The Thames & Hudson Dictionary of Photography

1The Thames & Hudson Dictionary of Photography – Information Pack

The Thames & Hudson Dictionary of Photography is a landmark publication that encompasses the history, art and science of photography in a single volume. At a time when information is instantly accessible on the internet but is often of doubtful reliability or provenance, this ambitious project both reasserts the veracity, reliability and accuracy of scholarly research in reference publishing and celebrates the pleasure and immersive experience offered by refined, elegant book design.

Compiled under the editorial guidance of Nathalie Herschdorfer and in consultation with an international panel of 150 experts, The Thames & Hudson Dictionary of Photography is based on entirely fresh scholarship by seventy-nine researchers from sixteen countries. The culmination of nearly ten years of development and research, this is the new, relevant and truly definitive reference to photography.

Over 1,200 concise yet fully detailed entries on all aspects of the subject, including photographers, images, agencies, genres, movements, exhibitions, publications, collectors, techniques and processes.

A comprehensive reference to over 180 years of photographic history. Truly authoritative and based on fresh scholarship.

Illustrated throughout with over 300 images showing key works, artist portraits, exhibitions, installations, publications and technical diagrams.

A book that offers an immersive experience, combining a clear presentation with the very best in modern yet timeless typographic design.

Key features

Casebound with jacket 30.7 × 20.2 cm (12⅛ × 8 in.)

448 pages c. 300 illustrations, c. 60 in colour

Specification

2 3The Thames & Hudson Dictionary of Photography – Information Pack The Thames & Hudson Dictionary of Photography – Information Pack

Fresh scholarship and clarity of writing

Following the consultation and peer-review process and the finalizing of the list of entries, a team of seventy-nine researchers and writers, under the close supervision of Nathalie Herschdorfer, began to undertake new, in-depth research for each entry. As a result of their knowledge, skill and endeavours, the individual entries are clear, concise and of the highest quality. The Thames & Hudson Dictionary of Photography thus presents an unparalleled, comprehensive overview of the history, art and technology of one of the cornerstones of visual culture.

A visually rich resource with a fresh, modern yet classic design

A book should be more than just a vehicle for information. While, at heart, The Thames & Hudson Dictionary of Photography is a definitive reference volume, it is also a celebration of the pleasure of the book as an object and immersive experience.

Containing over 300 illustrations – many more than previous reference works on photography – showing major works, exhibitions and publications, and diagrams of technical processes, this is a book to savour visually and to linger over as much as a compendium of clear and easily accessible information.

Thames & Hudson’s attention to design and production values is renowned. With its ambitious scale and high-quality specification, The Thames & Hudson Dictionary of Photography will therefore be both a covetable, collectible volume for all those with a passion for photography and a vital reference for curators, conservators, researchers and students.

Over a decade in the making

The Thames & Hudson Dictionary of Photography represents over a decade of careful consideration, development and scholarship. Planning first began in the late 1990s, when the internet and the dramatic changes it would bring to publishing and other media were hypothetical, and in the realm of those who predicted our technological future.

The emergence of online resources as immediate, if often unreliable, reference tools led to a lengthy period of reflection on how a printed dictionary could be positioned as not only reliable, but also authoritative, profound and highly desirable in the Wikipedia age.

Our challenge was to present such a key reference work for photography in a way that would be truly relevant for a contemporary readership, and to exploit digital technology’s potential for creating networks of knowledge and experience over great distances. This expertise we would use to define the dictionary’s content.

An international panel of experts and a democratic, balanced selection of entries

By 2010, an international team of 150 consultants had been convened by Nathalie Herschdorfer, each of them renowned experts in their respective fields. Ranging from directors of globally renowned cultural institutions to curators, conservators, critics, gallerists, picture editors and practising photographers, each consultant was asked to review the dictionary’s content to ensure that the list of entries – of which there are over 1,200 in total – was as balanced in terms of historical and geographical spread and photographic genre as possible.


Vince AlettiStuart AlexanderSéverine AllimannDag AlvengBérénice AngremyArt Gallery of New

South Wales, SydneyAlexandra AthanassiadouIrene AttingerQuentin BajacGordon BaldwinEls BarentsMartin BarnesGabriel BauretVladimir BirgusAnne Biroleau-LemagnyChristophe BlaserBibliothèque Nationale

de France, ParisClaudia Bohn-SpectorMichaela BosákováChristophe BrandtSusanna BrownFrançois BrunetGail BucklandXavier CanonneAnne Cartier-BressonCentro de la Imagen,

Mexico CityClément ChérouxFrançois ChevalChung-Ang University,

SeoulCMACA. D. ColemanCathie ColemanMarguy ConzémiusCorcoran Gallery of Art,

Washington, D.C.Charlotte CottonEmmanuel d’AutreppeNassim DaghighianClaudio de PoloMichael DiersNathalie DietschyRégis DurandOkwui Enwezor

William EwingAngela M. FerreiraMarc FeustelFinnish Museum

of Photography, Helsinki

Joan FontcubertaFotografie Forum

FrankfurtFototeca de VeracruzMichel FrizotFundació Foto

Colectania, BarcelonaGwenola FuricMartin GasserThierry GervaisFrits GierstbergMarta GiliJean-Louis GodefroidVicki GoldbergAndy GrundbergAndré GunthertSophie HackettHasselblad FoundationPatricia HayesManfred HeitingHelsinki City Art

MuseumSylvie HenguelyPascal HoëlHanne Holm-JohnsenAndréa HolzherrGraham HoweHungarian House

of Photography at Mai Mano House, Budapest

Instituto de Artes Gráficas de Oaxaca

Vangelis IoakimidisMimmo JodiceChristian JoschkeJoanne Junga YangJean KempfSusan KismaricKiyosato Museum of

Photographic Arts

Mika KobayashiFani KonstantinouMarloes KrijnenZuzana LapitkovaLatvian Museum of

Photography, RigaLech LechowiczJiyoon LeeAnne-Françoise LesuisseLudwig Museum of

Contemporary Art, Budapest

Olivier LugonLumiere Brothers Center

for Photography, Moscow

Nathan LyonsLesley MartinAlessandra MauroDavid MellorPedro MeyerMichael Stevenson

Gallery, Cape TownModerna Museet,

StockholmHerbert MolderingsGilles MoraMusée Carnavalet, ParisMusée Suisse

de l’Appareil Photographique, Vevey

Museo di Storia della Fotografia Fratelli Alinari, Florence

Museum Folkwang, Essen

Museum für Photographie Braunschweig

Museet for Fotokunst, Odense

Carole NaggarNational Gallery of

Australia, CanberraNational Gallery of

Victoria, Melbourne

Simon NjamiColette OlofErin O’TooleEngin OzendesPascale PahudMartin ParrNissan N. Perez Timothy PersonsPeter PfrunderChris PhillipsUlrich PohlmannMichel PoivertMarta PonsaPhilip ProdgerJorge RibaltaFred RitchinPamela Glasson RobertsBrett RogersJeff RosenheimOliva Maria RubioGiuliana SciméMark SealyThomas SeeligLaura SeraniWim van SinderenCarol SquiersUrs StahelCharlie StainbackState Historical Museum,

MoscowStedelijk Museum,

AmsterdamRadu SternMichael Graham StewartOlga SviblovaMariko TakeuchiAnn ThomasAnne Wilkes TuckerRoberta ValtortaRuud VisschedijkMichèle WalerichBrian WallisMarta WeissSteve Yates

The international panel of consultants

To reach a democratic and global view of photography that is balanced in terms of chronology, culture, theme and genre, Nathalie Herschdorfer consulted 150 professional experts and institutions throughout the dictionary’s planning stages. Each consultant was chosen for his or her expertise within the full scope of photographic history, practice, technology, conservation, curatorship, criticism and collection.

Nathalie Herschdorfer is a curator, writer and art historian specializing in the history of photography. She is currently Director of the Museum of Fine Arts, Le Locle, Switzerland. In her capacity as curator, she is the director of the Alt. +1000 photography festival in Switzerland and has produced internationally touring exhibitions for the Foundation for the Exhibition of Photography, including Coming into Fashion: A Century of Photography at Condé Nast. Previously, she was a curator at the Musée de l’Elysée in Lausanne, where she worked for twelve years on major exhibitions including Face: The Death of the Portrait, and retrospectives of Edward Steichen, Leonard Freed, Ray K. Metzker and Valérie Belin.

Nathalie’s previous books published by Thames & Hudson include Coming into Fashion (2012) and Afterwards: Contemporary Photography Confronting the Past (2011). She was the editor of Le Corbusier and the Power of Photography (2012) and the co-author, with William A. Ewing, of reGeneration (2005) and reGeneration2 (2010).


Marc Lenot is working on a thesis on contemporary experimental photography at the University of Paris 1.

Véra Léon studied history and is currently working on a PhD thesis on the history of German press photography.

Athol McCredie is Curator of Photography at the Museum of New Zealand Te Papa Tongarewa, Wellington.

Emily McKibbon is a specialist in photography preservation and collections management. She was previously the Howard and Carole Tanenbaum Curatorial Fellow at George Eastman House, Rochester, NY.

Jonathan Maho is working on a PhD in anglophone studies at the University of Paris 7.

Pauline Martin is a special projects coordinator at the Musée de l’Elysée, Lausanne.

Gábor Maté is a lecturer in photography at the Moholy-Nagy University of Art and Design, Budapest

Nolwenn Mégard is an assistant lecturer in contemporary art history at the University of Geneva.

Laureline Meizel is working on a PhD in the use of photography in 19th-century French publishing at the University of Paris 1.

Christelle Michel is studying for a master’s in art history at the University of Lausanne.

Marine Nédélec is working on a PhD in art history with a focus on post-war Surrealism.

Nathalie Neumann is a Berlin-based independent curator specializing in documentary photography.

Clémentine Odier is finishing a master’s in museum studies at the University of Neuchâtel.

Hélène Orain is completing a PhD in photography at the University of Paris 1.

Ken Orchard is an artist and photography historian. He lives in Adelaide.

Maude Oswald is a teaching assistant at the University of Lausanne and is writing her PhD thesis on the history of photography.

