: 4111: 4108: 4106: 4103: 4101: 4098: 4096: 4093: 4091: 4088: 4086: 4083: 4081: 4078: 4076: 4073: 4071: 4068: 4067: 4066: 4063: 4062: 4060: 4056: 4052: 4045: 4040: 4038: 4033: 4031: 4026: 4025: 4022: 4014: 4011: 4009: 4006: 4003: 4000: 3999: 3995: 3988: 3984: 3980: 3974: 3970: 3966: 3962: 3958: 3954: 3950: 3944: 3940: 3935: 3931: 3927: 3923: 3917: 3912: 3911: 3904: 3900: 3896: 3892: 3886: 3882: 3878: 3874: 3870: 3869: 3863: 3859: 3855: 3851: 3846: 3842: 3838: 3834: 3828: 3824: 3819: 3815: 3811: 3807: 3801: 3796: 3795: 3788: 3784: 3780: 3776: 3770: 3766: 3761: 3757: 3753: 3749: 3743: 3738: 3737: 3730: 3726: 3722: 3718: 3712: 3707: 3706: 3699: 3695: 3691: 3687: 3683: 3679: 3675: 3671: 3667: 3663: 3661: 3657: 3651: 3647: 3643: 3639: 3635: 3634: 3629: 3625: 3624: 3619: 3612: 3608: 3604: 3598: 3594: 3590: 3586: 3582: 3578: 3574: 3568: 3564: 3560: 3556: 3552: 3548: 3544: 3538: 3533: 3532: 3526: 3522: 3518: 3514: 3510: 3506: 3502: 3498: 3494: 3490: 3486: 3480: 3475: 3474: 3467: 3463: 3459: 3455: 3449: 3444: 3443: 3437: 3436:Scharf, Aaron 3433: 3429: 3425: 3421: 3415: 3410: 3409: 3403: 3399: 3395: 3391: 3387: 3386: 3381: 3377: 3373: 3369: 3365: 3359: 3354: 3353: 3346: 3342: 3338: 3334: 3328: 3324: 3319: 3315: 3311: 3307: 3303: 3299: 3295: 3290: 3286: 3282: 3278: 3272: 3267: 3266: 3259: 3255: 3251: 3247: 3241: 3237: 3233: 3229: 3225: 3221: 3217: 3211: 3207: 3202: 3198: 3194: 3190: 3184: 3180: 3175: 3171: 3167: 3163: 3159: 3155: 3151: 3144: 3140: 3136: 3132: 3128: 3124: 3118: 3113: 3112: 3105: 3101: 3097: 3093: 3087: 3083: 3079: 3075: 3071: 3067: 3063: 3059: 3054: 3050: 3046: 3042: 3038: 3033: 3029: 3025: 3021: 3017: 3013: 3009: 3005: 3001: 2997: 2993: 2989: 2985: 2979: 2975: 2971: 2966: 2962: 2958: 2954: 2948: 2943: 2942: 2935: 2931: 2927: 2923: 2917: 2912: 2911: 2905: 2901: 2897: 2893: 2889: 2883: 2879: 2874: 2872: 2868: 2862: 2858: 2854: 2848: 2844: 2843: 2838: 2834: 2830: 2826: 2822: 2816: 2812: 2808: 2804: 2800: 2796: 2795: 2790: 2783: 2778: 2775: 2771: 2770:Crawford 1979 2766: 2763: 2759: 2754: 2751: 2747: 2742: 2739: 2735: 2730: 2727: 2723: 2718: 2715: 2703: 2699: 2693: 2690: 2686: 2681: 2678: 2674: 2669: 2666: 2661: 2660: 2651: 2648: 2643: 2642: 2636: 2630: 2628: 2626: 2624: 2620: 2615: 2614: 2608: 2602: 2599: 2595: 2590: 2587: 2582: 2581: 2572: 2569: 2566:, p. 38. 2565: 2560: 2557: 2553: 2548: 2545: 2540: 2539: 2530: 2528: 2524: 2519: 2515: 2511: 2505: 2502: 2497: 2496: 2490: 2484: 2481: 2477: 2473: 2472:Peterson 1997 2468: 2465: 2461: 2456: 2453: 2449: 2444: 2441: 2437: 2432: 2430: 2428: 2424: 2420: 2415: 2412: 2408: 2404: 2403:Anderson 1919 2399: 2396: 2392: 2388: 2384: 2379: 2376: 2373: 2369: 2365: 2360: 2358: 2356: 2352: 2348: 2343: 2340: 2336: 2332: 2327: 2324: 2320: 2316: 2311: 2308: 2304: 2300: 2295: 2292: 2288: 2287:Robinson 1869 2283: 2280: 2276: 2272: 2267: 2264: 2261:, p. 24. 