Photography
Instructor – Ms. Schmidt
Grade Level: Open
Elective: 1 Term
Credit: 1/2
Prerequisite: Art I
Description: The photography course will primarily focus on the technical use of the
digital 35mm SLR camera and learning techniques that make strong and effective
compositions. The history of photography will also be studied.
Lab Fee: There is a $10 lab fee. This fee needs to be turned in by Thursday, September
8. If there is an extenuating circumstance and it cannot be paid by then, we can discuss
that privately.
Camera: This course will be using the Nikon D60. A camera will be provided (see
camera use contract). You have the option of storing your camera in a locker in the art
room. A combination lock will also be provided to secure it. However, you will only
be able to access the locker during school hours.
Participation: During class I expect that you will listen during lecture, participate in
class discussions, and conduct yourself in a school appropriate fashion during the entire
term whether we are in the classroom or out. Misbehavior will not be tolerated.
Although you must clean up after yourself on a regular basis (every day), we will have
clean-up duty every Friday for the purpose of keeping our working environment clean.
You will sign up for a task and perform that task.
Daily Effort and Character: Each of you needs to give 100+% effort and try your best
every day of class to be productive. I expect that you will treat others with respect and
display exemplary character.
Grading Procedures: You will be graded on effort and participation as well as
periodic quizzes to check your understanding of each unit, homework assignments and
projects. There will be evaluations provided for each of the project assignments. You will
critique and respond to your own work and submit your responses and the project to the
inbox.
As the projects are assigned, you will be given a list of requirements. Should you have
questions or concerns, we can discuss the issue(s).
You must keep all evaluations, quizzes, exercises, tests, and homework assignments in
your file “cubby” so you, your parents, administration, and your teacher can easily
attain them.
We will also have exercises and discussions pertaining to art history, famous artists,
aesthetics, culture, and/or to other content areas. I expect each of you to take charge of
your learning by taking risks and challenging yourself.
Overview of potential projects:
Sun Prints
Traditional Film processing
Written paper
School addition photo
Final Photo Portfolio (with matted work)
Classroom Rules:
1. Respect yourself. You will wear appropriate attire and conduct
yourself in a school-appropriate fashion.
2. Respect your peers. Each of your ideas, concerns, and questions
are valuable. Each of you is an individual with various learning
styles, needs, and speeds. Accept that each of you are different
and respect each other as individuals.
Listen without talking during presentations and class critiques until feedback
is permitted. Positive feedback in art is encouraged. Negative feedback is
only permitted when intended to improve a work of art, and must be
backed up with a positive suggestion.
3. Respect your teacher(s). You must listen without private
conversations during instruction. You will follow the rules of
the school and the classroom. Assignments will be given and the
requirements will be followed to the best of your ability.
Express concerns and ask questions with respect in your voice
and in your dialogue.
4. Respect the materials, tools, and environment. Tools will be
used only as instructed. Materials will be used as instructed and
not wasted. Tools and work area will be cleaned daily and
tools will be placed back into their appropriate storage after use.
Classroom tools and materials may only leave the classroom
after being properly signed out.
5. Punctual - be on time. You must be in the classroom at the time
of the bell and sit in your designated seat - ready to learn and
work!
6. Read Instructions. A list of daily instructions will be posted on
the front board. Immediately at the beginning of class read
those instructions and remain seated while attendance is being
taken and wait for further directions.
7. Safety. Mind all safety precautions and use caution and
common sense when using or around tools/machines.
8. Remain in the Classroom. You must remain in the classroom
during class unless authorized by the teacher or administration.
Amery High School
Photography Class
Camera Use Contract
Your child has chosen to take Photography at Amery High School. The choice of this
class carries with it responsibilities which you and your child need to be aware of.
What follows is a description of these responsibilities, and, specifically, a contract
required for the use of the camera while your child is taking this class.
> Each student in photography will be required to use a camera for the explicit
purpose of taking pictures and artistically manipulating and rendering the images
which have been taken. All students will be provided with a school camera. For
instructional purposes students will need to use school assigned cameras, rather
than their own, for this class. Every camera for this class is brand new as of
August 2009.
> Each student will be assigned a camera only they will use during that term and
class. Students will be able to keep their cameras at school. While at school these
cameras will be housed in a secure locked area, unless they are in the possession of
your child. There will be assignments for which the student will need to bring their
camera home. The well-being of this camera is entirely the responsibility of your
child, and inherently, you, as their parent(s)/ guardian(s) once it has been checked
out to your child.
> Your child's camera must be fully operational and functional at the end of this
class. Further, your child's camera must be free of any internal and external
damage at the completion of this class.
> If your child's camera is not operational and functioning, or has internal or external
damage beyond the condition of the camera at the beginning of your child's
enrollment in this class, you will be fully responsible for the cost of any and all
damage.
> You and your child must enter into a contract with Amery High School art
instructor, Stephani Schmidt, and Amery High School Principal, Shawn Doerfler,
as part of your child taking this class.