Allan Phoenix holds a master’s in photographic preservation and collections management from Ryerson University, Toronto, and George Eastman House, Rochester, NY. He works as a photography preservation specialist at the Chicago Albumen Works.

Héloïse Pocry works at the Swiss Dance Collection and is writing a PhD thesis on the teaching of photography.

Ariane Pollet is an art historian who has contributed to books including The Bitter Years (Thames & Hudson, 2012).

Maud Pollien holds a master’s in cinema theory and practice from the University of Lausanne.

Erika Raberg is studying for a master’s in photography and visual critical studies at the School of the Art Institute of Chicago.

Anna-Kaisa Rastenberger is Chief Curator at the Finnish Museum of Photography, Helsinki.

Caroline Roche is currently working on a PhD on the photographer Minor White at the University of Paris 1.

Anaëlle Rod is an archivist at the Fondation Henri Cartier-Bresson in Paris.

Holly Roussell is Assistant Curator of Photography at the Musée de l’Elysée, Lausanne.

Elisa Rusca is an art historian, freelance curator and critic.

Manon Saudan holds a master’s in art history and museum studies from the Universities of Lausanne and Neuchâtel.

Johanna Schär teaches at the University of Lausanne, where she is completing a PhD in photography.

Danielle Shrestha is a photo archives specialist based in Ontario. She holds a master’s in photographic preservation and collections management from Ryerson University, Toronto.

Cécile Simonet is an art historian who works at the Museum of Modern and Contemporary Art in Geneva.

Wim van Sinderen is a founding member and senior curator of the Hague Museum of Photography. He is also the conservator of the photography collection of the Gemeentemuseum, The Hague.

Edward Stokes is an Australian photographer and writer, and the founder of the Photographic Heritage Foundation, Hong Kong.

Anna Tellgren is the curator of photography at Moderna Museet in Stockholm.

Veronika Tocha is an assistant lecturer at University of the Arts, Berlin. She is currently completing her PhD thesis on the work of Thomas Demand.

Agata Ubysz is a Polish art historian who studied at the University of Warsaw.

Rachel Verbin holds a master’s in photographic preservation and collections management from Ryerson University, Toronto. She is currently the Images Archivist at The Canadian Press.

Emily Wagner holds a master’s in photographic preservation and collections management from Ryerson University, Toronto, and George Eastman House, Rochester, NY. She works at the Chicago Albumen Works as a photography conservation technician.

Anne-Marie Walsh is an independent curator and photography conservation specialist based in Washington, D.C.

Alana West is working on a PhD in art history at Queen’s University, Belfast.

Perin Emel Yavuz is completing a thesis on narrative art at the École des Hautes Études en Sciences Sociales in Paris.

Fatma Zrann is a teacher of English and the author of a thesis on identity issues in the work of African-American photographers.

Mathilde Arrivé is Associate Professor at Paul-Valéry University, Montpellier.

Elisa Baitelli is currently working on a PhD in the history of photography at the University of Paris 1.

Heide Barrenechea is an art historian specializing in photography. She is currently the recipient of a scholarship from the German Research Foundation (DFG) at the Berlin University of Arts.

Laetitia Barrère holds a PhD in the history of contemporary art from the University of Paris 1.

Hélène Beade holds a master’s in English-language visual arts and culture.

Raphaële Bertho has a PhD in art history and is a lecturer at the University of Bordeaux.

Muriel Berthou Crestey is a postdoctoral researcher at the Institute of Modern Texts and Manuscripts (ITEM) in Paris.

Lindsay Bolanos is a photographer and collections manager. She lives and works in Canada.

Michaela Bosáková is a curator and project manager at the Central European House of Photography in Bratislava.

Clara Bouveresse is currently working on a PhD on the history of Magnum Photos at the University of Paris 1.

Adrienne Bovet is a photographer who works in Switzerland and Germany.

Natasha Bullock is Curator of Contemporary Art and formerly Assistant Curator of Photography at the Art Gallery of New South Wales, Sydney.

Alice Carver-Kubik holds a master’s in photographic preservation and collections management from Ryerson University, Toronto, and George Eastman House, Rochester, NY.

Nathalie Casemajor Loustau is a postdoctoral fellow in the Department of Art History and Communications Studies at McGill University, Montreal. She holds a PhD in communication from the University of Québec and Lille University.

Héloïse Conésa is curator at the Museum of Modern and Contemporary Art, Strasbourg. She is currently working on a PhD in contemporary Spanish photography at the University of Paris 1.

Laure Cuérel holds a master’s in art history from the University of Lausanne. She lives and teaches in Switzerland.

Corinne Currat is an associate curator at the Fondation de l’Hermitage, Lausanne.

Nathalie Dietschy is an art historian specializing in contemporary art. She holds a PhD in the history of art from the University of Lausanne.

Lydia Dorner is an assistant curator at the Musée de l’Elysée, Lausanne.

Helen Ennis is Associate Professor at Australian National University School of Art, specializing in the history of Australian photography.

Aurore Fossard teaches photography at the University of Lyon and is currently working on a PhD in film studies.

Marie Gautier holds a PhD in the history of contemporary art from the University of Paris 1. She currently teaches at the École Nationale Supérieure de la Photographie, Arles.

Stefanie Gerke is chair of Art and New Media at Humboldt University, Berlin.

William Green is currently working on a master’s in photographic preservation and collections management at Ryerson University, Toronto.

Christine Gückel is working on a PhD on constructed images and the staging of the everyday in contemporary photography at the Freie Universität, Berlin.

Claus Gunti teaches at the University of Art and Design Lausanne and at the University of Lausanne . His researches focus on digital technologies, documentary practices and photography theory.

Christine Hansen is a Norwegian photographer and adjunct professor in photography and theory at the Bergen Academy of Art and Design.

Emily Kay Henson is an independent arts writer currently based in Chicago. She has held fellowships at the Museum of Contemporary Photography, Chicago, and the Graham Foundation.

Graham Howe is a curator, writer and artist, and the CEO of Curatorial Assistance. He lives in Los Angeles and Sydney.

Takahiro Ito is an assistant curator at the Tokyo Metropolitan Museum of Photography.

Min-young Jeon is currently working on a PhD in art history at the University of Arts Berlin.

Samuel de Jesus is a lecturer and researcher at the School of Communication and Arts at the University of São Paulo.

Joanne Junga Yang is the director and curator of the Y&G Art Global Contemporary Project. She lives and works in Seoul.

Jean Kempf is professor of American civilization at the University of Lyon.

Masha Kreimerzak holds a master’s in art history at Geneva University.

Constance Lambiel is a historian of photography and teaches at the École Cantonale d’Art in Valais, Switzerland.

The contributors

Seventy-nine researchers and writers from sixteen countries have produced fresh scholarship for The Thames & Hudson Dictionary of Photography – a truly international undertaking.


2 3

Abbott, Berenice (b. Bernice Abbott) (1898–1991) American documentary, portrait and scientific photographer. Abbott studied journalism at Ohio State University before moving to New York City in 1918, first with the intent of becoming a writer, then a sculptor. She took part in the Greenwich Village arts scene of Marcel Duchamp and Man Ray MAN RAY. Abbott moved to Europe in 1921 to study sculpture in Paris and Berlin. As Man Ray’s Paris studio darkroom assistant (1923–26), she learned portrait photography and became involved with the Surrealists. Abbott opened her own studio in Paris in 1926, photographing writers, including Jean Cocteau and James Joyce, publishing in Vogue and Vu and showing in exhibitions, such as Abbott: Portraits Photographiques (1926), the Salon de l’escalier (1928) and Film und Foto (Stuttgart, 1928). Abbott and her contemporaries fought against Pictorialism, supporting instead a modernist aesthetic and drawing inspiration from historical pioneers Eugène Atget and Nadar. Abbott acquired Atget’s estate in 1928, endorsing his work alongside her own; she co-managed it with dealer Julien Levy from 1930 until it was sold to MoMA, New York in 1968. After moving back to New York

in 1929, Abbott exhibited at the Julien Levy Gallery and published in Fortune and Life; she received a large Federal Art Project grant in 1935 for Changing New York, producing 305 photographs between 1935–39. Abbott was the photography editor of Science Illustrated (1944–45) and the founder of House of Photography (1947), a company that sought to invent new photographic equipment. The Massachusetts Institute of Technology hired her as a scientific photographer in 1958 for pedagogical purposes in the context of the Cold War.

Aberhart, Laurence (b. 1949) New Zealander photographer. Aberhart is renowned for his black and white images that evoke the past. His subject matter – invariably taken with a 10 × 8 inch view camera and presented as contact prints – has typically consisted of Masonic lodges, old Maori churches, cemeteries, war memorials, and historic structures. A major retrospective of his work was published as Aberhart in 2007.

Adams, Ansel (1902–1984) American photographer and environmentalist, whose grand landscape photographs of the American West like Clearing

Winter Storm (1940), Moon and Half Dome (1960) have become iconic. A long time member of the Sierra Club SIERRA CLUB, his photographs have become so entwined with the idea of wilderness in the United Sates of America as to be almost inseparable. As a young man he had spent a great deal of time hiking in the wilderness of California making photographs but in 1927 he decided to pursue photography as a vocation and a career with the publication of his first portfolio, Parmelian Prints of the High Sierras (1927). His association with Edward Weston EDWARD WESTON

and others drew him from a Pictorialist style into a more modernist approach that used crisp focus and a wide depth of field to portray his subjects. This philosophy culminated in the founding of the Group f/64 with Weston, Imogen Cunningham and Willard Van Dyke. Adams along with Fred Archer, developed a scientific methodology for the production of black and white prints called The Zone System. A fastidious and prolific print-maker, Adams frequently compared photography to music with the negative as the score and the print, the performance. He continued to make prints of his most popular images such as Rose and Driftwood (1932), Moonrise, Hernandez, New Mexico (1941) and Aspens, Northern New Mexico (1958) throughout his life. His image The Tetons and the Snake River (1942) was included on the Voyager space craft’s Golden Record as one of the 116 images representing humankind.