2260: 2255: 2252: 2248: 2243: 2241: 2237: 2233: 2229: 2224: 2221: 2218:, p. 19. 2217: 2212: 2210: 2206: 2202: 2198: 2193: 2190: 2186: 2181: 2178: 2175:, p. 16. 2174: 2169: 2166: 2162: 2158: 2153: 2150: 2146:. p. 33. 2145: 2144: 2135: 2132: 2128: 2124: 2119: 2116: 2112: 2108: 2103: 2100: 2097:, p. 11. 2096: 2091: 2088: 2084: 2079: 2076: 2070: 2060: 2053: 2047: 2044: 2037: 2031: 2030:Edward Weston 2028: 2025: 2024:Soichi Sunami 2022: 2019: 2016: 2013: 2010: 2007: 2004: 2001: 1998: 1995: 1992: 1989: 1986: 1983: 1980: 1977: 1974: 1971: 1970:Cecil Bostock 1968: 1965: 1962: 1961: 1956: 1950: 1947: 1944: 1941: 1936: 1931: 1928: 1925: 1922: 1919: 1918:Agnes Warburg 1916: 1913: 1910: 1907: 1904: 1901: 1898: 1895: 1892: 1889: 1886: 1883: 1880: 1877: 1876:George Seeley 1874: 1871: 1868: 1865: 1862: 1857: 1853: 1848: 1845: 1842: 1839: 1836: 1835:Constant Puyo 1833: 1830: 1827: 1824: 1821: 1818: 1815: 1812: 1809: 1804: 1799: 1796: 1793: 1790: 1787: 1784: 1781: 1778: 1775: 1774:Heinrich Kühn 1772: 1769: 1766: 1763: 1762:Joseph Keiley 1760: 1757: 1756:Kajima Seibei 1754: 1751: 1748: 1745: 1742: 1739: 1736: 1733: 1730: 1727: 1724: 1721: 1718: 1715: 1712: 1709: 1706: 1703: 1700: 1697: 1694: 1691: 1688: 1685: 1682: 1679: 1676: 1673: 1670: 1667: 1664: 1661: 1658: 1655: 1652: 1649: 1646: 1643: 1642:Annie Brigman 1640: 1637: 1634: 1629: 1624: 1621: 1618: 1615: 1612: 1609: 1606: 1603: 1602: 1597: 1595: 1593: 1584: 1579: 1576: 1573: 1570: 1566: 1562: 1558: 1555: 1552: 1549: 1545: 1541: 1538: 1535: 1532: 1531: 1530: 1523: 1518: 1511: 1509: 1507: 1506:Soichi Sunami 1503: 1499: 1495: 1491: 1487: 1483: 1479: 1475: 1474:Arnold Genthe 1471: 1470:Annie Brigman 1467: 1463: 1458: 1456: 1452: 1451: 1446: 1445: 1440: 1439:Joseph Keiley 1436: 1432: 1428: 1424: 1420: 1416: 1409:United States 1408: 1406: 1401: 1397: 1393: 1388: 1387:Joan Vilatobà 1382: 1377: 1371: 1364: 1362: 1361:La Fotografía 1357: 1349: 1347: 1345: 1339: 1334: 1333:Leonid Shokin 1330: 1324: 1320: 1316: 1311: 1307: 1301: 1296: 1288: 1286: 1284: 1278: 1273: 1272:Johan Huijsen 1267: 1263: 1258: 1250: 1248: 1246: 1242: 1241:Rosō Fukuhara 1238: 1232: 1230: 1226: 1225:Shashin Geppo 1221: 1219: 1215: 1211: 1207: 1203: 1199: 1195: 1194:Kajima Seibei 1191: 1187: 1179: 1177: 1175: 1171: 1170:Heinrich Kühn 1165: 1158: 1152: 1147: 1146:Georg Einbeck 1141: 1136: 1128: 1126: 1124: 1120: 1116: 1112: 1108: 1104: 1100: 1099:Constant Puyo 1092: 1090: 1086: 1084: 1080: 1076: 1072: 1068: 1064: 1060: 1054: 1047: 1043: 1039: 1035: 1026: 1024: 1022: 1018: 1014: 1008: 1001: 1000:Sidney Carter 992: 985: 983: 