Photography Course Outline
Ms. Schmidt
Introduction to photography
Definition
Timeline
History with recognized photographers (quick 10 min video)
Assign Photographer focus paper
Composition
Rule of thirds
Portrait
Landscape
Motion
The traditional 35mm
History
How it came to be
Film – positives and “negatives,” and development
Darkroom
Technical aspects
ISO
F-stops/Aperture
Flash
Lenses
*Project (optional)
Shoot one roll of film
Reel the roll of film
Develop roll of film
General photography - image, composition, and techniques
Rule of thirds (reminder/refresher)
Lighting – huge!!!
Demonstration on RGB
Outdoor: Raking Glare/Harsh, using the sun and reflectors
Indoor: Natural vs unnatural
Portrait
Expressive
Depth of field
Action
Night shots
*Sunlight sensitive paper
Digital Photography
Brief recent history
Cameras (advantages and disadvantages)
Filmless, but needs memory
“Point and Shoot” to D-SLR’s
Care and precautions (storing, cleaning, use)
The camera – technical
The Manual
Screen
Buttons
Modes
Setting
Charging
Memory Cards
Playback
Printing (printing your own or sending them in to be printed)
Digital (computer adjustments and/or enhancements)
Practice, practice, practice! (in and out of class)
Outdoor/nature, low lighting, action, close-up, portrait, depth of field…
*Project – the final 15!
Presentation: all 15 saved as your name on my USB, and titled by photograph
assignment. Also, all 15 should be printed with required information written on the backside of the
photo. Finally, your best three printed photographs need to be mounted/matted.
Paperwork
Written assignments
Quizzes
Test
Self-critique of final project (individual photographs and overall)
There will be a quiz after each section discussed and a cumulative exam at the end.
Expect to take pictures outside of class. You will be spending time working with your camera,
subjects, lighting and composition – plan for this to take time! Then, get creative with your photos!
Questions? First try to seek the answer with resources provided and ask your peers. If you cannot find
it, then please ask me. I may, for learning purposes, suggest a reading or guide you in finding your own
answers. I will, however, confirm a correct answer or correct an insufficient answer.
Week 1: Intro to photography and history
Week 2: Composition, The traditional 35mm, general photography tips
Week 3: The digital camera, light sensitive paper
Week 4: Film(s) and question/answer
Week 5: Practice (“outings”)
Week 6: Practice (“outings”)
Week 7: Class critiques, mounting and matting demo
Week 8: Digital adjustments and save on my USB – Final 15 due!
Week 9: Matt, written test, and camera check in
Photographic Vocabulary
albumen print - an old technique in which salt was beaten into egg white, painted on paper, then sensitized
with silver nitrate and dried in the dark; when dry, it was contact-printed
aperture - the opening of a camera lens that is expressed in F numbers
ASA (American Standards Association) - a number such as 100,160, 200, 400, etc., that represents the
speed of the film; means the same as ISO
100 exposure box camera - a simple camera invented in 1888 by George Eastman in which the entire camera
was sent in for the film to be developed, reloaded, and returned to the sender
bracketing - taking the same subject several times by doubling and halving the exposure to assure a good print
bulk loader - a holder for film in long rolls (normally 100 ft.) that allows you to roll as many exposures as
needed into a cartridge
burning-in - the darkroom process of giving greater exposure to an area that is too light
calotype (Talbotype) - waxed paper sensitized with silver iodide and developed, then contact printed, invented
by William Henry Fox Talbot
carbon prints - made by coating paper with powdered carbon, gelatin, and dichromate before exposing and
printing.
