Photographic Representation
Bachelor of Arts
Bennington College
Bennington, Vermont
1982
Steven W. Albahari
Submitted to the Department of Architecture
in partial fulfillment of the requirements of the degree
MASTER OF SCIENCE IN VISUAL STUDIES
September, 1986
Signature of the author:
Steven W. Albahari
Department of Architecture
August 7, 1986
Certified by:
Richard Leacock
Professor of Cinema
Thesis Supervisor
Accepted by:
Nicholas Negroponte
Chairman
Departmental Committee for Graduate Studies
MASSACHUSTIs NS iTLUTE
OF TE NOGY
AUG 2 9 1986
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PHOTOGRAPHIC REPRESENTATION
Steven W. Albahari
Submitted to the Department of Architecture
August 7, 1986
in partial fulfillment of the requirements for the Degree of
Master of Science in Visual Studies
Abstract
Still
photography has become one of the most significant mechanical tools
in aiding our perception of the world.
We can see its development as a
logical stage within the evolution of the lens.
The advent of photography
helped to expand our vision and understanding of a complex world by offering a
means for personal expression through accurate photographic representation of
what we actually see and experience.
The form of this thesis will take shape by examining photography as a
development within the evolution of the lens, by drawing from discussions of
practitioners
and
critics
of
the
medium,
and by
a
presentation and
investigation of my own work.
I will discuss my thoughts behind the process
and those elements I regard as significant that make an image meaningful to me
and, potentially, the
viewer, an image
that can evoke meaning through
transcending thought, time, space, and ultimately, experience.
Thesis Supervisor:
Richard Leacock, Professor of Cinema
Table of Contents
Page
Title page / Abstract
1/2
Contents
3
The Lens
4-6
Photography - A Fourth Dimension
7-13
Approach/Function
14-17
Perception
18-22
Process
23
Composition
24-25
Choice of Camera
25-26
Choice of Lens
26-29
The Negative
29-30
The Print
30-34
Interpretation
35-37
Abstraction
37-41
Spontaneity
42-47
Summary
48-50
Footnotes / Bibliography
51/53
(Note: All photographs included are by the author).
THE LENS
The
visual
emergence
of photography in mankind's
ongoing dialogue with
communication can be understood as a logical stage
developments dating as far back as
built from
the seventeenth century, when the
newly invented microscope led to the discovery of bacteria
need to recognize that the development
in
1676.
We
of photography was an important
and logical step in relationship to the lens.
The eye,
like the lens,
information management
hand,
it
enabled us
was the first
and gathering.
to perceive
tool human beings
Acting as an
the world
around
used
for
extension of the
and within us
on a
different level.
Like
many
other
logical
steps
in
the
evolution of
a science,
photography served to facilitate the opening of a door - a tool to help
us
see
on
an
intimate
level
expanded vision and insight,
that
we were
which
surrounds us.
further able
Through
our
to see that which we
take for granted or are ignorant of.
In
perhaps accepting the theory of man's development of speech in
order to
achieve the
evolved
eyes
in
photography. 2
what
written
order
Within
this
word',
to
one
bring
postulate
can
us
it
also
to
may be
the
it
was natural
that
development
conceivable
critic A.D. Coleman explains as more logical
evolved an eye,
formulate
to
reasoning:
we
of
adopt
'Having
for a toolmaking creature to develop an
instrument with which to enhance
its scope.
That tool
is
the lens,
in
all its diverse manifestations'.'3
for
The lens and its
many applications are commonplace and responsible
our
recognize
images,
experiences
have
which
ability
our
revolution
'real'
to
engendered
by
the
lens
surrounds and embodies our cultures.
responsible
for
setting
its
places, and people beyond that
afforded
and
us.
The
consolidated by photography' 4
Now that we recognize
stage,
'perceptual
we
have
photography within the technology it comes from.
properly
the history
positioned
PHOTOGRAPHY - AFOURTH DIMENSION
Distinctive
lens
about
pictorial
and
realistically
an
the
is
a moment,
a truth -
in
photography
representation
event,
able to communicate
role of
or
ability
its
an
to
experience.
of experience
a reality
evolution of the
the
communicate
Photography
with
-
is
convincing
persuasion.
Discussions here
my work.
It
to
us
engage
affords
in
a
focus
us the
dialogue
on the still
photograph because it
opportunity
where
an
to
study the
experience
can
still
embodies
moment
come
and
from a mere
moment in time, a click of the shutter.