Adams, Eddie (1933–2004) American photographer. Eddie Adams was a Pulitzer Prize-winning who documented 13 wars over the course of his career. Adams’ began covering war first as an enlisted combat photographer during the Korean War. Adams did three tours of Vietnam with the Associated Press; while there, he took his iconic photograph of General Nguyễn Ngọc Loan executing a Vietcong prisoner in Saigon, 1968.

Adams, Robert (b. 1937) American photographer noted for his photographs of the American West. Self-taught in photography, he holds a BA from the University of Redlands, California and a PhD in English from the University of Southern California. His first serious work, New West (1968–70) documents the emerging suburban development and tract housing on the outskirts

of Colorado. Adams initially came to notoriety through his inclusion in the 1975 exhibition ‘New Topographics: Documents of a Man-Altered Landscape’. His career spans over four decades and focuses on the American West as his subject, particularly California, Oregon, and his home state Colorado. Working in black and white, Adams creates photographs for exhibition and has worked extensively in the book format, with over twenty titles to his credit, including critical essays on photography.

Additive (processes) Additive color photographic processes are based on the principles introduced by James Clerk Maxwell in 1861 in which all colors are archived by combining, or adding, the three primary colors of light: red, green, and blue SUBTRACTIVE COLOUR PROCESS. White light is obtained when all three colors are mixed equally. When white light passes through an additive colored filter, only the color of the filter is transmitted, the rest of the color spectrum is absorbed. In color photography systems, such as the Autochrome and other screen plate processes, a color image is created by photographing and viewing an image through a screen of primary color lines or dots. In assembly processes, such as Dye Transfer and Carbro, separation negatives are made through additive color filters and then printed using subtractive colored pigments and dyes.

Albin-Guillot, Laure (b. Laure Maffredi) (1879–1962) French photographer. Born in Paris, Albin-Guillot studied art before learning photography. Albin-Guillot’s career included experimentation in both Pictorialism and photographic modernism. An early contributor to the cutting-edge Vu, work such as Micrographie décorative (1931) recalls the surrealist work of Albin-Guillot’s “New Vision” contemporaries while maintaining an artisanal feel more closely associated with Pictorialism.

Almeida, Helena (b. 1934) Portuguese artist. Almeida studied fin art in Lisbon and became inspired by the Neo-concrete movement in Brazil. Her performative photographs use sculpture, painting, and drawing to challenge the limits of two-dimensional space by exploring contradictions between the flattening

Almeida, Helena

AA

4 5

properties of paint with the illusionary depth of a photograph, the distance between the art object and the spectator, and the relationship between body and space. Almeida represented Portugal at the Bienal de São Paulo (1979); Venice Biennale (1982 and 2005); and the Sydney Biennale in 2004.

Alveng, Dag (1953– ) Norwegian photographer. Alveng studied photography at Trent Polytechnic in Nottingham (1976–77). He belongs, together with Tom Sandberg TOM SANDBERG and Per Berntsen, to the “English generation” in Norwegian photography, that is, Norwegian photographers that were trained in the United Kingdom. Alveng’s show Vegger (Walls, 1979) at Fotogalleriet in Oslo was an early example of conceptual photography in Norway. The artist photographed the walls in the gallery and the photographs were mounted so that the pictures perfectly covered up their subjects. The exhibition occasioned several hostile reviews in Norwegian newspapers. His book Asylum (1987) is of black and white photographs from a mental institution where Alveng worked as a night watch. The series is quiet but powerful gaze into the rooms and objects of a psychiatric institution. In Verftet I Solheimsviken (1991), together with the social anthologist Hanne Müller and the author Kjartan Fløgstad, Alveng documented worker life and process of change on the largest shipyards in Bergen. In 1994 he was curator for the exhibition and book Verden er (The World is) in connection with the Winter Olympic Games in Lillehammer. His book Summerlight (2001) chronicles the Norwegian summer through lyrical black and white photographs of the seashore in Southern Norway and outdoor family scenes. The book was accompanied with a text of the American photographer Robert Adams ROBERT ADAMS, an artist that Alveng share resemblance with. Alveng is represented in Metropolitan Museum of Art and Museum of Modern Art (MoMA), New York; Stedelijk Museum, Amsterdam; Bibliothèque nationale, Paris; Museum Folkwang, Essen; The Hasselblad Center, Göteborg; Spengel Museum, Hannover, and in numerous private collections.

Amateur (photographer) An amateur photographer is any person who practices photography for pleasure and not for commercial means.

19th century amateurs were typically serious photographers dedicated to the advancement and improvement of the medium. By the mid-19th century photographic societies and cameral club with publishes journals began to be organized throughout the world. The role of amateurs within these societies and journals was significant in inventing and promoting improvements to the medium. Early photographic processes were technically complicated and rather expensive. Therefore, many 19th century amateurs were men of financial means though there were some significant women photographers. George Eastman’s invention of roll film and the Kodak Browniein KODAK 1888 revolutionized photography and changed the meaning of amateur photographer. With the slogan “You Push the Button, We Do the Rest” the Brownie camera was purchased loaded with a 100-exposure reel of film, required no technical knowledge, and the whole camera was sent back to Kodak where the film was processed, the camera re-loaded and returned to the owner. The simplicity of the Brownie democratized photography adding significantly to the ranks of amateur photographers. Kodak advertisements particularly targeted women, who where seen as the largest potential market for Kodak products. In response to this new class of amateur photographers emerged the Pictorialist movement whose members formed societies and clubs and published journals pushing for the advancement and acceptance of photography as a fine art. Also considered amateur photographers, the Pictorialists were more akin to the amateurs of the 19th century; many members of the Pictorialist societies were upper class individuals working improve the medium.

Andriesse, Emmy (1914–1953) Dutch photographer. Andriesse is best known for her harrowing, illicit documentary photographs of the “Hunger Winter” of 1944 ROBERT ADAMS. Her image of a small, emaciated boy clutching an empty saucepan has become an icon of the suffering inflicted by the Nazi occupation of the Netherlands. After the war, Andriesse became a successful portrait, commercial, fashion and travel photographer. As such, she was one of the first all-round professional photographers in the

Netherlands. In 1956, following her early death, a retrospective of her work was published under the title Beeldroman. Her negatives archive is now in the care of Leiden University Library.

Annan, Thomas (1829–1887) Scottish photographer. Apprenticed as a lithographic writer and engraver (1845) at the Fife Herald newspaper and later took a position with Joseph Swan’s lithographic establishment. Annan set up his business in 1855 and after gaining the patent rights to the photogravure process, established his photographic studio in 1857. Annan was commissioned in 1866 by the Glasgow City Improvement Trust to photograph and document the narrow passageways and slums of the old part of Glasgow before it was to be renewed into

a modern metropolis; resulting in the landmark series of photographs Old Closes and Streets of Glasgow (1868–77).

Anthropometry Method to measure the human individual, which correlates physical features with radical or psychological traits. Anthropometry is used for identification or to describe physical variations. It is common in positivist contexts since the 18th century, such as phrenology, physiognomy or craniometry. Anthropometry is controversially perceived due to its use in colonial and national socialist approaches. Since the invention of photography the anthropometrical measurements were KODAK documented by photographs – because of their assumed connection to reality.

Alveng, Dag

Berenice Abbott, Blossom Restaurant, 103 Bowery, 1935

AA

Anthropometry

The book

The Thames & Hudson Dictionary of Photography will be published by Thames & Hudson in autumn 2014. It is a new, relevant and truly accessible illustrated reference to the history, art and science of photography.

The Thames &

Hudson

Dictionary of P

hotography

The Thames & HudsonDictionary of PhotographyA truly comprehensive reference to the art, history, and science of photography worldwide.More than 1,200 entries. Over 300 illustrations.New scholarship and research throughout.10 years in the making. Edited by Nathalie Herschdorfer


16 17

C-Print The C-Print is a chromogenic color printing process. Introduced in the 1930s, chromogenic color is the most successful commercial color photographic process. Chromogenic color materials consist of three layers of silver gelatin emulsion with suspended dye couplers (color forming chemical compounds sensitive to red, green, and blue light) on a paper or film support. Through a series of chemical reactions during development, the silver image is formed and the couplers react, or couple, with the developer to release complimentary subtractive color dye in proportion to the amount of silver in the image. The silver is bleached out leaving an image composed of three superimposed dye layers.

Capa, Robert (b. Endre Ernö Friedmann) (1913–1954). American Hungrian-born press photographer. Born in Budapest, studied journalism in Berlin, 1931. First assignment from Dephot was to photograph Leon Trotsky, Denmark, 1932. Fled Nazi Germany for Paris in 1933 (name change to André Friedmann); freelanced for the Agence Hug Block, A.B.C. Agency, the Anglo-Continental Press-Photo

Service and the Agence Central. Met Gerda Taro, 1934–35, who invented for him the persona of the famous American photographer, Robert Capa, in 1936, and began selling his photographs through Alliance Photo in Europe and Black Star in America. Capa photographed and filmed the Spanish Civil War with Taro from 1936 to 1937, first on assignment for Vu and then for Ce Soir, also publishing in Regards and Life, among others; in Spain he captured the renowned image Death of a Loyalist Militiaman, published in Vu (1936) and in Life (1937). Following Taro’s death in July 1937, Capa went to New York, leaving Alliance and Black Star for Pix and signing a contract with Life. He photographed the end of the Spanish Civil War, 1938–39, and was named ‘The Greatest War-Photographer in the World’ by the Picture Post in 1938. On assignment for Life, Capa was one of four photographers to capture the Allies landing on the beaches of Normandy on D-Day in 1944. A co-founder of Magnum Photos in 1947, he was killed in Indochina on assignment for Life on May 25, 1954. He is esteemed for his in-action, 35mm-shot photographs of war, and for the saying: ‘If your photographs aren’t good enough, you’re not close enough’. Published Death in the Making (1938) and

Chas been the subject of numerous posthumous studies, books and exhibitions; archive at the International Center of Photography, New York.