camera obscura (literally dark room) - a box first used by Aristotle (384-322 BC) to concentrate light onto the
back of a dark box through a small opening in the front; a tool used by such artists as Vermeer, Leonardo da
Vinci, and Canaletto
cartridge (cassette) - the light-tight metal or plastic container in which film is sold
close-up lens - a lens that is placed on the end of a normal lens to bring small things into focus
contact printing - before the enlarger was invented, photographers placed negatives on sensitized paper under
glass, and printed directly onto the paper by exposing to direct sunlight
cyanotype (blueprint) - the process developed by Sir John Herschel to make a print from a high contrast negative
daguerreotype - system originated by Louis Daguerre who coated a polished copper plate with silver iodide, exposed it, then developed it in mercury vapor
depth-of-field - the degree of sharpness of a photograph in front or in back of the area focused on; the smaller
the lens opening, the sharper the depth of field
dodging - the darkroom process of holding back light to make an area lighter
double exposure - exposing film or paper twice, with sometimes interesting results
emulsion - a light-sensitive solution that is transferred to paper or film
electronic flash - a separate flash unit that is synchronized to go off as the lens opens; varying degrees of flash
duration will be used depending on time and distance from the subject
F stop (aperture) - the size of the lens opening is an F stop; the smaller the opening (F22 for example), the
greater the depth of field will be
field camera - camera with lens, bellows, and a spring back that allows a sheet film holder to be inserted between the lensboard and the back of the camera
filters - small glass circles that are screwed to the front of the camera for various purposes: to increase contrast; use with infrared film; convert outdoor film for indoor use; or help eliminate reflections
fish eye lens - an extreme wide-angle lens (180°) that will give a distorted center area
fixer (hypo) - the chemical used in developing that makes an image permanent
grain - irregular clumps of silver on the photographic image; higher ISO gives more grain
highlight - a reflection in the eye of a subject; the lightest part of the film
ISO (International Standards Organization) - a term interchangeable with ASA that is a rating of the emulsion speed of the film
macro lens - a lens for close-up work
panning - swinging the camera horizontally as the photo is exposed, causing a moving subject to "stop" while
blurring the background, emphasizing the subject's motion
panoramic camera - a swiveling camera that photographed an area of 150°, and was used for large views or photographs of large groups of people
photo floods - light bulbs specially balanced for film, usually used with reflectors on standards
photogram - Laszlo Moholy-Nagy and Man Ray were masters of this technique in which objects are placed directly on photo paper which is then exposed to light and developed
photocollage - created by cutting up photographs and mounting them on a support background
photomontage - a darkroom process in which multiple negatives are printed on the same sheet of paper
through masking exposed areas
pinhole camera - a light-tight box (shoe box, oatmeal box, etc.) made into a camera by making a pinhole in
a piece of foil, exposing photographic paper or sheet film inside the box
Polaroid® Land camera - camera that takes an instant picture
precisionism - a "school" of photography that recorded factories, machinery, and other unromantic
subjects; sometimes called the immaculates
props - the backdrop, toys, chairs, columns beloved by Victorian photographers; items such as costumes
used in contemporary work to give meaning to a composition
reflected light reading - measurement of the light reflected from the subject to the meter
reflex camera - through a system of mirrors, the image is reflected on a ground glass screen; reflex cameras
are
single lens (SLR) or twin lens (TLR)
resin coated (RC) paper - printing paper treated with a synthetic resin; prints and dries faster
retouching - applying a dilute color or black to remove flaws
sensitized - film or photographic paper is sensitive to light after specific chemicals are applied
shutter release - a mechanical device that exposes the film for a desired time period
shutter speed - the amount of time a shutter is open; this generally ranges from B (which will keep it open
indefinitely) to Vfcooo of a second
solarization - a reversal of tones, as in the Sabattier effect, but as a result of prolonged exposure or
exposure to an extremely bright light
tripod - a three-legged adjustable stand that screws into the bottom of a camera to hold it steady
view camera (field camera) - term usually applied to a large box camera mounted on a tripod
vignette - to darken or lighten the edges of a photo through adding or holding back light
Photographic Time Line
FIRST DISCOVERIES IN PHOTOGRAPHY
1725 Light sensitive silver
compounds, Johann
Heinrich Schulze
1842 self portrait, Hippolyte
Bayard
1839 First Daguerreotype, Louis
Daguerre
1816 First negative
print, Nicephore Niepce
1841 Calotype, William Henry
Fox Talbot
1833 Paper negative,
William Hanry Fox Talbot
1851 Wet collodian process,
1853 Tintype,
1857 Magic lantern (sun-enlarger)
CAMERAS
1845
1860
1861
1875
Daguerreotype camera
View/field camera
Stereoscopic camera
Panoramic camera
1871
1888
1890
1891
1905
EARLY PHOTOGRAPHY
1860-1865 Mathew Brady documents the
Civil War
1887 Eadweard Muybridge's motion
sequence photographs
Dry plate negatives perfected
100 exposure Kodak
Spy cameras
First telephoto lens, Rudolph Dallmeyer
Color separation camera
DOCUMENTATION, SOCIAL REFORM
1867-1942 Timothy O'Sullivan and W. H.
Jackson photograph the wild west
1880-1908 Child labor photos, Lewis Hine
TURN OF THE 20TH CENTURY
1883 Negatives exposed on celluloid rather than
glass
1890 First motion pictures
1900 Photogravure (halftone reproductions in
print) Kasebier, Strand, Coburn
1902 Photo Secession movement, Stieglitz,
Steichen
1905 Color separation camera
1912 Speed Graphic camera
1925 35mm Leica
1935 Portable electronic flash introduced
1937 Minox
1968 SLR AsahiPentax
DEVELOPMENTS IN PHOTOGRAPHY
1933 Photography as Art. Photograms—MoholyNagy, Man Ray
1933-1940 Farm Security Administration Photos
(FSA), Lange, Shahn, Evans
1932-1936 Group F.64 photographers
1941-1945 World War II photographs, Capa,
Bourke-White, W. Eugene Smith
1970Last weekly issue of original Life magazine
1971Look magazine folds
1935 Invention of Kodachrome
1941 Color print Kodacolor
1947 Hologram, Dennis Gabor
1948 Polaroid Land Camera
1950s Advent of television
1980s Video camera
1996 Digital cameras
348 Section 9 Technology and Art: Photography, Video, Computer Graphics, and the Copy Machine
List 9-12
Master Photographers and
Examples of Their Work
ADAMS, ANSEL, 1902-1984, AMERICAN
Possibly the best known of .American photographers, Adams created beautiful landscapes of impeccable
exposure and printing.