The photograph serves,
role
in society
photograph
actually
exists
is
an
because
as it
of its
did in
the
privilaged
last
outside of
document
taken
that which we know as
an important
connection with reality.
not just a depiction of an event,
objective
century,
place,
subjectively
'ourselves':
continually perceive in different dimensions.
or thing,
of
a
a
A
but
world
world
is
that
which
we
Before
world
the
through
addition,
photograph
that
literature
imagination
which
depended
brought
a mass
they
and art
which
representation
as
object,
saw
or
played a
on
us
people
experienced
significant
memory.
as
most
The
subjective
regarded
first
role
in
emergence
of
viewers
the
hand.
In
feeding
the
photographic
into
a
world
transformed.
As viewers
now
could
of photographs
be
objective.
depicting moments and events in
This
The relationship
photography.
objectivity
is
between man and his
the
reality
time,
we
essence
of
changed
and
a new dimension to life was realized.
Our
first
notion is
representation of
its material
mediums of
as well,
art
for
interprets
dimensions.
form
an
to
a world we
ascribes
expression,
a
regard
connection
object
in
the photograph
perceive
to
the
there
as
as
three-dimensional.
two-dimensional
exists a desired
with
a
more
terms
fourth
a two-dimensional
goal
dimension,
than
just
concept,
its
in
Although
like
all
photography,
a dimension
external
that
surface
Our five senses
react on a physical
They react
to outside stimulus
reaction is
based on a three-dimensional world.
There exists
their function.
expresses
itself in terms
at
the
level
to the moment of 'now'.
interaction.
moment of
a quality within
Their
This dimension becomes
living things
all
of a broader reality:
one
that
that encompasses
its past, present, and future.
"This level of reality is
can make
dynamic
by blending past, present,
measure of reality.
every
event
in
a static experience which only the mind
The
the
'present'
is
universe.
and future into a greater
only an intersection
It
is
like
motion-picture film.
When the single frame is
It
the creative
is
a function
of
the
single
seen,
in
time of
frame
of
a
the motion stops.
mind to overcome the inertia of the
(now) perceived reality."
This function of
creating images
this
inertia
and
the
mind
attempting
is
-
activated
through
of percieved reality -
this fourth dimension.
the
through
the
process
of
photograph to overcome
an expression
that
communicates
m
APPROACH/FUNCTION
A central credo of my work is
and
my
viewers
best
in
defining
simplicity.
a
This approach serves me
realistic
document
of
the
world
through which expression can live.
Through recording my subjects accuratly,
retain its inherent qualities.
subjects
own
mechanically
is
reality and
altering
of supreme importance
true
subject depicted will
A viewer, then, can react based on the
not one
its
the
superfically
form.
created
Simplicity
to a concept of
'seeing'
in
by
terms
me
through
of precision
that renders
subjects
in their most fundamental and meaningful way.
Through
a simple approach
living
thing.
making
of
an
The
image.
an element emerges that seems to me like a
photographer
In
a
letter
brings
to
this
living
a young artist,
(1880-1945) discusses this 'living thing':
quality
to
the
Frances Bauguiere
I
-M
"What
becomes
lives
in
pictures
is
very difficult
to define... it
finally
a thing beyond the thing portrayed... some sort of section of
the soul of the artist
that gets detached and comes out to one from the
picture.. .I do think that the
idea of
'that
living thing'
must be in
the heart before it can be brought to life by an artist."'
The
existence
of
previously discussed
its existence
this
'living thing'
'fourth dimension'.
(influence)
can be seen,
is
expressed
Though
in one way,
through
seemingly
the
abstract,
through our emotions
with which we react to imagery.
In the case
way
of
seeing
of my work and those- that have largely
and
picturing
(Ansel Adams,
Weston, Paul Strand, Cartier-Bresson,
the
reaction
is
emotional
to
Carleton Watkins,
Robert Doisneau, for
beauty
that
representation of nature and spontaneity.
universal appeal
influenced my
comes
from
I believe beauty
an
Edward
example),
accurate
creates a
and promotes something we draw a certain standard from
by experiencing it through the still image.
mo
the
Watkins,
representing
which
case
the
In
we
of
influence
has
landscapes
to
normally
concerned,
however,
abstract.
From
'beautiful'
traditional
regard
the
to
record
degree
that
been
the
as
photographers
landscape
'beautiful'.