Caponigro, Paul (b. 1932) American photographer. A native of Boston, Caponigro began photographing at the age of 13. In the late 1950s, following a stint of military service, he studied the medium under photographer Minor White in Rochester, New York. During this period, White introduced Caponigro to philosophy, which inspired him to begin creating the mystical, spiritually driven work he is now known for. Overall, his photographs are characterized by their rigorous formality and technical excellence. Throughout the 1960s, Caponigro made multiple trips to photograph in Europe. There, he made many well-known images, particularly of subjects throughout the United Kingdom commonly associated with Celtic mythology. Additionally, Caponigro also photographed a vast range of landscape throughout his career, ranging from Japan to New England.

Carbro Photographic printing process dues in the 1930s to create color images for advertising and fashion. The multi-step process requires three separation negatives, each shot through either a red, green, or blue filter. The negatives are then exposed onto silver bromide prints, which then come into contact with bichromated gelatin tissues pigmented with their complimentary color. The tissues, when layered in registration on a piece of paper, create the final full-color print.

Cartier-Bresson, Henri (1908–2004) French photojournalist born in Chanteloup, Seine-et-Marne. Educated at the Lycée Condorcet, Cartier-Bresson had an early interest in surrealism; studied painting with André Lhote (1927–28). Spent a year photographing the Ivory Coast in 1931, followed by travels to Italy, Spain, Mexico and New York. First exhibition, ‘Photographs by Henri Cartier-Bresson: Anti-Graphic Photography’, at the Julien Levy Gallery, New York, 1933. Cartier-Bresson returned to Paris in 1937; he published in Regards and Verve and worked as a staff photographer at Ce Soir until he was called to serve with the French Army in 1939 – was held capture by the Germans from 1940 to

1943. He photographed the liberation of Paris in 1945 and directed the film Le Retour. ‘Photographs by Henri Cartier-Bresson’ held at the MoMA, New York in 1947. By the end of the 1940s he was publishing in Harper’s Bazaar, Life, Paris Match, The New York Times, The New York Times Magazine, The Saturday Evening Post and Illustrated. Cartier-Bresson was a co-founder of Magnum Photos in 1947 (he was with the agency until 1966). He published The Decisive Moment in 1952 (which included the image Behind Saint-Lazare Station, Paris, France, 1932) and The Europeans in 1955. ‘Henri Cartier-Bresson: Photographies, 1930–1955’ was held at the Musée des Arts Décoratifs, Louvre in 1955. He photographed in China, Mexico, Cuba, Japan and India in the late 1950s and 1960s, and in the USSR and France in the early 1970s. He created la Fondation Henri Cartier-Bresson in Paris in 2003, Is known for his dynamic humanist, surrealist-inspired reportage photographs and for his steadfast use of the Leica.

Casebere, James (b. 1953) American artist. Graduated from the Minneapolis College of Art and Design, Casebere attended the Whitney Independent Study Program in New York and studied with John Baldessari and Doug Huebler in Los Angeles. Together with artists like David Levinthal and Laurie Simmons, Casebere belongs to a first generation of American post-war artists working with constructed photography. Since the middle of the 1970s, he has forged and photographed complex tabletop scenarios referring to a variety of historical, cultural and social topics from the contemporary incarceration and conditions of imprisonment to the Atlantic slave trade of from 18th century American to 16th century Ottoman Architecture.

Castello-Lopes, Gérard (1925–2011) Portuguese photographer. Self-taught photographer who studied economics in Lisbon, Castello-Lopes joined the Diplomatic Corps of the Permanent Mission of Portugal to the Council of Europe, and later settled in Paris. Influenced by Henri Cartier-Bresson, his photographic work gained recognition after an exhibition held at the Ether Gallery in Lisbon in 1982. An avid contributor to Portuguese cinema, he inherited his father’s company Movies Castello-Lopes. He was assistant

C

Castello-Lopes, Gérard

12 13

Colorado, after photographing the 1949 Goethe Bicentennial; he became the official photographer for the Aspen Institute. Early advocator for color photography; Berko frequently travelled throughout the United States for commercial and portraiture work.

Berssenbrugge, Henri (1873–1959) Dutch photographer. Berssenbrugge’s oeuvre is a supreme example of the often difficult transition from Pictorialism to New Photography NEW

PHOTOGRAPHY. Many of his early photographs of everyday urban life in Rotterdam (c. 1906–16) are unmatched in their romanticism. Yet his fame is due to his portraits, mainly of academics, politicians, artists, musicians and theatre makers. Clients could visit his modernist portrait studio in The Hague (designed in 1921 by De Stijl artists Jan Wils and Vilmos Huszár) either for a soft, painterly portrait made by the gum or bromoil process or for a more experimental and graphic depiction in, for example, “Erwinodruk” – a technique that produced a more abstract and two-dimensional image. In the 1930s, Berssenbrugge embraced the ideas of the New Photography movement and produced experimental nudes, still lifes and photograms. By that time, however, his innovatory ambitions had been overtaken by those of younger photographers like Piet Zwart and Paul Schuitema, who aimed to transform Dutch photography once and for all.

Bialobrzeski, Peter (b. 1961) German photographer. Born in Wolfsburg, Germany, Bialobrzeski studied Politics and Sociology, before becoming photographer for his local paper. He left to travel in Asia, and upon returning officially studied photography at the London College of Printing (LCP) in London, and the Folkwangschule in Essen NOIR LIMITE. Working 15 years as a photojournalist, the second half of his career is defined by work on personal projects – often exploring the hand of man in the landscape. Winner of prestigious awards including the World Press Photo Award, Bialobrzeski is Professor for photography at the University of the Arts, in Bremen, Germany.

Bichromate (procédé au) The gum bichromate, also known as gum dichromate and photo

aquatint, process is characterized as a pigment process and is based on the light sensitivity of dichromated colloids. A mixture of gum arabic, pigment (usually water color pigment) and potassium bichromate is brushed onto a piece of paper. The gum hardens in proportion to the amount of light received and the unhardened areas are dissolved in water. Though the process was invented in the 1850s, it reached popularity with Pictorialist photographers at the turn of the 20th century owing to its soft, painterly qualities and the ease with which the developing image can be manipulated.

Black and white A monochromatic image of neutral or near neutral tonality. Before the widespread availability of color processes in the 1950s, the majority of all photographs were black and white. In the latter part of the 20th century color photography gradually replaced black and white photography’s predominance in commercial and consumer photography. However, though technology no longer necessitated the use of black and white film and paper, the use of black and white photography continues for a number of reasons; the proven image stability of silver-based processes, the ease of reproduction in print, and artistic preferences.

Black Star New York-based photographic agency established in late 1935 by German émigrés Kurt Safranski, Ernest Mayer and Kurt Kornfeld. Supplied press photographs to Life, Look and The New York Times, among others. Roster of photojournalists included W. Eugene Smith, Robert Capa, Ralph Crane, Fritz Goro, Andreas Feininger, Fritz Henle and Werner Wolff. Exists today as a corporate and stock photography agency. Historic print collection (ca. 1914 to 1990s) held at the Ryerson Gallery and Research Centre, Toronto.

Blühová, Irena (1904–1991) Slovak photographer and publicist. Blühová attended Higher School for Girls and Gymnasium in Trenčín. For some years she worked as a bank clerk and at that time started being interested in politics. She started photography in the middle of the 1920s. Her main orientation was on social photography of the Slovak countryside. She took the first

socially orientated images in 1925. These images served as a documentation for interpretation of the Communists in the parliament. In 1931 and 1932, she studied photography, typography and propaganda at Bauhaus in Dessau. She returned to Slovakia after the school was closed by the Nazis. After returning to Slovakia, she ran a bookshop and also studied at the School of Applied Arts in Bratislava. In 1933 she formed a society called Sociofoto, which gathered leftist intellectuals. Her images of the working class, touristic images and images from the countryside were published in magazines like the Arbeiter Illustrierte Zeitung NEW

PHOTOGRAPHY. John Heartfield used her images for his photomontages. Blühová has become a significant representative of socially orientated

reportage and documentary photography in the Central European context. Her work is significant by its specific expression of Slovak and Central European culture at the turn of the 1920s and 1930s.

Blume, Anna and Bernhard (b. 1937, both) German artist couple mostly working with staged photography. Both studied Fine Art at the Art Academy Düsseldorf from 1969–65, Bernhard also studied philosophy at the University of Cologne. Their large-sized black-and-white photo sequences show an unhinged and crazy everyday life where objects gain magical independence. Performing as a typical petit bourgeois couple, the Blumes themselves are the protagonists of these abstracted and ironical scenes.

Blume, Anna and Bernhard Berssenbrugge, Henri

Peter Bialobrzeski, Shenzen

BB

10 11

a tour of the middle-east. He is known for his contributions to photographically illustrated books.

Bélégou, Jean-Claude (b. 1952) French photographer. Bélégou studied philosophy and history of art and archaeology at the Sorbonne in Paris. Heavily influenced by the Bauhaus, he completed his master’s dissertation on photography in 1967 and began his photography career two years later. Bélégou’s early black and white BLACK AND WHITE and later color images typically depict women or isolated scenes, including periodic explorations of Le Havre. From 1985–88 he was commissioned by the Region of Upper Normandy to photograph 30 artists that were living or working in the area. He created

Photographies & Co in 1982, an association that organized exhibitions, talks, and seminars around photography. In 1986 he cofounded the group Noir Limite NOIR LIMITE alongside colleagues Yves Tremorin and Florence Chevallier.

Bellocq, Ernest James (1873–1949) American commercial photographer. Ernest James (more commonly E.J.) Bellocq worked mainly in New Orleans. However, he is largely remembered for his uncommissioned portraits of prostitutes and opium addicts in New Orleans’ Storyville and Chinatown neighbourhoods. These posthumously discovered photographs BLACK AND WHITE and negatives NEGATIVES were popularised by Lee Friedlander through exhibition and publication in the 1970s.