Clearing Winter Storm, Yosemite National Park, California, 1944, Center for Creative Photography, University
of Arizona, Tucson
Leaves, Mount Rainier National Park, c. 1942, collection of the artist
Moonrise Over Hernandez, 1941, collection of the Ansel Adams Trust
Winter Sunrise, Sierra Nevada, from Lone Pine, California, 1944, Center for Creative Photography, University
ofArizona, Tucson
ARBUS, DIANE, 1923-1971, AMERICAN
Arbus's photographs were often of "outsiders" of society; sensitive, intimate portraits.
Identical Twins, Cathleen and Colleen, 1967, Roselle, New Jersey, Metropolitan Museum of Art, New York City
Man at a Parade on Fifth Avenue, 1969, Museum of Modern Art, New York City
Puerto Rican Woman with a Beauty Mark, 1965, Getty Museum, Los Angeles, California
Untitled, 1970-1971, (People in Masks), Museum of Modern Art, New York City
Xmas Tree in a Living Room, Levittown, NY, 1963, Center for Creative Photography, University of Arizona,
Tucson
ATGET, EUGENE, 1857-1927, FRENCH
Atget photographed his surroundings and the people in them; simple, beautifully designed recordings of a time in
the past.
Boulevard de Strasbourg, c. 1910, International Museum of Photography at George Eastman House, Rochester,
New York 3
Fete du Trone de Geant, 1925, Art Institute of Chicago, Illinois
Notre Dame, 1925, Museum of Modern Art, New York City
Ragpicker, 1899-1900, Museum of Modern Art, New York City
The Reflecting Pool of the Park at Sceaux, 1925, Bibliotheque Nationale, Paris
AVEDON, RICHARD, 1923, AMERICAN
Avedon, a fashion photographer and portrait artist, compels you to look at his insightful portraits.
Dovina with Elephants, Paris, 1955, Hallmark Photographic Collection, Kansas City, Missouri
Juan Patricia Lobato, Carney, Rocky Ford, Colorado, 8125/80, collection of the artist
Marilyn Monroe, Actress, New York City, 5/6/57, collection of the artist
Oscar Levant, Pianist, Beverly Hills, California, 4/12/72, Hallmark Photographic Collection, Kansas
City,Missouri
BRADY, MATHEW, 1823-1896, AMERICAN
Brady is best known for his portraits of President Lincoln and documentation of the American Civil War. He did
not actually take all the photos that are credited to him, but had several photographers working for him.
Abraham Lincoln, 1864, National Archives, Washington, DC
Portrait, c. 1860 (ambrotype), Museum of Modern Art, New York City
Thomas Cole, c. 1845, National Portrait Gallery, Smithsonian Institution, Washington, DC
BRAVO, MANUEL ALVAREZ, 1902, MEXICAN
Recording the daily lives of Mexican people, using light to its best advantage, his black-and-white photos
(frequently sepia toned) were studies in contrast.
How Small the World Is, 1942, Center for Creative Photography, University of Arizona, Tucson
Sparrow, Of Course (Skylight), 1938, International Museum of Photography at George Eastman House,
Rochester, New York
CALLAHAN, HARRY, 1912, AMERICAN
Callahan's sense of design was the basis of his many photographs of city streets, nudes, patterns, and deliberate
double exposures.
Chicago, c. 1950, Art Institute of Chicago, Illinois
Detroit Street Scene, 1943, Art Institute of Chicago, Illinois
Eleanor, 1949, Hallmark Photography Collection, Kansas City, Missouri
Telephone Wires, c. 1968, Center for Creative Photography, University of Arizona, Tucson
CAMERON, JULIA MARGARET, 1815-1379, BRITISH
Cameron staged her photos, with people sometimes in costume, to resemble the soft, romantic paintings of the
period when she worked.
Alice Liddell as Pomona, 1872, Metropolitan Museum of Art, New York City
The Astronomer: Sir John Herschel, 1867, Royal Photographic Society, London
May Prinsep, c. 1865, Metropolitan Museum of Art, New York City
CAPON1CRO, PAUL, 1932, AMERICAN
Caponigro photographed irish megaliths and other ancient monuments while funded by a Guggenheim grant. He
studied under Minor White and Alfred W. Richter.
Avebury Stone Circle, Avebury, Wiltshire, England, 1967, Museum of Modern Art, New York City
Fungus, Ipswich, Massachusetts, 1962, International Museum of Photography at George Eastman House,
Rochester, New York
Kildooney, 1967, International Museum of Photography at George Eastman House, Rochester, New York
Stonehenge, 1967, International Museum of Photography at George Eastman House, Rochester, New York
CARTIER-BRESSON, HENRI, 1908, FRENCH
Cartier-Bresson would wait for what he called "The Decisive Moment" to take a photo, selecting a place to photo
graph, then waiting for something to happen in that space, timing his photos perfectly.