'beautiful'
can
Cartier-Bresson and
can also be seen within
with
what
is
and
conservative
eye:
presented
that
is
Where Weston and Strand are
equally
Doisneau
the
a
as Adams
be
extracted
I have
learned
from
the
that
the
context of spontaneous
movement
and events, as well from subjects we might normally regard as ugly.
From
those
her
book
who
On
Photography,
have glimpsed
Susan
something
having been able to photograph it.
role in
Sontag writes:
beautiful
to
So successful
beautifying the world that photographs,
have become the standard beautiful." 7
"It
express
is
common
regret
at
for
not
has been the camera's
rather
than the world,
PERCEPTION
I
become
have
perceive my
landscapes
in
'beautiful'
look
at
This notion,
things
with
is
and 'seeing'
'looking'
a
of
aware
it
a
risk
that
something
for
symbol
a
just
as
a way that implies
monumental to man.
we
increasingly
may
people
'pretty' or
being outside of man - in
a way,
I believe comes from nature of the way
cursory
The
browse.
between
the difference
difference
defining
between
an image
as
being outside of oneself and being a part of it.
perception is
Like and artifact our visual
making.
I have
images.
I
no
control
can only help
to
of
how
guide
people
the product of our own
perceive
or
symbolize
my
them through words that express my
intentions and beliefs:
Symbolism
is merely an ornament to
something represents.
If
my landscapes
to symbolize the very essence of which
an existing concept
of
what
are symbolic,they are intended
they are
a part.
This
is
the
same
essence
of
appreciate man.
man
which
Both
are
is
a
To
part.
appreciate
to
is
nature
a living and breathing thing and this equates
an existence which both share.
qualities
of
nature
and
simplicity of existence.
to
of
the
about
aspects
the
Through the accurate
of
fundamental
beauty and
relationship
of
in
a
nature
recording of this, my
our
the essence of
can be realized.
believe
that we find a strength in
gain a confidence in
believe
in
to make images that increase our awareness of
existence -
' I
-
My work is
man and man to nature.
goal -
man
the
in
based on a belief
My approach to photography is
that
nature and in
through
the
the recognition of beauty and
affirming ourselves as a part of this grandeur.
photography
one is
significance of his
able to express his belief
own
exists in harmony with the natural world.
I
existence
as
something
in
that
I
PROCESS
The
internal
visualization -
process
of
a concept that
making
a
photograph
includes all steps
subject to making the final print.
This practice
for
me
involves
from selecting the
involves
observation
of the world around me and encompasses an awareness of relationships in
terms of shape and potential form,
value interpretation,
and emotional
and human significances.
Visualization
is
creating a photograph.
image even before
an
It
emotional
as
well
as
a mental
process
of
includes an ability to anticipate a finished
making the exposure so that the procedures employed
will achieve a desired result.
The process first
be used as material
personal
choice
involves identification
for expression.
(subjective)
of
camera,
interpretation
lens,
important, integrated part.
exposure,
of the subject matter to
In deciding how best to render a
of
and
that
subject,
development
composition,
all
play
an
COMPOSITION
In
composing
an
image,
there
are
composition one may choose to accentuate because
to
the
composition.
overall
Various
tools,
within
elemnts
those
a
of their signinficance
such
focus,
as
filters,
angle of view,
and camera format can help to achieve a desired result.
Lenses,
and filters
in
focus,
focus
and
of
function to direct the eye to that which is
particular
tonal
value.
Angle
of
view
and
camera
format help to define the relationship of subjects to themselves.
Technique
relate
to
that
relation of
is
of
of
composition
other
in
media.
subject-forms to
photography
does
"Photographic
surface-forms
not
specifically
composition
of the print.
is
the
Comoosition
therefore effected chiefly by adjusting the linear extensions of the
boundaries
print."8
of the surface-forms as
As
it relates
to
related sectors on the edges of the
more controlled media,
like painting,
example, composition in photography is an approximation.
for
photographer
The
the
where
format
as
inside out,
composes
relationship
outside
in -
subject
elements
is
between
starting point
a
from the
-
whereas
the
having more control of subject
painter
element
that is,
defined
from
by
the
composes from the
relationships
in
a
direct way so as to define the perimeters of the given format.
CHOICE OF CARA
Visualization,
as it
relates
to a process from beginning to end is
better applied to those of my images made with a view camera.
there are qualities I see
inherent in all of my work,
Although
the images I make
with the smaller 35mm format are those that rely more on spontaneity.