Benjamin, Walter (1892–1940) German philosopher, literary criticism and translator. Benjamin started his studies in German philology, art history and philosophy in Freiburg and changed to Berlin in 1912. In 1915 he became friends with the Jewish historian Gershom Scholem. In 1920 he did a doctoral degree in Bern with a work about Der Begriff der Kunstkritik in der deutschen Romantik. Back in Berlin Benjamin has been working as a publicist, a self-employed writer and translator of Baudelaire poems. He purchased in 1921 a work by Paul Klee that is called Angelus Novus. On this he discussed in his latest scripture Über den Begriff der Geschichte (1939) the core theme of his historico-philosophical approach: the angel of history is driven by the wind of progress while he is looking back on the ruins of the past. In 1923–24 he went to Frankfurt am Main to do his habilitation about Ursprung des deutschen Trauerspiels. Not on the basis of contextual but unorthodox lifestyle reasons Benjamins habilitation dissertation was rejected by the University of Frankfurt am Main. In the years ahead Benjamin has had stays in Paris, Moscow and Ibiza. He worked on translations of Marcel Prousts Auf der Suche nach der verlorenen Zeit, started with the work about his childhood that is called Berliner Kindheit um Neunzehnhundert and did cooperational work with Berthold Brecht. Forced by the Hitler-Regime he escaped to Paris in 1933. There he came in contact to Hannah Ahrendt and worked above all on his fragmentarily Passagenwerk and Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit. In 1940 he commited suicide in Portbou (Spain).

Benkő, Imre (b. 1943) Hungarian photographer. Benkő studied photojournalism at the Hungarian Press School (MÚOSZ) MUOSZ. He worked for Hungarian National Press Agency for 18 years, then magazines: Képes7 and Európa Magazin. He was represented by Wostok Press Agency Paris. He made reportage in over 30 countries. He was teaching in the Hungarian Academy of Crafts and Design from 1988 to 2000. Benkő was interested in presenting people and their environments in his specific documentary way. He captures images with deep empathy and attention to the events of the changing world that surrounds him. Focusing always on the human, he uses only ambient

natural light, mainly black and white film, creating uncropped prints full of fine tone and form. He generally works for decades on his own themes. Important photographic albums include: Acélváros (1996), Szürke fények (2000), Blues Budapest (2003), Arcok (2003), Utak (2004) and Ikrek (2009). He received the World Press Photo Award, gold and silver medal in 1975, gold in 1978. Benkő also received the Pulitzer Award in 1991, the W. Eugene Smith scholarship in 1992 and A Magyar Köztársaság Érdemes művésze in 2004.

Benoliel, Joshua (1873–1932) Portuguese photographer. An early photojournalist, Benoliel first published photographs in sports magazine O Tiro Civil in 1898 and contributed heavily to Illustração Portugueza (1903–18). He was the first Portuguese correspondent for Spanish newspaper ABC (1904–32) and French magazine L’Illustration; he collaborated on many other national and international journals. He was the official photographer for King Carlos I; he contributed to album Lisboa artística e industrial (1908). He covered key events of Portuguese history and culture, including the assassination of the King of Portugal in 1908 and the Revolution in 1910 that implemented a Republic in Portugal. He reported on Portuguese participation in World War I, events related to the military coup of Sidónio Pais

NOIR LIMITE (1918) and the military coup of Gomes da Costa (1926). Benoliel photographed over 60,000 negatives in a 30-year career.

Berggren, Guillaume (1835–1920) Swedish photographer. Berggren established himself as a studio photographer in Constantinople in the 1870s. He is famous mainly for his panorama photographs of townscapes, but also of bazaars and back alleys. His oeuvre covers all the famous places of the Bosphorus. Berggren also made a series of portrayals of Turkish professions.

Berko, Ferenc (1916–2000) Hungarian-born American photographer and filmmaker. Of Jewish heritage and raised in Germany, Berko successfully evaded the Nazis by first moving to London where studied photography with Otto Emil Hoppé HOPPE, EMIL, and later to Bombay where he opened a portrait studio and filmed for the British Army. He remained in Aspen,

Berko, FerencBélégou, Jean-Claude

Bellocq, Ernest James, Untitled, 1912

BB

8 9

B

Bae, Bien-U (b. ~1950) Korean photographer. Bae has contributed much to promoting Korea’s natural beauty through the graceful artistry of his photographic works. He graduated from Hongik University with an applied arts degree and from its graduate school with a craft design degree. At the invitation of Bielefeld College, Germany, he studied photo design for a year at the College. He lives in Seoul and is well known for his meditative landscape photographs with an almost calligraphic quality. Bae is known as “the pine tree photographer” internationally. In 2006, for the first time as an Asian photographer, he had his solo exhibition at Prado Museum in Spain. And also was awarded a commission by the Spanish government to photograph the Alhambra and Generalife Gardens, which were designated a World Heritage Site in 1984.

Bain d’arrêt (Stop Bath) A stop bath is a solution, typically of dilute acetic acid, that is used to neutralize the further development of the photographic material being processed.

Baldessari, John (b. 1931) Influential American conceptual artist. Educated at San Diego State

College, earning his BA in 1953 and MA in 1957, as well as at the Otis Art Institute and Chouinard Art Institute. Trained as a painter, in the mid-1960s he began using appropriated photography. His early photographically based work combined image and text in juxtaposition. Such projects as Wrong (1966–67) and Throwing Four Balls in the Air to Get a Square (1974) found Baldessari making his own photographs, although he has never considered himself a photographer. Baldessari utilizes photomontage, text, painting, Photoshop, color, and scale to comment on the nature of art and communication. Based in Los Angeles, Baldessari has spent the majority of his artistic career as an art educator, influencing multiple artists through his teaching.

Balogh, Rudolf (1879–1944) Hungarian photographer and newspaper editor. Balogh took part in the First Hungarian Art Photo Exhibition in 1907. He opened studio in Budapest in 1912 and he worked as war photojournalist during the World War I. In early years, he worked in a painterly style but formed his own language, by the end of the 1920s, based on documentary. Balogh had a huge influence on the Hungarian National Press

Agency (MTI), Vasárnapi Újsag, and Est, the most determining and remarkable Hungarian print media of the time. He was one of the creators and dominant representative of the so-called Hungarian style. He mostly captured life in Alföld (Great Hungarian Plain), portraits and scenes of villages, but also took emblematic photographs about life in Budapest. In 1930s, he took part several exhibitions in Hungary and abroad. In later years he was head director of the Hungarian Film Office Laboratory. The most honourable Hungarian photography award, founded in 1992, bears the name of Balogh, Rudolf.

Baltz, Lewis (b. 1945) American born photographer, theorist, writer, and teacher associated with the New Topography movement. Lewis Baltz studied at the San Francisco Art Institute where he received his BFA (1969) and the Claremont Graduate School where he received his MFA (1971). His work was included in the seminal 1975 exhibition, ‘New Topographics: Documents of a Man-Altered Landscape’ NATURE PHOTOGRAPHY

with The New Industrial Parks near Irvine, California. His work has consistently dealt with architecture and relationships of power, through the photographic image. In the late 1980s he moved to Europe and continues to live and work there, exploring color and digital photography, while teaching photographic theory and practice.

Bán, Andrej (b. 1964) Slovak photographer. Born in Bratislava, Bán was the key reporter and photographer of the Slovak magazine Týždeň (Weekly). He is a photographer, curator, founder and the Chairman of humanitarian organization People in Peril. His photography is orientated mainly on world areas in crises (Kosovo, Pakistan, Afghanistan, Iran, etc.). In 1987 he joined weeklies Mladé rozlety (Young Flights), Plus 7 dní (Plus 7 days), Mladý svět (Young World) as a photojournalist PHOTOJOURNALISM. In 2000 he became the co-founder of the civil association Slovak Documentary Photography. He is the winner of several prizes. Bán is also the author of several documentary films, awarded by many national and international prizes. His photographs are meant to capture something eternal, something that is fading away.

Barney, Tina (b. 1945) American fine-art photograph. Her work interrogates American and European affluence. Inspired by Edouard Vuillard and Pierre Bonard, Barney pioneered large-format chromogenic portraiture that evokes painting both in its scale and in its stiff and formal composition. Recent work included The Europeans (2005) and Small Towns.

Baryté (papier) Fiber-based, or baryta photographic papers, consist of a paper base, coated with a light-sensitive emulsion of gelatin, bromide and/or chloride, and silver nitrate. There is also a baryta (or barium hydroxide layer) as well as a protective gelatin layer. Fibre-based papers were developed in the second half of the 1870s, although it was not until 1880 that baryta coatings became standard for gelatin silver photographs.

Baumgarten, Lothar (b. 1944) German conceptual artist with pioneering influence on the emerging Düsseldorf photo school in the late 1960s and early 1970s. Studied at the Art Academy Düsseldorf from 1969–71 with Joseph Beuys. German representative at the 1984 Venice Biennale. Uses photography as a means for his anthropological art revolving around the antithetic of nature and culture, the self and the other.

Bayer-Hecht, Irene (1898–1991) American photographer. Bayer-Hecht was born in Chicago, Illinois, and raised in Hungary. Influenced by the experimental Bauhaus exhibition in Weimar (1923), she studied art in Paris and photography in Leipzig, Germany. She married Herbert Bayer and became instrumental in advancing his photographic career. Her photographs of artists living at the Bauhaus were included in the Film und Foto exhibition in Stuttgart, Germany (1929). Bayer-Hecht returned to the Unites States in 1938 to work as a translator.