Alicante, Spain, 1933, Art Institute of Chicago, Illinois
Behind the Gare Saint-Lazare, Paris, 1932, St. Louis Art Museum, Missouri
Hyeres, France, 1932, Art Institute of Chicago, Illinois
Seville, Spain, 1933, Getty Museum, Los Angeles, California
Sipfinos, Greece, 1961, Museum of Modern Art, New York City
CUNNINGHAM, IMOGEN, 1883-1976, AMERICAN
Cunningham specialized in scenes of the city, taken with a view camera. A member of F.64 group, her lovely pho
tos of calla lilies and other flowers were known for remarkable clarity.
Snake, 1929, Art Institute of Chicago, Illinois
Two Callas, 1929, The Imogen Cunningham Trust, Berkeley, California
The Unmade Bed, 1957, The Imogen Cunningham Trust, Berkeley, California
Water Hyacinth, c. 1928, St. Louis Art Museum, Missouri
DAGUERRE, LOUIS JACQUES MANDE. 1787-1851, FRENCH
Daguerre developed the process of sensitizing a metal plate and exposing it to create a one-of-a-kind photo. The
Daguerreotype bears his name.
Collection of Shells and Miscellany, 1839, Conservatoire Nationale des Arts et Metiers, Paris
Premiere Epreuve fait par Daguerre devant ses Colleagues des Beaux-Arts, 1839, Musee National des
Techniques, du CNAM—Paris
EVANS, WALKER, 1903-1975, AMERICAN
Evans worked during the 1930s depression for the WPA-FSA. He photographed signs and billboards, often
making ironic connections between the out-of-work people posed next to signs showing affluence.
Circus Poster, 1936, Metropolitan Museum of Art, New York City
View of Railroad Station, Edwards, Mississippi, 1936, San Francisco Museum of Modern Art, California
FRANK, ROBERT, 1924, AMERICAN, b. SWITZERLAND
Frank worked as a commercial photographer for a time, then did the photo essay The Americans under a
Guggenheim grant. Since 1960 he has mostly been a film maker.
Chicago, 1956, St. Louis Art Museum, Missouri
Parade, Hoboken, New Jersey, 1955, Museum of Modern Art, New York City
US 285, New Mexico, c. 1956, Museum of Modern Art, New York City
FRIEDLANDER, LEE, 1934, AMERICAN
Friedlander sometimes photographs monuments that people erect to commemorate a worthy cause. Many books
of his work have been published, allowing him artistic freedom that not all photographers have enjoyed.
Galax, Virginia, 1962, Museum of Modern Art, New York City
Gettysburg, 1974, Hallmark Photographic Collection, Kansas City, Missouri
New York City, 1964, Museum of Modern Art, New York City
FRITH, FRANCIS, 1822-1898, ENGLISH
Frith brought the outside world to people through his many travel pictures.
The Approach to Philae, 1859-1860, New York Public Library, New York City
Colossal Sculptures at Philae (Egypt), 1860, New York Public Library, New York City
The Great Pyramid at Giza, Prom the Plain, 1859, Library of Congress, Washington, DC
The Pyramids ofDahshoor from the East, 1857, Getty Museum, Los Angeles, California
The Pyramids ofSakkarah, From the North East, 1858, New York Public Library, New York City
GILPIN, LAURA, 1891-1979, AMERICAN
Gilpin recorded the life of the Native American in her book The Enduring Navajo. At age 81 she took
photographs of Canyon de Chelly from the ground and air.
Bryce Canyon #2, 1930, Hallmark Photographic Collection, Kansas City, Missouri
Scissors, String and Two Books, 1930, Amon Carter Museum, Fort Worth, Texas
Sunburst, the Castillo, Chichen Itza, 1932, Amon Carter Museum, Fort Worth, Texas
HINE, LEWIS WICKES, 1874-1940, AMERICAN
Hine took photos that led to social labor reform for workers and children.
The Bar-room in a construction camp on New York State Barge Canal, 1910, New York Public Library, New
York City
The Cast/Behind the Footlights/A Modern Inferno (#325), c. 1909, New York Public Library, New York City
Fresh Air for the Baby, Italian Quarter, New York City, 1910, New York Public Library, New York City
Powerhouse Mechanic, c. 1925, Hallmark Photographic Collection, Kansas City, Missouri
Section 9 Technology and Art: Photography, Video, Computer Graphics, and the Copy Machine 351
KASEBIER, GERTRUDE, 1852-1934, AMERICAN
Kasebier was a portrait photographer and founding member of the Photo-Secession. She was considered one ol
the leading portrait photographers in the United States.
Baron Adolf de Meyer, 1903, Museum of Modern Art, New York City
The Heritage of'Motherhood, c. 1905, International Museum of Photography at George Eastman House
Rochester, New York
Portrait of a Woman, c. 1900, International Museum of Photography at George Eastman House, Rochester, New
York
Portrait of Augusts Rodin, 1906, Art Museum, Princeton University, Princeton, New Jersey
KERTESZ, ANDRE, 1894-1985, AMERICAN, b. HUNGARY
Kertesz demonstrated an outstanding sense of design in simple things such as a vase of flowers, or a woman on ;
couch.