In
this
case,
I
need be
less
concerned with a slower calculation and
more involved with a fluent and rapid assesment of the moving elements
of a scene in
order to integrate,
and evocative moment.
compose,
and communicate a meaningful
The view camera,
case)
has
and
records on large sheet film (4X5
because it
maximum
distortion corrections,
adjustments
for
vertical
and
in
my
horizontal
terms of angle of view,
affords flexibility in
and at the same time, renders an image of very fine detail and clarity.
CHOICE OF LENS
My main lens apparatus
in
on the view camera is
accordance with my camera,
by the human eye.
render an
best replicates
expansive
angle
of
line
cutting
the
relationship
between
different
'normal'
lens
This length,
angle
of view seen
that
lens , but it
I rarely use the 90mm wide-angle
view which is
achieve a panaromic view of a subject.
horizon
190mm.
enables
my
image
in
useful
looking
to
Personally, I dislike a strong
half. This
elements
composition
when
does
in
to
patterns that become common tools in my work.
tends
the
aquire
to
picture
certain
flatten
the
plane.
The
repetitive
For example,
of
an image)
from
the
my
use
heightens
foreground
of
the
receding diagonal
the visual
sense
into
background
the
of
(in
depth,
as
of
the composition
if
the
one
were
led
image.
This
is
especially useful with my landscapes.
Within the 35mm format,
the
obvious
able
to
reasons,
get closer,
intimacy.
The
selectively
and
image,
feeling,
lends
itself
and the
use both the
short
while at
nature
choose
this
those
want to
recreational
time,
lens
elements
I
'normal',
telephoto
the same
of
and emotion
to a
I
length
(100mm)
lens
maintaining
forces
that are
depict.
In
approach where
me
to
most
(50mm)
because
some
I
sense
compose
important
addition,
aesthetic
for
am
of
more
to
the
this format
considerations
do not play as large a role.
THE NEGATIVE
The
became
a
Zone
System,
departing
developed
point
for
by
me
Ansel
and
Adams
my
beginning
studies
in
in
1940,
landscape
the
as
photographer
for
system
a
'perfect' negative
and,
ultimately,
utilized
this
system
however,
principles
are
of
system of applied principles
This
photography.
important
since
to
sensitometry serves
controlling
the
its
and
'perfect'
print.
but
fullest,
the
achieving
I have not,
feel
its
that
they can be applied in different ways to
achieve both an exceptional negative and print.
simply,
Very
the
controls
developing
the
final
for
photographer's
Zone
values
System
judgement
is
that
part
of
that
visualization
a negative by exposing for the shadows and
in
highlights
the
is
in
of
an
image.
pre-visualizing
The
more
effective
a color subject in
the
terms
of how it relates to the monochrome tonal scale, the better the results.
THE PRINT
It
for
the
is
my aim to acquire
landscapes
I
shoot.
the
'perfect
negative',
Although an ellusive
most appropriately
ideal,
an absolutely
satisfactory print can come from this negative without dodging
(shading
I
44
out
by
blocking
light),
burning
other form of manipulation.
usual process,
(adding
If used as
light
an
selectively),
integrated part
or
of
any
one's
manipulation of the negative can defeat the intensity of
the actual expression of the subject or scene depicted.
"Then
the
tones
of
the
print
are
detail of the lightest parts being in
of
the
deepest
shadows,
and
the
in
perfect
relationship,
the
absolute balance with the detail
subordinate
tones
holding
their
relationship to the highest lights and deepest darks."9
I
call
it)
healthy
find
the 'fine'
with
ease
negative.
and
One
takes on by representing
crisp tonal
values.
(or 'expressive
great
pleasure
can achieve
it
a
in
print'
distinctive
from' a
presence an
good,
image
through a print that has distinctive
(print values),
and a finely executed print,
one that evokes meaning -
as Adams likes to
extracting
With a clean range of tones
compositional structure,
-
print
can be realized.
a dramatic
and
good
image
INTERPRETATION
as
a
quality
universal
has
a
by
the
to
relationship
it
because we know
trust
natural
information
familiar
images,
photographic
in
forces.
We
honesty
within a photograph
or something
these
define
like
it
'honesty'
a certain
to regard
I believe we tend
For the most part,
in
a way that
natural
seen and
that we have
exists,
forces
it
whether
be of
people, places, or things.