Bedford, Francis (1816–1894) British commercial photographer who began his career as a lithographer and chromolithographer specializing in architectural subjects. Turned to photography in the early 1850s photographing English architecture and views. He had a successful business selling photographs commercially. In 1865, he accompanied the Prince of Wales on

Bedford, Francis

B

12 The Thames & Hudson Dictionary of Photography – Information Pack

Dictionary of Photography Index 291 (gallery) • Abbas • Abbe, James Edward • Abbott, Berenice • Aberhart, Laurence •

Ackerman, Michael • Adams, Ansel • Adams, Eddie • Adams, Robert • Additive processes • Advertising photography • Aerial

photography • AES+F • Agata, Antoine d’ • Agency • Aigner, Lucien • AIZ (Die Arbeiter Illustrierte Zeitung) • Albin-Guillot, Laure

• Album • Albumen print • Alinari Brothers (Giuseppe, Leopoldo and Romualdo) • Almásy, Paul • Almeida, Helena • Alpert, Max

Vladimirovich • Álvarez-Bravo, Lola • Álvarez-Bravo, Manuel • Alveng, Dag • Amateur Photographer, The • Amateur photography

• Ambrotype • Andriesse, Emmy • Andujar, Claudia • Annan, James Craig • Annan, Thomas • Anschütz, Ottomar •

Anthropometry • Aperture • Appelt, Dieter • Arago, Dominique François Jean • Araki, Nobuyoshi • Arbus, Diane • Archer,

Frederick Scott • Architectural photography • Archive • Arke, Pia • Arnatt, Keith • Arnold, Eve • Arnoux, Hippolyte • Art

photography • Arts et Métiers graphiques • Atget, Eugène • Atkins, Anna • Atwood, Jane Evelyn • Auerbach, Ellen • Autochrome

• Avedon, Richard • Azaglo, Cornelius Augustt • Aziz & Cucher • Backhaus, Jessica • Backlighting • Bae, Bien-U • Bailey,

David • Baldessari, John • Baldus, Edouard Denis • Ballen, Roger • Balogh, Rudolf • Baltermants, Dmitri • Baltz, Lewis • Bán,

Andrej • Banka, Pavel • Barbey, Bruno • Barbieri, Gian Paolo • Barbieri, Olivo • Barnard, George N. • Barney, Tina • Barrada,

Yto • Barros, Geraldo de • Barthes, Roland • Baryta paper • Basilico, Gabriele • Battaglia, Letizia • Baudrillard, Jean • Bauhaus

• Baumgarten, Lothar • Bayard, Hippolyte • Bayer, Herbert • Bayer-Hecht, Irene • Beard, Peter • Beato, Felice • Beaton, Cecil

• Becher, Bernd and Hilla • Bedford, Francis • Bélégou, Jean-Claude • Belin, Valérie • Bellmer, Hans • Belloc, Auguste •

Bellocq, Ernest James • Benchallal, Nadia • Benjamin, Walter • Benkő, Imre • Benoliel, Joshua • Berengo Gardin, Gianni

• Bergemann, Sibylle • Berger, John • Berges, Laurenz • Berggren, Guillaume • Bergström, Johan Wilhelm • Berko, Ferenc •

Berssenbrugge, Henri • Bertillon, Alphonse • Bertsch, Auguste Nicolas • Besnyö, Eva • Beyer, Karol • Bialobrzeski, Peter •

Biasiucci, Antonio • Billingham, Richard • Bing, Ilse • Bischof, Werner • Bisilliat, Sheila Maureen • Bisson Brothers (Louis-

Auguste and Auguste-Rosalie) • Black-and-white photography • Black Star • Blanquart-Evrard, Louis Désiré • Blommers &

Schumm • Blossfeldt, Karl • Blühová, Irena • Blume, Anna and Bernhard • Blumenfeld, Erwin • Blur • Bohm, Dorothy •

Boiffard, Jacques-André • Boissonnas, Fred • Boltanski, Christian • Bonfils, Félix • Boston School • Bouali, Hamideddine •

Boubat, Edouard • Boulat, Pierre • Boulton, Alfredo • Bourdieu, Pierre • Bourdin, Guy • Bourke-White, Margaret • Bourne,

Samuel • Boutros, Nabil • Brady, Mathew B. • Braekman, Dirk • Bragaglia, Anton Giulio and Arturo • Brake, Brian • Brancusi,

Constantin • Brandt, Bill • Brassaï • Braun, Adolphe • Brébisson, Louis Alphonse de • Brehme, Hugo • Breitner, George Hendrik

• Bremer, Caj • Breslauer, Marianne • Breukel, Koos • Brewster, Sir David • British Journal of Photography • Brodovitch, Alexey

• Brohm, Joachim • Bromoil • Brotherus, Elina • Bruehl, Anton • Bruguière, Francis Joseph • Buchloh, Benjamin H. D. •

Bucklow, Christopher • Bulhak, Jan • Bullock, Wynn • Bunnell, Peter C. • Burgin, Victor • Burkhard, Balthasar • Burri, René •

Burrows, Larry • Burton Brothers • Burtynsky, Edward • Bustamante, Jean-Marc • Butor, Michel • C-print • Cahun, Claude •

Callahan, Harry • Calle, Sophie • Calotype • Camera • Camera • Camera obscura • Camera Work • Cameron, Julia Margaret

• Caneva, Giacomo • Capa, Cornell • Capa, Robert • Caponigro, Paul • Carbon process • Carbro • Carjat, Etienne • Caron,

Gilles • Carroll, Lewis • Carte de visite • Cartier-Bresson, Henri • Casasola, Augustín Victor • Casebere, James • Casset, Mama

• Castello-Lopes, Gérard • Català i Pic, Pere • Català-Roca, Francesc • Cazneaux, Harold • Censorship • Centelles, Agustí •

Chadwick, Helen • Chambi, Martín Jiménez • Chappell, Walter • Charbonnier, Jean-Philippe • Charnay, Désiré • Chemigram •

Chessex, Luc • Chevalier, Charles • Chevrier, Jean-François • Choquer, Luc • Chronophotography • Cibachrome • Cinema and

photography • Claass, Arnaud • Clarence White School of Photography, New York • Clark, Larry • Claudet, Antoine François Jean

• Clement, Krass • Clercq, Louis de • Clergue, Lucien • Cliché-verre • Clifford, Charles • Close, Chuck • Close-up • Clubs

and societies • Coburn, Alvin Langdon • Cohen, Lynne • Coleman, Allan Douglass • Collage • Collard, Auguste Hippolyte •

Collodion • Collotype • Colom, Joan • Colour photography • Colvin, Calum • Combination printing • Commercial photography

• Composite portrait • Comte, Michel • Conceptual art • Concerned photography • Concrete photography • Conservation •

Contact print • Contact sheet • Contemporary art and photography (photographie plasticienne) • Coplans, John • Coppola,

Horacio • Copyright • Corbijn, Anton • Corrales Forno, Raúl • Coulommier, Julien • Courrèges, Christian • Couturier, Stéphane

• Cravo Neto, Mario • Crewdson, Gregory • Cromer, Gabriel • Cualladó, Gabriel • Cudlín, Karel • Cumming, Donigan •

Cumming, Robert H. • Cunningham, Imogen • Curtis, Edward Sheriff • Cuvelier, Eugène • Cyanotype • Daguerre, Louis

• Daguerreotype • Dahl-Wolfe, Louise • D’Alessandri, Antonio and Paolo Francesco • D’Amico, Alicia • Darkroom • DATAR •

Davanne, Alphonse • Davidson, Bruce • Davies, John • Davison, George • Day, Corinne • Day, Fred Holland • De Biasi, Mario

• Deal, Joe • Deakin, John • Dean, Tacita • DeCarava, Roy • Decisive moment • Delahaye, Luc • Delamotte, Philip Henry •

Delano, Jack • Delius, Karl Ferdinand • Delpire, Robert • Demachy, Robert • Demand, Thomas • Denderen, Ad van • Depardon,

Raymond • Derges, Susan • Developing • Developer • Diamond, Hugh Welch • Diaphragm • Dibbets, Jan • DiCorcia, Philip-

Lorca • Didi-Huberman, Georges • Dieulefils, Pierre • Dieuzade, Jean • Digital photography • Dijkstra, Rineke • Disdéri, André

Adolphe Eugène • Disfarmer, Mike • Dlubak, Zbigniew • Documentary photography • Dohnány, Miloš • Doisneau, Robert •

Domon, Ken • Dondero, Mario • Donovan, Terence • Douglas, Stan • DPI and PPI • Drahos, Tom • Draper, John William •

Drégely, Imre • Drtikol, František • Dry-plate process • Du • Du Camp, Maxime • Duchenne de Boulogne, Guillaume-Benjamin

• Ducos du Hauron, Louis Arthur • Dührkoop, Rudolph • Duncan, David Douglas • Dupain, Max • Duplicate • Durand, Régis •

Durandelle, Louis-Emile • Duroy, Stéphane • Düsseldorf School • Dye transfer • Eakins, Thomas • Eastlake, Elizabeth

• Eastman, George • École Nationale Supérieure de la Photographie, Arles • Eder, Josef Maria • Edinger, Claudio • Edgerton,

Harold Eugene • Eggleston, William • Eisenstaedt, Alfred • Eliasson, Olafur • Elk, Ger van • Elsken, Ed van der • Emerson,

Peter Henry • Emulsion • Engström, J. H. • Eperjesi, Ágnes • Erfurth, Hugo • Errazuriz, Paz • Erwitt, Elliott • Escher, Károly

• Espino Barros y Rebouche, Eugenio • Esser, Elger • Ethnology and photography • Eugene, Frank • Evans, Frederick H. •

Evans, Walker • Experimental photography • Exposure • f.64 Group • Faas, Horst • Facio, Sara • Faigenbaum, Patrick • Family

of Man, The • Farkas Jama, Antal • Farm Security Administration • Fashion photography • Fastenaekens, Gilbert • Faucon,

Bernard • Faults • Faurer, Louis • Fehr, Gertrude • Fei, Sha • Feininger, Andreas • Feldmann, Hans-Peter • Felizardo, Luiz

Carlos • Fekete, Alexandra Kinga • Fenoyl, Pierre de • Fenton, Roger • Ferrez, Marc • Ferrotype • Festival • Fieret, Gerard

Petrus • Film • Film und Foto • Filter • Fink, Larry • Finsler, Hans • Fischer, Arno • Fischli & Weiss • Fisheye lens • Fizeau,

Over 1,200 clear, accessible and authoritative entries

905 entries on Artists and Photographers from 46 countries

162 entries on Technical Terms, including Materials and Processes

68 entries on Genres, Styles, Schools and Movements

29 entries on Groups, Collectives and Organizations

24 entries on Critics, Writers, Historians and Collectors

16 entries on Exhibitions and Publications

Armand Hippolyte Louis • Flash • Fleischer, Alain • Fleischmann, Trude • Florence, Hercule • Florschütz, Thomas • Flusser,