Chairs, The Medici Fountain, 1926, Museum of Fine Arts, Houston, Texas
Chez Mondrian, 1926, Art Institute of Chicago, Illinois
Paris, November 9,1980, Hallmark Photographic Collection, Kansas City, Missouri
Satiric Dancer, 1926, St. Louis Art Museum, Missouri
LANGE, DOROTHEA, 1895-1965, AMERICAN
During the 1930s Depression, she photographed migrant workers in California for the Works Progress
Administration (WPA/FSA).
Funeral Cortege, The End of an Era in a Small Valley Town, California, 1938, Oakland Museum, California
Migrant Mother, Nipomo, California, 1936, Oakland Museum, California
Three Families, Fourteen Children, 1938, St. Louis Art Museum, Missouri
LART1GUE, JACQUES-HENRI, 1894-1986, FRENCH
Lartigue received his first camera at age 7, and took revealing photographs of French Society at the races, thi
beach at Deauville, and strolling in the park.
Gerard Willemetz andDani, 1926, Association des Amis de J.H. Lartigue, Paris
Grand Prix of the Automobile Club of France, 1912, Museum of Modern Art, New York City
Paris, Avenue des Acacias, 1912, Museum of Modern Art, New York City
LE1BOVITZ, ANNIE, 1949, AMERICAN
Leibovitz began as a Rotting Stone photographer, specializing in portraits of the famous.
Arnold Schwarzenegger, 1976, photograph for Pumping Iron
The Blues Brothers, 1979, Rolling Stone cover, February
John Lennon and Yoko Ono, December 8, 1980, 1981, Rolling Stone cover
MickJagger, 1977', Rolling Stone 10th anniversary issue
Mikhail Baryshnikov and Linda Dowdell, 1990, photographed for The White Oak Dance Project
Whoopie Goldberg, Berkeley, California, 1984, Vanity Fair
MOHOLY-NAGY, LASZLO, 1895-1946, AMERICAN, b. HUNGARY
Moholy-Nagy was a founder of the American Bauhaus, especially known for his photograrns, or photos taken
fromunusual viewpoints.
Abstraction, (photogram}, 1925, St. Louis Art Museum, Missouri
Berlin Radio Tower, c. 1928, Art Institute of Chicago, Illinois
Oskar Schlemmer, Ascona, 1926, Art Institute of Chicago, Illinois
MUYBRIDGE, EADWEARD, 1830-1904, AMERICAN, b. ENGLAND
Muybridge used consecutive motion photos to demonstrate the process of human and animal motion.
Athletes and Classical Groupings, 1879, Stanford University Museum of Art, Stanford, California
Child Running, c. 1884-1887, New York Public Library, New York City
Cockatoo Flying, c. 1884-1887, New York Public Library, New York City
Daisy Jumping a Hurdle, c. 1885, George Eastman House, Rochester, New York
Nude Men, Motion Study, 1877, Museum of Modern Art, New York City
Valley of the Yosemite from Mosquito Camp, 1872, Museum of Modern Art, New York City
O'SULLIVAN, TIMOTHY H., c. 1840-1882, AMERICAN
O'Sullivan documented the Civil War, and after the war he traveled throughout the West, documenting places that
had not been seen before by most of the world.
Ancient Ruins in Canyon de Chelle, N.M., 1873, New York Public Library, New York City
Black Canyon, Colorado River, From Camp 8, Looking Above, 1871, Getty Museum, Los Angeles, California
Field Where General Reynolds Fell, 1863, Art Institute of Chicago, Illinois
A Harvest of Death, Gettysburg, Pennsylvania, July, 1863, New York Public Library, New York City, New York
City
Sand Dunes, Carson Desert, 1867, National Archives, Washington DC
PENN, IRVING, 1917, AMERICAN
Penn was known for his still lifes composed in the studio that were used in Vogue. He later concentrated on
portraiture and monumental nudes.
Duke Ellington, New York, May 19, 1948, Hallmark Photographic Collection, Kansas City, Missouri
Man in White/Woman in Black, Morocco, 1971, collection of the artist
Purple Tulip, 1967, collection of the artist
Woman with Umbrella, New York, 1950, Hallmark Photographic Collection, Kansas City, Missouri
PORTER, ELIOT, 1901-1990, AMERICAN
Porter specialized in photographs of nature, specifically in the Southwest.
Dark Canyon, Glen Canyon, 1965, Art Institute of Chicago, Illinois
Pool in a Brook, Pond Brook, Near Whiteface, New Hampshire, October 1953, Metropolitan Museum of Art,
New
York City
Red Ossier, 1945, Museum of Modern Art, New York City
RAY, MAN, {EMMANUEL RUDNITSKY), 1890-1976, AMERICAN
Ray mostly made "Rayographs" (his version of the photogram), employing abstract shapes. He was also well
known for his solarized photographs, and became a major figure in Dada and Surrealism.