My
of
successful
interaction,
ultimately,
viewer
an
through the
experience
subject matter,
the
interacting with
The concept
to the
of
the
to
viewer,
respond
if
landscape
is
an abstract one.
transforms
photographer,
as
of the photograph to communicate
event.
proficient use of
photographer
brings
ability
the
to
not the
The
available
his
actual
successful
tools,
the photographer, an experience that is meaningful.
to the
relies
and an adeptness
Ultimately,
surroundings.
experience
print
itself
as
seen and felt
on
of
this
by
which
that
objectifies
I
the subjects
reality' of
'basic
The
attempt
to
extract
in
to which I point my camera is
to
order
beauty and the very essence
make
an
image
that
of which things are made.
In
1939, Edward Weston wrote:
"The
subject
photographer's
in
of
terms
such a form that
symbol
for
the
time.
Guided
power
its basic
the
the
in
reality,
spectator
object, but
by
lies
the
feels
thing
photographer's
his
ability
and present
that
he
itself
is
to
recreate
this recreating in
seeing
not
just
revealed for the
selective
his
a
first
understanding,
the
penetrating power of the camera-eye can be used to produce a heightened
sense of
reality
-
essences of things.
a
kind of
super
realism
that
reveals
the
vital
10
Weston's thesis -
that the power of photography to represent things
so realistically reveals the very nature of what things are made of,
deeper kind of
vegetables
a
reality - applies not only to his expressive studies of
(as is
clearly illustrated with his pepper series),
but also
to
landscape
'abstract'
work.
These
image
more
of
as
studies
kind of photographs
nature
familiar,
we
are
are
just
a smaller
familiar with.
expansive
the
scene,
much of
in
seen
is
part
Instead of
lens
can
be
Aaron Siskind's
of
the
larger
photographing
brought
in
the
closer
to
the small world of things that can equally serve to evoke expression.
ABSTRACTION
Through
extend
photography
our sense
sensibility.
"Photographs
In
are
evokes meaning."'
Abstract
of
sight
we
are
and
record
discussing
about
able
emotion.
to
and
communicate
hold
photography,
A
meaning
Richard
successful
picture
and
express
through
Leacock
is
visual
says;
one
that
1
images
offer
the
language
or
meaning.
"As
the
extended,
the
emphasis
of
viewer
an
vocabulary
opportunity to personalize
of
photography
has
been
meaning has shifted - shifted from what the
world looks like to what we feel about the world and what we want
world to mean."12
-
the
images
Those
compromise
seems
that
These
an
with
to
be
objective
as
the
of
-
fully
sharp,
But,
they become
the
is
it
abstract
document.
objects,
'abstractions'
Rather,
reality.
rendered
images
familiar
term
I
no
particular
intended
to
lack
intention
at
a
all.
are still
relationship
a viewer's
as
their meaning
of
and undistorted
they
vulnerable
not
intention
textured,
because
are
with
interpretation.
This is precisely my intention.
Here,
a
experience
viewer
to
viewer there
respond
is
can
in
bring
a way
a different
to
that
meaning.
an
image
memory
and
personalizes meaning.
This is
the power
previous
For
each
of abstraction
as it relates to the viewer.
As
a
personal
from a known reality
while
photographed
removed
from
neighbors
and
its
credo,
into
the
a self
directly,
usual
forced
it
context
into
new
abstractions
contained
is
and
I create
reality.
are
At the same
often unrecognizable.
disassociated
relationships.
a departure
from
These
time,
It has been
its
customary
relationships
provoke thought and contemplation, ultimately evoking meaning.
SPONTANEITY
When
to
comes
Cartier-Bresson first
His
mind.
a
in
spontaneity
about
talking
Henri
photograph,
sensitivity
to
life
and
remarkable ability to capture what he terms as the 'decisive moment'
is
a standard term the photographic world has adopted.
element is
represent the spontaeous
one of the most difficult things to
The advent of the small camera enabled photographic
do.
to
To capture and
realize,
(1952) about his discovery after arriving in
"I had just discovered
eye,
and
I have
never
the
pounce,
determined
I
living.
Above
confines
of one single
process
of
Leica.
day,
craved
to
photograph,
unrolling
it
from
feeling
-
Marseille in 1931:
the extension of my
It became
seperated
'trap' life
to
all,
been
all
streets
pounded
the
Bresson writes
revelation.
spontaneous
photographically,
strung-up
very
the
of some
itself
I
since I found it.
to preserve life
serve
practitioners
whole
situation
before
and
ready
to
in the act of
in
the
that was in
the
essence,
my
eye."'