Vilém • Focal length • Fontana, Franco • Fontcuberta, Joan • Format • Fortune • Fosso, Samuel • Fraga, Voltaire •

Franck, Martine • Frank, Robert • Franklin, Stuart • Freed, Leonard • Fresson process • Freund, Gisèle • Friedlander, Lee

• Frima, Toto • Frith, Francis • Frizot, Michel • Fujiwara, Shinya • Fukase, Masahisa • Fulton, Hamish • Funke, Jaromír •

Furuya, Seiichi • Fuss, Adam • Futurism • Galella, Ron • Galton, Francis • Gamma • Garanger, Marc • García, Romualdo •

Garcia-Alix, Alberto • García Rodero, Cristina • Gardner, Alexander • Garduño, Yanez Flor • Garnell, Jean-Louis • Gasparian,

Gaspar • Gasparini, Paolo • Gaumy, Jean • Geddes, Anne • Gee, Helen • Gelatin • Gelatin silver bromide • Gelatin silver

P.O.P. • General Idea • Genthe, Arnold • Gernsheim, Helmut • Gerz, Jochen • Ghirri, Luigi • Ghisoland, Norbert • Giacomelli,

Mario • Gibson, Ralph • Gidal, Tim Nachum • Gilbert & George • Gilden, Bruce • Gimpel, Léon • Gioli, Paolo • Glanville,

Toby • Gloeden, Baron Wilhelm von • Godwin, Fay • Goldberg, Jim • Goldberg, Vicky • Goldblatt, David • Goldin, Nan •

Goldsworthy, Andy • Golestan, Kaveh • Gomes, Alair • Gomis, Joaquim • Gonnord, Pierre • Goodwin, Henry B. • Gosani, Bob

• Gossage, John R. • Gowin, Emmet • Graeff, Werner F. • Graham, Dan • Graham, Paul • Graham, Rodney • Greene, John

Beasley • Greenfield, Lauren • Griffin, Brian • Groebli, René • Grossman, Sid • Gruber, Leo Fritz • Gruyaert, Harry • Guerra,

Jorge • Guibert, Hervé • Guidi, Guido • Güler, Ara • Gulyás, Miklós • Gum bichromate • Gum platinum • Gundlach, F. C. •

Gursky, Andreas • Gutmann, John • Haas, Ernst • Hagemeyer, Johan • Hajek-Halke, Heinz • Halawani, Rula • Halsman, Philippe

• Hamaya, Hiroshi • Hamilton, David • Hamilton, Richard • Hannon, Edouard • Hanzlová, Jitka • Hardy, Bert • Harper’s Bazaar

• Hasselblad • Hartwig, Edward • Hatekeyama, Naoya • Hausmann, Raoul • Hausswolff, Annika von • Hawarden, Lady

Clementina • Hayashi, Tadahiko • Heartfield, John • Heinecken, Robert • Heinrich, Annemarie • Heliography • Henderson,

Nigel • Henle, Fritz • Henneberg, Hugo • Henri, Florence • Henson, Bill • Hers, François • Herschel, Sir John • Hervé, Lucien

• Hido, Todd • Hill & Adamson • Hilliard, John • Hine, Lewis Wickes • Hiro • Höch, Hannah • Hockney, David • Hoepker,

Thomas • Höfer, Candida • Hofer, Evelyn • Hoffmann, Heinrich • Hofmeister, Theodor and Oskar • Holdt, Jacob • Hollyer,

Frederick • Hologram • Homma, Takashi • Hoppé, E. O. • Hopper, Dennis • Horsfield, Craigie • Horst, Horst P. • Horvat, Frank

• Hosoe, Eikoh • Howlett, Robert • Hoyningen-Huene, George • Hubmann, Franz • Hugo, Pieter • Huguier, Françoise • Hujar,

Peter • Humanist photography • Humbert de Molard, Louis Adolphe • Hunter, Tom • Hurley, Frank • Hütte, Axel • Hyperrealism

• Ignatovich, Boris Vsevolodovich • Illustrated press • Infrared • Inkjet printing • Instant photography • Invisible • Ishimoto,

Yasuhiro • Ishiuchi, Miyako • Itier, Alphonse Eugène Jules • Iturbide, Graciela • Izis • Jaar, Alfredo • Jackson, William Henry

• Jacobi, Lotte • Jäger, Gottfried • Jammes, André • Japonisme • Jiang, Jian • Jiménez, Augustín • Jodice, Mimmo • Johnston,

Frances Benjamin • Jokisalo, Ulla • Jones, Sarah • Jones Griffiths, Philip • Jonsson, Sune • Josephson, Kenneth • Jouve, Valérie

• JPG • Kállay, Karol • Kálmán, Kata • Kannisto, Sanna • Karsh, Yousuf • Käsebier, Gertrude • Kawada, Kikuji • Kawauchi,

Rinko • Keetmann, Peter • Keiley, Joseph Turner • Keïta, Seydou • Kerekes, Gábor • Kertész, André • Kessels, Willy • Keuken,

Johan van der • Khaldei, Yvegeny • Al-Kharrat, Ayman • Killip, Chris • Kimura, Ihee • Kitajima, Keizo • Kivijärvi, Kåre • Klauke,

Jürgen • Klein, Steven • Klein, William • Klemm, Barbara • Klutsis, Gustav • Knapp, Peter • Knight, Nick • Knorr, Karen

• Knudsen, Knud • Kodachrome • Kodak • Kolehmainen, Ola • Kollar, François • Konopka, Bogdan • Koo, Bohn-Chang •

Kopek, Gábor • Korda, Alberto • Koriss, Péter • Koudelka, Josef • Kouyaté, Adama • Kracauer, Siegfried • Kratsman, Miki •

Krauss, Rosalind E. • Krims, Les • Kruger, Barbara • Krull, Germaine • Krzywoblocki, Aleksander • Kudoyarov, Boris • Kühn,

Heinrich • Lacan, Ernest • LaChapelle, David • Lake Price, William Frederick • Land art • Land, Edwin Herbert • Landscape

photography • Lange, Dorothea • Larrain, Sergio • Lartigue, Jacques Henri • Latent image • Laughlin, Clarence John • Le Gac,

Jean • Le Gray, Gustave • Lebeck, Robert • Lee, Russell • Leele, Ouka • Lehnert & Landrock • Leibovitz, Annie • Leica •

Leipzig School • Leiris, Michel • Leiter, Saul • Lekegian, Gabriel • Lekuona, Nicolás de • Lemagny, Jean-Claude • Lemos,

Fernando • Lendvai-Dircksen, Erna • Lens • Leonard, Zoe • Lerner, Nathan • Lerski, Helmar • Le Secq, Henri • Lessing,

Erich • Levine, Sherrie • Levinstein, Leon • Levinthal, David • Levitt, Helen • Levy, Julien • Lewczynski, Jerzy • Liberman,

Alexander • Life • Light meter • Lindbergh, Peter • Lindström, Tuija • Lindt, John William • Linked Ring, Brotherhood of the •

Lippmann, Gabriel • Lissitzky, El • List, Herbert • Liu, Zheng • Lomography • Londe, Albert • Long, Chin-san • Long, Richard

• López, Nacho • Lorant, Stefan • Lorca, German • Lotar, Eli • Lum, Ken • La Lumière • Lumière, Auguste and Louis •

Luminosity • Lüthi, Urs • Lutter, Vera • Lux, Loretta • Lynes, Georges Platt • Lyon, Danny • Lyons, Nathan • Maar, Dora

• McAlinden, Mikkel • McCartney, Linda • McCausland, Elizabeth • McCullin, Don • McDean, Craig • Macdonald, Ian •

Macijauskas, Aleksandras • Macrophotography • Madoz, Chema • Magnum Photos • Mahr, Mari • Man, Felix H. • Man Ray

• Manen, Bertien van • Männikkö, Esko • Mann, Sally • Mapplethorpe, Robert • Marey, Etienne-Jules • Marissiaux, Gustave •

Mark, Mary Ellen • Marker, Chris • Market for photographs • Markov-Grinberg, Mark • Martin, Paul • Marucha • Marville, Charles

• Masats, Ramón • Masclet, Daniel • Matiz, Leo • Matter, Herbert • Mayall, John Jabez Edwin • Mayer & Pierson • Mayito •

Mayne, Roger • Meatyard, Ralph Eugene • Medicine • Meene, Hellen van • Méhédin, Léon-Eugène • Meisel, Steven

• Messager, Annette • Metadata • Metzker, Ray K. • Meyer, Adolph Gayne Baron de • Meyer, Elisabeth • Meyer, Pedro •

Meyerowitz, Joel • Michals, Duane • Micrography • Migliori, Nino • Mikhailov, Boris • Mili, Gjon • Miller, Garry Fabian • Miller,

Lee • Min, Byeong-Heon • Minkkinen, Arno Rafael • Miot, Paul-Emile • Mise en scène • Miserachs, Xavier • Misrach, Richard

• Misonne, Léonard • Mission Héliographique • Mission photographique • Miyamoto, Ryőji • Modotti, Tina • Model, Lisette •

Moffatt, Tracey • Mofokeng, Santu • Moholy, Lucia • Moholy-Nagy, László • Moï Ver • Molder, Jorge • Molinier, Pierre • Monti,

Paolo • Moon, Sarah • Moore, David • Moore, Raymond • Mora, Gilles • Moral, Jean Arsène Gaston Jacques • Morath, Inge •

Morgan, Barbara • Morimura, Yasumasa • Moriyama, Daido • Morris, Wright • Morrison, Hedda • Moulène, Jean-Luc •

Mthethwa, Zwelethu • Mudford, Grant • Muholi, Zanele • Mulas, Ugo • Muller, Nicolas • Müller-Pohle, Andreas • Muniz, Vik

• Munkácsi, Martin • Muñoz, Isabel • Muray, Nickolas • Museum of Modern Art, New York • Muybridge, Eadweard • Mydans,

Carl • Nachtwey, James • Nadar • Nagano, Shigeichi • Nakahira, Takuma • Nakayama, Iwata • Namuth, Hans • Nappelbaum,

Moisei Solomonovich • Narahara, Ikkő • Narrative Art • Nash, Paul • Natalia LL • National Geographic • Negative • Nègre,