Gala Dali Looking at "The Birth of Liquid Desires," 1935, Museum of Fine Arts, Boston, Massachusetts
Mrs. Henry Powell, c. 1929, Art Institute of Chicago, Illinois
Portrait of Jean Cocteau, 1922, Getty Museum, Los Angeles, California
SANDER, AUGUST, 1876-1964, GERMANY
Sander specialized in formal, documentary portraits demonstrating German genetic traits and occupations in the
New Objectivity style. His work was published in a book called People of the Twentieth Century.
Circus Artists, 1930, collection of John Dunivent, St. Louis, Missouri
Group of Children, Westerwald, 1920, Getty Museum, Los Angeles, California
Persecuted Jew, Mr. Leubsdorf, 1938, Getty Museum, Los Angeles, California
Police Officer, 1925, Museum of Modern Art, New York City
Widower with Sons, 1925, Getty Museum, Los Angeles, California
SHEUER, CHARLES, 1883-1965, AMERICAN
One of the "Immaculates," Sheeier used the stark contrasts in his photographs as inspiration for his paintings of
industry and machinery.
Doylestown House—Stairs from Below, 1917, Metropolitan Museum of Art, New York City
Self-Portrait at Easel, 1931-1932, Art Institute of Chicago, Illinois
Wheels, 1939, Museum of Fine Arts, Boston, Massachusetts
SHERMAN, CINDY, 1954, AMERICAN
Sherman's subject is herself, sometimes grotesquely made-up, usually unrecognizable. Her large color
photographs are impressive.
Unfilled, 1981, Museum of Modern Art, New York City
Untitled, #145, 1985, Metro Pictures, New York City
Unfitted Film Still #16, 1978, Hallmark Photographic Collection, Kansas City, Missouri
Untitled Film Still #21, 1978, Metro Pictures, New York City
SMITH, W. EUGENE, 1918-1978, AMERICAN
A war correspondent and Life photographer, Smith's photo essays show his involvement with his subjects. One
such example was his coverage of the Japanese village of Minamata, whose inhabitants suffered from mercury
poisoning.
Tomoko in the Bath, 1972, Museum of Fine Arts, Boston, Massachusetts
Waiting for Survivors of the Andrea Doria Sinking, 1956, Hallmark Photographic Collection, Kansas City,
Missouri
Woman with Bread, Spain, 1950, Hallmark Photographic Collection, Kansas City, Missouri
STEICHEN, EDWARD, 1879-1973, AMERICAN
A member of the Photo Secession movement, Steichen is best known for his portraits. He believed that the
personality of the photographer should not overshadow the reality of the subject.
After the Grand Prix—Paris, c. 1911, Metropolitan Museum of Art, New York City
Charles Chaplin, 1925, International Museum of Photography at George Eastman House, Rochester, New York
Flatiron, 1907, Metropolitan Museum of Art, New York City
Rodin—The Thinker, 1902, Museum of Modern Art, New York City
Self-Portrait with Brush and Palette, 1902, Art Institute of Chicago, Illinois
Wind Fire: Therese Duncan on the Acropolis, 1921, International Museum of Photography at George Eastmar
House, Rochester, New York
ALFRED STIEGLITZ, 1864-1946, AMERICAN
Stieglitz is considered the father of American Photogvanhy because of his work with Aperture magazine, anc
founding of the Little Galleries of the Photo Secession.
Flatiron, 1902, National Gallery of Art, Washington, DC
Hands, Georgia O'Keeffe, 1920, Metropolitan Museum of Art, New York City
Music: A Sequence of Ten Cloud Photographs, No. 1, 1922, National Gallery of Art, Washington, DC
The Net Mender, 1894, Art Institute of Chicago, Illinois
The Steerage, 1907, St. Louis Art Museum, Missouri
STRAND, PAUL, 1890-1976, AMERICAN
Strand was both an artist and a documentary photographer, whose work was sometimes quite abstract.
Chair Abstract, Twin Lakes, Connecticut, 1916, San Francisco Museum of Modern Art, California
Church Gateway, Mexico, 1933, St. Louis Art Museum, Missouri
The Family, Luzzara, Italy, 1953, Hallmark Photographic Collection, Kansas City, Missouri
Matchboxes, Bowl and Bottle, Twin Lakes, Connecticut, 1916, Metropolitan Museum of Art, New York City
New York (Wall Street), 1915, Canadian Center for Architecture, Montreal
Photograph, New York (Blind Woman), 1916, Metropolitan Museum of Art, New York City
TALBOT, WILLIAM HENRY FOX, 1800-1877, BRITISH
A pioneer in photography, Talbotwas best known for developing the Calotype (sometimes called the Talbotype).