980: 979:Heinrich Kühn 974: 969: 963: 958: 953: 951: 947: 943: 937: 932: 923: 921: 919: 918: 913: 909: 905: 904:Rose Simmonds 901: 900:Henri Mallard 897: 896:Cecil Bostock 893: 889: 883: 876: 868: 863: 861: 857: 850: 846: 843: 839: 833: 828: 826: 822: 817: 810: 806: 802: 795: 787: 783: 779: 773: 768: 764: 760: 759:Constant Puyo 754: 749: 745: 741: 735: 730: 726: 722: 718: 712: 707: 703: 699: 693: 688: 684: 680: 679:Joseph Keiley 674: 669: 665: 659: 654: 650: 646: 640: 635: 631: 627: 621: 616: 612: 608: 607:Constant Puyo 602: 597: 593: 589: 583: 578: 574: 570: 564: 559: 555: 551: 545: 540: 536: 532: 531:Paul Haviland 526: 521: 517: 513: 507: 502: 498: 494: 493:Annie Brigman 488: 483: 479: 475: 469: 464: 456: 454: 451: 447: 442: 440: 436: 433:was allowed. 431: 430: 425: 419: 417: 413: 409: 403: 401: 397: 394: 386: 381: 377: 374: 370: 366: 365:George Inness 362: 358: 352: 348: 345: 341: 338: 334: 330: 326: 321: 319: 315: 311: 303: 298: 291: 289: 285: 283: 277: 274: 269: 266: 262: 257: 254: 250: 242: 237: 233: 226: 224: 219: 215: 211: 206: 202: 198: 192: 190: 186: 182: 178: 174: 170: 166: 162: 158: 154: 150: 144: 141: 140:Royal Academy 136: 130: 126: 123: 118: 109: 104: 97: 95: 93: 89: 85: 80: 76: 73: 69: 60: 56: 51: 50: 45: 44:George Seeley 39: 34: 19: 5936:Pictorialism 5895:Pictorialism 5894: 5871: 5865:Camera Notes 5863: 5791: 5772: 5764: 5756: 5747: 5741:The Steerage 5739: 5731: 5723: 5717:The Terminal 5715: 5707: 5699: 5609:Polaroid art 5503:K-14 process 5498:Instant film 5493:Gum printing 5448:C-41 process 5433:Photographic 5334:Image sensor 5329:Film scanner 4983:Sun printing 4916:Print toning 4703:space selfie 4673:Pictorialism 4672: 4603:Ethnographic 4583:Conservation 4455:Guide number 4450:Focal length 3968: 3938: 3909: 3880: 3867: 3849: 3822: 3793: 3764: 3735: 3704: 3677: 3673: 3632: 3592: 3562: 3530: 3508: 3504: 3472: 3441: 3407: 3384: 3351: 3322: 3297: 3293: 3264: 3235: 3205: 3178: 3153: 3149: 3139:Jouhar, S.D. 3110: 3081: 3061: 3057: 3040: 3011: 3008:Camera Notes 3007: 2973: 2940: 2909: 2877: 2841: 2810: 2777: 2765: 2753: 2741: 2729: 2717: 2706:. Retrieved 2704:(in Spanish) 2701: 2692: 2680: 2668: 2656: 2650: 2638: 2610: 2601: 2589: 2577: 2571: 2559: 2547: 2535: 2513: 2504: 2492: 2489:Newton, Gael 2483: 2467: 2455: 2443: 2419:Morozov 1977 2414: 2398: 2378: 2349:, p. 3. 2342: 2326: 2315:Demachy 1899 2310: 2299:Bunnell 1980 2294: 2282: 2266: 2254: 2223: 2192: 2180: 2168: 2152: 2140: 2134: 2118: 2107:Johnson 2001 2102: 2090: 2085:, p. 8. 