3
4"s
Ul
Unlike
expression.
reject,
accept
to
the
writer who has
the
elements
deal without this luxury.
of
time to
the
all
means
and
of
reflect,
to accept or
story,
photographers
his
that make
precise
the
forever
this
only
unique
again
fix
to
is
instant
transitory
photography
of
ability
The
and as a part of a world whose
They work in
elements continually vanish and never return.
The intensity with which
instantaneous
response
is
scenarious
what
makes
strike
a
photographers
difference.
almost simultaneously recording it
percieve
reality,
which is
our camera.
we are shooting, nor
"Our
in
the
We must neither try to manipulate
must
we
manipulate
the
results
task
and our
is
to
sketchbook
reality which
a darkroom.
in
These tricks are patently discernible to those who have eyes."' 4
Within
there is
the
scenes
one moment when the elements in
one another.
The
rate
composes this moment is
shutter.
depicted where movement is an integrated part,
It
motion are at equilibrium with
of speed with which
one points the'camera
very nearly the same time it
is
the
speed
of
and
takes to click the
a
reflex
action.
role.
subjects
So
here,
What
is
and
predetermined
important
their
choices
with landscapes.
in
technique
is
balance
that
terms
to
to
serve
of
capture
one
to
visualization
the
interaction
another,
create
plays
and
emotional
of
not
a
lesser
the
all
so
much
expression,
as
SUMARY
are
We
a
or
event
an
viewer
by way of our
The photographic 'experience', as well as recreating
picturing.
an
through
information
its
for the most part,
We see,
photographic representation.
of
most
gains
that
society
to
opportunity
a personal
as
acting
or
encounter,
another
participate. on
record,
offers
level
the
-
the
fourth
dimension.
We
continue
but
expression,
unaltered
render
rely more
for
and more
as
experience
on the
well.
representation,
photographic
the
an
a 'basic reality' and communciate
Photographic
ways
to
of
visual
interpretations
capturing
then,
representation,
a
perception
of
what
fleeting
we
moment,
experience and functions
own mortality.
can
serves
the
Through
power
and
simplicity
of
photography
can
experience
to
seen.
be
as an instrument by which our
transform
see,
not only for
picture,
themselves
encounter,
still
image
and
into
coherent
experience.
serves
to
By
isolate
as a pivot point for viewers to realize their
images.
in
An image
fact,
have the
we
As humans,
serve
'seen'
to
encounter the image.
some
our mind until
to
the
This
image
quality
information
once
of
and
or
extend
to
ability
at a particular moment
'pictured'
or
objectify
seen,
incident,
resulting
the mind acts
as
reinforcing the
at
which we witness
in
if
meaning
it
the
thoses images that
However, there are
actual
and retain information and
file
a
reality
were
existence
may not,
moment
subsist in
or live,
refers
solidified.
further
a data-base,
we
supplying us
and meaningfulness
of
events
and experience.
Because
we
are
inundated with
because we tend to rely on them,
doing,
instead
photography
of just
also
recording
changes
reality,
images every
the role
our
of photography
sense
have
and the substance from which it is made.
day of our
of
become
reality.
our
lives,
changes;
in
and
so
Photographs,
connection
with
it
r
FOOTNOTES
IColeman, A.D.,
"Lentil Soup", Canada, Photo Communiqe, Spring, 1986,
p. 12.
2
Coleman, A.D.,
Ibid.
3
Coleman, A.D.,
Ibid
4
Coleman, A.D.,
Ibid
sBullock, Wynn, "Space and Time", Photography, Vol 17, No.9, pp4 2 -4 9 .
Bruguiere, Francis, "Creative Photography", Modern Photography
Annual, 1935-36, pp. 9-14.
Sontag, Susan, "On Photography", New York, Farrar, Straus and
Giroux, 1977, p. 8 5 .
Adams, Ansel, "Making A Photograph", New York, The Studio
Publications, Inc., 1935, p60.
Bruguier, Francis, "Creative Photography", Modern Photography
Annual, 1935-36, pp. 9-14.
10 Weston, Edward, "What Is Photographic Beauty?", Camera Craft, Vol.
37, No. 7, pp. 313-320.
Leacock, Richard. (From a personal discussion with him, July, 1986)
Harry. (From an unpublished lecture delivered at The Art
Institue of Chicago, Nov. 7, 1958.
12Callahan,
Footnotes, contd.
Cartier-Bresson, Henri, from Introduction - The Decisive Moment,
N.Y., Simon and Schuster, 1952.
Cartier-Bresson, Henri, Ibid.