Courtyard Scene, c. 1844, National Museum of American History, Smithsonian Institution, Washington, DC
The Game Keeper, c. 1843, National Museum of American History, Smithsonian Institution, Washington, DC I
The Open Door, c. 1844, Oilman Paper Company Collection t,
Ships at Low Tide, 1844, National Museum of American History, Smithsonian Institution, Washington, DC §
Trafalgar Square, 1845, Nelson Column Under Construction, New York Public Library, New York City |
UELSMANN, JERRY N., 1934, AMERICAN
Uelsmann specializes in darkroom manipulation, using several negatives on the same black-and-white image. He
coined the phrase "post-visualization" to describe this process.
April is the Cruellest Month, 1967, collection of the artist
Small Woods Where I Met Myself, 1967, Hallmark Photographic Collection, Kansas City, Missouri
Untitled (woman reclining on grass/water), 1966, Museum of Modern Art, New York City
Untitled (decaying house with ancient sculpture head), 1964, Museum of Modern Art, New York City
Untitled (office interior with a "cloud" ceiling), 1976, Metropolitan Museum of Art, New York City
WARHOL, ANDY, 1928-1987, AMERICAN
Warhol popularized the use of photo silk screen, with his subjects ranging from film and political figures to
starkly realistic electric chairs.
WJackies, 1964, collection of Mr. and Mrs. David Pincus
Lana Turner, 1976-1987, Hallmark Photographic Collection, Kansas City, Missouri
Marilyn Monroe, 1967, Museum of Modern Art, New York City
WATKINS, CARLETON E., 1829-1916, AMERICAN
Watkins documented the opening of the West. He was a photographic pioneer, taking his darkroom with him to
develop on-site.
Mirror View, El Capitan, No. 38, c. 1866, New York Public Library, New York City
Mirror View, Yosemite Valley, c. 1866, Art Institute of Chicago, Illinois
Multnomah Falls, Columbia River, c. 1870, Art Institute or Uiicago, Illinois
The Valley from Mariposa Trail, Yosemite, California, 1863, collection of Daniel Wolf, Inc., New York City
Yosemite Falls, c. 1878-1881, St. Louis Art Museum, Missouri
WESTON, EDWARD, 1886-1958, AMERICAN
Weston was a member of the Group F.64. His photography included vegetables, nudes, and sometimes vegetables
that looked like nudes. His stark desert scenes and beach pictures demonstrated his mastery of design.
Armco Steel, Ohio, 1922, San Francisco Museum of Modern Art, California
Burnt Stump, 1937, Center for Creative Photography, University of Arizona, Tucson
Cabbage Leaf, 1931, International Museum of Photography at George
Eastman House, Rochester, New York
Dry Salt Pool, Point Lobos, 1939, Art Museum, Princeton University, Princeton, New Jersey
Nude, 1936, International Museum of Photography at George Eastman House, Rochester, New York
Pepper, 1930, Los Angeles County Museum of Art, California
Washstand, 1925, Art Institute of Chicago, Illinois
WHITE, MINOR, 1908-1976, AMERICAN
White was a poet prior to becoming a photographer. He did documentary projects such as the iron-front building;
and waterfront areas of the West Coast, progressing from buildings to landscapes to close-ups. His work reflected
his commitment to the Asian Zen philosophy.
Face in Door, San Francisco, 1949, International Museum of Photography at George Eastman House, Rochester
New York
Pacific, Devil's Slide, California, 1947, Museum of Modern Art, New York City
Ritual Branch, 1958, Art Museum, Princeton University, Princeton, New Jersey
WINOGRAND, GARRY, 1928-1984, AMERICAN
A photojournalism Winogrand worked exclusively with the 35rnm camera, and was considered a street
photographer "par excellence."
Circle Line Ferry, New York, 1971, Museum of Modern Art, New York City
Hard Hat Rally, 1969, Hallmark Photographic Collection, Kansas City, Missouri
Los Angeles, 1964, Museum of Modern Art, New York City
Utah, 1964, Center for Creative Photography, University of Arizona, Tucson
Photography
Written Assignment
Choose a photographer from the list provided that you find interesting or intriguing.
Research this photographer and write a one-page paper on this artist following the
format below. Please be thorough and specific in your writing. You will have two
class periods to complete this assignment. This is worth 50 total available points.
P1: Introduction to the specific photography such as the dates most prevalent and
why it became famous (or at least well-known). Traditional 35mm or digital or
what? What type of camera? Include technical aspects. What is the significance of
this particular photographic style?
P2: Intro to photographer - life and work. Get personal – what is this artist about?
How has this artist influenced photography and/or society?
P3: In depth discussion about work, include image(s). You may discuss “rules” that
were developed, followed, or broken. Discuss, specifically, what makes (and how)
his/her photograph(s) stand out from the rest.
P4: Why is this work so successful? Are there other artists that have done similar
work, or have created photographs during the same timeline that are different? What
have learned from this photography and how have we moved forward?
P5: Conclude.
Include at least one example of the photographer’s work.
Note: do NOT copyright! Plagiarism will be reported and kept in your permanent
student file. (See student handbook)