2078: 2046: 1988:Laura Gilpin 1976:Olive Cotton 1744:S. D. Jouhar 1738:Ogawa Isshin 1732:Frank Eugene 1588: 1544:carbon black 1540:Carbon print 1527: 1521: 1459: 1448: 1444:Camera Notes 1442: 1412: 1376:Carlos Iñigo 1359: 1353: 1292: 1254: 1244: 1233: 1228: 1224: 1222: 1209: 1205: 1201: 1190:W. K. Burton 1183: 1132: 1122: 1118: 1114: 1096: 1087: 1030: 997: 954: 941: 927: 915: 911: 908:Olive Cotton 892:Frank Hurley 872: 847: 835: 830: 818: 814: 808: 781: 762: 743: 724: 701: 682: 648: 629: 610: 591: 572: 553: 534: 515: 496: 477: 449: 443: 427: 420: 404: 398: 390: 353: 349: 342: 322: 313: 307: 286: 281: 278: 270: 258: 246: 230: 193: 145: 131: 127: 113: 84:World War II 81: 77: 68:Pictorialism 67: 66: 58:Years active 47: 31:Pictorialism 18:Pictorialist 5876:(1903-1917) 5873:Camera Work 5868:(1897-1903) 5796:(1925-1934) 5793:Equivalents 5728:(1899-1900) 5693:Photographs 5614:Stereoscopy 5478:E-6 process 5473:Dye coupler 5406:color space 5319:Digiscoping 5312:camera back 5227:Philippines 5156:Visual arts 5146:Glass plate 5131:Heliography 5030:Composition 5005:Ultraviolet 4961:Stereoscopy 4956:Slow motion 4941:Scanography 4856:Kite aerial 4796:Contre-jour 4688:Post-mortem 4678:Pornography 4658:Neues Sehen 4593:Documentary 4527:Zone System 4502:Reciprocity 4428:Film format 4358:Backscatter 4336:Terminology 4206:beauty dish 4105:rangefinder 4070:light-field 4051:Photography 3150:RPS Journal 2448:Jouhar 1948 2438:, p. 4 2366:, pp. 2249:, p. 1 2216:Harker 1979 2197:Scharf 1986 2185:Scharf 1986 2173:Harker 1979 2055: [ 1964:Ansel Adams 1933: [ 1930:Hans Watzek 1888:Karl Struss 1850: [ 1801: [ 1764:, 1869–1914 1702:Mary Devens 1626: [ 1605:Wayne Albee 1450:Camera Work 1390: [ 1379: [ 1366: [ 1336: [ 1313: [ 1298: [ 1275: [ 1260: [ 1251:Netherlands 1160: [ 1157:Otto Scharf 1149: [ 1138: [ 1049: [ 1017:Arthur Goss 1003: [ 971: [ 960: [ 957:Hans Watzek 934: [ 878: [ 852: [ 842:World War I 832:photograph. 825:291 Gallery 744:Efter badet 535:Doris Keane 416:lithographs 387:, 1899-1900 333:John Ruskin 318:chiaroscuro 208: [ 92:Ansel Adams 72:photography 49:Camera Work 5930:Categories 5804:Family and 5604:Lomography 5435:processing 5384:Print film 5300:comparison 5267:Uzbekistan 5217:Luxembourg 5177:Bangladesh 5126:Dufaycolor 5106:Box camera 5063:Simplicity 5020:Zoom burst 5015:Xerography 5010:Vignetting 5000:Time-lapse 4988:Tilt–shift 4881:Mordançage 4871:Luminogram 4836:Holography 4831:High-speed 4811:Fill flash 4791:Burst mode 4769:Techniques 4750:Vernacular 4745:Underwater 4740:Toy camera 4720:Still life 4648:Monochrome 4638:High-speed 4588:Cloudscape 4578:Conceptual 4480:Photograph 4465:Lens flare 4445:Film speed 4327:Zone plate 4273:wide-angle 4258:long-focus 3899:1376480960 3070:1131096904 3028:1420080882 2930:1345649226 2708:2024-02-13 2474:, p. 2405:, p. 2389:, p. 2333:, p. 2317:, p. 2301:, p. 2273:, p. 2259:Brown 1994 2230:, p. 2199:, p. 2159:, p. 2125:, p. 2109:, p. 