Charles • Neshat, Shirin • Neusüss, Floris • New Bauhaus • New Color Photography • New Documents • New Objectivity

(Neue Sachlichkeit) • New Topographics • New Vision (Neues Sehen) • Newhall, Beaumont • Newman, Arnold • Newton,

Helmut • Niedermayr, Walter • Niépce, Joseph Nicéphore • Niépce de Saint-Victor, Claude Félix Abel • Nieweg, Simone •

Nilsson, Lennart • Nixon, Nicholas • Noble, Anne • Noise • Nojima, Yasuző • Norfolk, Simon • Nori, Claude • Notman, William

• Nudes • Nueva Lente • Oil pigment print • Ojeikere, J. D. ‘Okhai • Olaf, Erwin • Olson, Lennart • Onodera, Yuki • Orive,

María Cristina • Orozco, Gabriel • Ortiz-Echagüe, José • O’Sullivan, Timothy • Outerbridge, Paul • Overexposure • Page, Tim

• Paillet, Fernando • Painlevé, Jean • Palladium print (palladiotype) • Palma, Luis González • Pam, Max • Panoramic photography

• Paparazzo • Paper, photographic • Pardington, Fiona • Parke, Trent • Parkinson, Norman • Parks, Gordon • Parr, Martin •

Parry, Roger • Patellani, Federico • Pécsi, József • Peirce, Charles Sanders • Pellegrin, Paolo • Penn, Irving • Peress, Gilles

• Pérez Bravo, Marta María • Perez Siquier, Carlos • Performance and photography • Peryer, Peter • Peterhans, Walter •

Petersen, Anders • Petit, Pierre • Petrusov, Georgy Grigorievich • Petschow, Robert • Petzvál, József Miksa • Photo booth

• Photogenic drawing • Photogram • Photographer • Photographic essay • Photographic industry • Photographic News •

Photographic survey • Photography books • Photogravure • Photolithography • Photojournalism • Photo League

• Photomechanical processes • Photomontage • Photomural • Photosculpture • Photo-Secession • Photosensitivity •

Photoshop • Phototype • Pictorialism • Pierre & Gilles • Pigment processes • Pinhole camera • Pinkhassov, Gueorgui

• Pixel • Plachy, Sylvia • Platinum print (platinotype) • Plicka, Karol • Plossu, Bernard • Poitevin, Louis Alphonse • Polaroid •

Police photography • Polidori, Robert • Politics and photography • Polke, Sigmar • Ponting, Herbert George • Portrait

photography • Post-production • Post Wolcott, Marion • Prince, Richard • Print • Printing-out processes • Projector •

Propaganda • Pruszkowski, Krzysztof • Punctum • Puranen, Jorma • Puyo, Commandant • Radiography • Rainer, Arnulf •

Rangel, Ricardo • Ranney, Edward • Rauschenberg, Robert • Rawlings, John • Ray-Jones, Tony • Rayograph • Reflector

• Reflex camera • Regnault, Henri Victor • Rejlander, Oscar Gustave • René-Jacques • Renger-Patzsch, Albert • Reportage •

Resolution • Retouching • Rey, Guido • RGB • Rheims, Bettina • Riboud, Marc • Richards, Eugene • Richardson, Terry

• Richter, Gerhard • Riefenstahl, Leni • Riis, Jacob A. • Rio Branco, Miguel • Ristelhueber, Sophie • Ritts, Herb • Rivas Ribeiro,

Humberto Luis • Riwkin-Brick, Anna • Robakowski, Józef • Robertson, James • Robinson, Henry Peach • Roche, Denis •

Rodchenko, Alexander Mikhailovich • Rodger, George • Rolleiflex • Rondepierre, Eric • RongRong • Ronis, Willy • Röntgen,

Wilhelm Conrad • Rosenblum, Walter • Rosenthal, Hildegard • Rosenthal, Joe • Rosler, Martha • Ross, Henryk • Rössler, Jaroslav

• Rostain, Pascal • Rothstein, Arthur • Rouillé, André • Al-Roumi, Mohamed • Rousse, Georges • Rovner, Michal • Royal

Photographic Society • Ruff, Thomas • Ruka, Inta • Ruscha, Edward • Rydet, Zofia • Saanio, Matti • Sabatier effect • Salas

Freire, Osvaldo • Salgado, Sebastião • Salomon, Erich • Salt print • Salzmann, Auguste • Samaras, Lucas • Sammallahti,

Pentti • Sandberg, Tom • Sander, August • Sasse, Jörg • Sassen, Viviane • Saturation • Saudek, Jan • Schad, Christian •

Schadeberg, Jürgen • Schaeffer, Jean-Marie • Schall, Roger • Schatzberg, Jerry • Schmidt, Michael • Schuh, Gotthard

• Scianna, Ferdinando • Scientific photography • Seawright, Paul • Sebah, Pascal and Jean-Pascal • Secchiaroli, Tazio •

Seeley, George Henry • Sekula, Allan • Self-portraits • Sella, Vittorio • Sellerio, Enzo • Semiotics • Senn, Paul • Sensitive

plate • Sensitivity • Sequence • Series • Serrano, Andres • Sewcz, Maria • Seymour, David (Chim) • Shadbolt, George •

Shafran, Nigel • Shahbazi, Shirana • Shahn, Ben • Shaikhet, Arkady Samoylovich • Sheeler, Charles • Sherman, Cindy •

Shibata, Toshio • Shiihara, Osamu • Shinoyama, Kishin • Shore, Stephen • Shterenberg, Abram Petrovich • Shulman, Julius

• Shutter • Sidibé, Malick • Sieff, Jeanloup • Siegel, Arthur • Sieverding, Katharina • Silva, António Sena da • Silva Meinel,

Javier • Silver processes • Silvy, Camille de • Simmons, Laurie • Simpson, Lorna • Siskind, Aaron • Slide film • Smith, Graham

• Smith, William Eugene • Smithson, Robert • Snowdon, Earl of • Société Française de Photographie • Société Héliographique

• Solarization • Sommer, Frederick • Sommer, Giorgio • Søndergaard, Trine • Sontag, Susan • Soth, Alec • Sougez,

Emmanuel • Southworth & Hawes • Spirit photography • Sports photography • Staged photography • Stankowski, Anton •

Steele-Perkins, Chris • Steichen, Edward • Steidl, Gerhard • Steiner, Ralph • Steinert, Otto • Stern, Bert • Stern, Grete •

Sternfeld, Joel • Stereoscopic image (stereogram) • Stettner, Louis • Stieglitz, Alfred • Still-life • Stock, Dennis • Stoller, Ezra

• Stone, Sir John Benjamin • Stone, Sasha • Stop bath • Straight photography • Strand, Paul • Štrba, Annelies • Street

photography • Streuli, Beat • Strömholm, Christer • Struss, Karl • Struth, Thomas • Stryker, Roy Emerson • Studio • Štyrský,

Jindőich • Subtractive processes • Suda, Issei • Sudek, Joseph • Sugimoto, Hiroshi • Sultan, Larry • Sundsbø, Sølve •

Surrealism • Sutcliffe, Frank Meadow • Sutkus, Antanas • Szarkowski, John • Szatmári, Gergely • Szilágyi, Lenke • Tabard,

Maurice • Tableau photography • Talbot, William Henry Fox • Tandberg, Vibeke • Taro, Gerda • Taylor-Wood, Sam • Teige, Karel

• Teller, Jürgen • Testino, Mario • Thurston Hopkins, Godfrey • Tichý, Miroslav • TIFF • Tillim, Guy • Tillmans, Wolfgang •

Tomatsu, Shome • Toning • Tosani, Patrick • Toscani, Oliviero • Tournachon, Adrien • Travel photography • Tress, Arthur

• Tripe, Linnaeus • Trivier, Marc • Tronvoll, Mette • Tschichold, Jan • Tsuchida, Hiromi • Tuggener, Jakob • Tunbjörk, Lars •

Turbeville, Deborah • Turner, Benjamin Brecknell • Ubac, Raoul • Udo, Nils • Ueda, Shoji • Uelsmann, Jerry N. • Umbo

• Unwerth, Ellen von • Uzzle, Burk • Vaccari, Franco • Vachon, John • Van Der Zee, James • Van Dyke, Willard Ames • Van

Lamsweerde, Inez & Matadin, Vinoodh • Van Leo • Vancouver School • Varda, Agnès • Ventura, Paolo • Veress, Ferenc • Verger,

Pierre • Vintage print • Virtual image • Vishniac, Roman • Vitali, Massimo • Vogel, Lucien • Vogt, Christian • Vogue • Vorticism

• Vroman, Adam Clark • Vu • Walker, Tim • Wall, Jeff • Wallace, Ian Hugh • Wang, Qingsong • Waplington,

Nick • War photography • Wardrope Brigman, Anne • Warhol, Andy • Washington Wilson, George • Watkins, Carleton Eugene

• Watson, Albert • Waxed paper process • Wearing, Gillian • Webb, Boyd • Weber, Bruce • Wedgwood, Thomas • Weegee

• Wegman, William • Welling, James • Wessel, Ellisif • Wessel, Henry • Wessing, Koen • Weston, Brett • Weston,

Edward • Wet-plate process (wet-collodion prints) • Wey, Francis • Wheatstone, Sir Charles • White, Clarence Hudson • White,

Minor • Wilmer, Valerie Sybil • Wilson, George Washington • Winogrand, Garry • Winther, Hans Thøger • Witkacy • Witkin,

Joel-Peter • Wolf, Michael • Wolff, Paul • Wols • Workshop • Wunderlich, Petra • Wurm, Erwin • Yalenti, José • Yampolsky,

Mariana • Yanagi, Miwa • Yasui, Nakaji • Yevonde, Madame • Yva • Zangaki, Adelphoi and Constantin • Zelma, Georgi

Anatolevich • Zhukov, Pavel Semyonovich • Zola, Emile • Zoom lens • Zuber, René • Zwart, Piet

The Thames & Hudson Dictionary of Photography

Documents

Transcript of The Thames & Hudson Dictionary of Photography