2071:References 1841:Jane Reece 1780:Sarah Ladd 1672:Rose Clark 1660:Jan Bułhak 1648:Alice Burr 1561:gum arabic 1512:Techniques 1306:Jan Bulhak 1257:Bram Loman 805:Jane Reece 763:Montmartre 630:Spiderwebs 446:S.D.Jouhar 5759:(Duchamp) 5554:Norwegian 5518:Stop bath 5463:Developer 5091:Ambrotype 5053:Lead room 4976:Slit-scan 4911:Photogram 4906:Panoramic 4816:Fireworks 4801:Cyanotype 4643:Landscape 4288:telephoto 4236:reflector 4231:monolight 4226:lens hood 4211:cucoloris 4147:safelight 4058:Equipment 4016:presented 3957:216908429 3858:824617933 3814:644318974 3756:420102002 3694:894270260 3650:271224336 3581:229895828 3428:912307496 3404:(1997) . 3394:879566857 3372:490279336 3341:771147857 3314:0308-7298 3254:663459066 3162:1468-8670 3049:471770670 2961:644240024 2861:609350163 2722:King 1989 2685:King 1989 1847:Guido Rey 1768:Kyo Koike 1551:Cyanotype 1547:products. 1494:Kyo Koike 869:Australia 651:, ca.1897 444:In 1948, 239:Ad for a 149:Delacroix 88:Modernism 5757:Fountain 5633:Category 5339:CMOS APS 5237:Slovenia 5165:Regional 5111:Calotype 5048:Headroom 4926:Redscale 4841:Infrared 4786:Brenizer 4760:Wildlife 4683:Portrait 4628:Forensic 4618:Fine-art 4553:Aircraft 4543:Abstract 4423:F-number 4403:Exposure 4378:Clipping 4353:Aperture 4221:hot shoe 4142:enlarger 4137:Darkroom 3987:31132569 3783:49541033 3725:33046179 3630:(1917). 3611:30109023 3551:41212205 3493:44454549 3462:40383581 3438:(1986). 3382:(1869). 3285:54859732 3224:11796995 3197:18988003 3170:45585166 3131:44446663 3080:(1979). 3039:(1960). 2992:62761694 2972:(2006). 2906:(1980). 2896:28147712 2839:(1919). 2829:47798675 2809:(2001). 2518:Archived 2516:. 2006. 914:and the 784:, 1899. 554:Struggle 357:Tonalism 98:Overview 5857:Related 5644:Outline 5580:Related 5272:Vietnam 5257:Ukraine 5192:Denmark 5172:Albania 5151:Tintype 5078:History 5043:Framing 4936:Rollout 4901:Panning 4851:Kirlian 4755:Wedding 4633:Glamour 4613:Fashion 4598:Eclipse 4568:Banquet 4490:Albumen 4300:Monopod 4278:fisheye 4246:softbox 4095:pinhole 4085:instant 4075:digital 3930:5007409 3841:4593183 3517:9695427 3100:6252833 2791:Sources 1363: 1208:or the 1129:Germany 1027:England 924:Austria 611:Sommeil 516:Morning 457:Gallery 412:bromoil 169:Gauguin 165:Cézanne 153:Courbet 5777:(1919) 5769:(1918) 5761:(1917) 5752:(1915) 5744:(1907) 5736:(1902) 5720:(1893) 5712:(1893) 5704:(1887) 5642: 5631: 5564:street 5559:Polish 5252:Turkey 5247:Taiwan 5232:Serbia 5222:Norway 5197:Greece 5182:Canada 4776:Afocal 4735:Street 4715:Sports 4698:Selfie 4653:Nature 4608:Erotic 4573:Candid 4548:Aerial 4536:Genres 4438:medium 4315:Tripod 4283:swivel 4196:Filter 4174:holder 4169:format 4065:Camera 3985: 3975: 3955: 3945: 3928: 3918: 3897: 3887: 3856: 3839: 3829: 3812: 3802: 3781: 3771: 3754: 3744: 3723: 3713: 3692: 3658: 3648: 3609: 3599: 3579: 3569: 3549: 3539: 3515: 3491: 3481: 3460: 3450: 3426: 3416: 3392: 3370: 3360: 3339: 3329: 3312: 3283: 3273: 3252: 3242: 3222: 3212: 3195: 3185: 3168: 3160: 3129: 3119: 3098: 3088: 3068: 3047: 3026: 2990: 2980: 2959: 2949: 2928: 2918: 2894: 2884: 2869: 2859: 2849: 2827: 2817: 1524:, 1916 1437:, and 1342:, and 1289:Russia 1155:, and 1093:France 986:Canada 906:, and 811:, 1922 809:Spaces 765:, 1906 746:, 1921 727:, 1907 704:, 1908 685:, 1907 683:Lenore 632:, 1908 613:, 1897 594:, 1904 575:, 1902 556:, 1904 537:, 1912 518:, 1908 499:, 1908 480:, 1909 371:, and 331:, and 304:, 1858 187:, and 167:, and 110:, 1905 5569:women 5527:Lists 5483:Fixer 5366:Pixel 5295:D-SLR 5242:Sudan 5212:Korea 5207:Japan 5202:India 5187:China 4971:Strip 4896:Night 4876:Macro 4781:Bokeh 4725:Stock 4693:Ruins 4433:large 4263:prime 4241:snoot 4201:Flash 4179:stock 4154:Drone 4115:still 4100:press 4090:phone 4080:field 3146:(PDF) 3060:[ 2061:] 2038:Notes 1937:] 1858:] 1805:] 1630:] 1402:] 1383:] 1372:] 1350:Spain 1340:] 1325:] 1302:] 1279:] 1268:] 1180:Japan 1166:] 1153:] 1142:] 1055:] 1009:] 975:] 964:] 938:] 884:] 858:] 725:Torso 253:Kodak 241:Kodak 220:] 161:Degas 157:Manet 5592:film 5307:MILC 4806:ETTR 4663:Nude 4623:Fire 4522:Sync 4320:head 4268:zoom 4253:Lens 4216:gobo 4164:base 4159:Film 4130:view 3983:OCLC 3973:ISBN 3953:OCLC 3943:ISBN 3926:OCLC 3916:ISBN 3895:OCLC 3885:ISBN 3854:OCLC 3837:OCLC 3827:ISBN 3810:OCLC 3800:ISBN 3779:OCLC 3769:ISBN 3752:OCLC 3742:ISBN 3721:OCLC 3711:ISBN 3690:OCLC 3656:ISBN 3646:OCLC 3607:OCLC 3597:ISBN 3577:OCLC 3567:ISBN 3547:OCLC 3537:ISBN 3513:OCLC 3489:OCLC 3479:ISBN 3458:OCLC 3448:ISBN 3424:OCLC 3414:ISBN 3390:OCLC 3368:OCLC 3358:ISBN 3337:OCLC 3327:ISBN 3310:ISSN 3281:OCLC 3271:ISBN 3250:OCLC 3240:ISBN 3220:OCLC 3210:ISBN 3193:OCLC 3183:ISBN 3166:OCLC 3158:ISSN 3127:OCLC 3117:ISBN 3096:OCLC 3086:ISBN 3066:OCLC 3045:OCLC 3024:OCLC 2988:OCLC 2978:ISBN 2957:OCLC 2947:ISBN 2926:OCLC 2916:ISBN 2892:OCLC 2882:ISBN 2867:ISBN 2857:OCLC 2847:ISBN 2825:OCLC 2815:ISBN 2807:WNET 1504:and 1484:and 1447:and 1216:and 1133:The 1101:and 1044:and 1036:and 977:and 948:and 719:and 702:Nude 478:Dawn 450:plus 261:fads 5344:CCD 4125:toy 4120:TLR 4110:SLR 3686:139 3682:138 3638:hdl 3302:doi 3016:hdl 2657:in 2639:in 2611:in 2578:in 2536:in 2493:in 2476:160 2372:299 2368:297 2335:136 2275:296 2141:in 2111:121 1508:). 1457:). 410:or 408:gum 5932:: 3981:. 3951:. 3924:. 3893:. 3835:. 3808:. 3777:. 3750:. 3719:. 3688:. 3676:. 3672:. 3644:. 3605:. 3575:. 3545:. 3507:. 3487:. 3456:. 3422:. 3366:. 3335:. 3308:. 3296:. 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