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Introduction | Contents | Foreword | Testing
Contents | Robert Hirsch Seizing the Light: A Social History of Photography, Second edition (McGraw-Hill, 2009) |
| 1. Advancing Toward Photography: The Birth of Modernity 1.1. A Desire for Visual Representation 1.2. Perspective 1.3. Thinking of Photography 1.4. Camera Vision 1.5. The Demand for Picturemaking Systems 1.6. Proto-Photographers: Chemical Action of Light 1.7. Modernity: New Visual Realities 1.8. Optical Devices 1.9. Images Through Light: A Struggle for Permanence 1.10. Other Distinct Originators | |
| 2. The Daguerreotype: Image and Object 2.1. Image and Object 2.2. What Is a Daguerreotype? 2.3. The Daguerreotype Comes to America 2.4. The Early Practitioners 2.5. Early Daguerrean Portrait Making 2.6. Technical Improvements 2.7. Expanding U.S. Portrait Studios 2.8. The Art of the Daguerrean Portrait 2.9. Daguerrean Portrait Galleries and Picture Factories 2.10. African-American Operators 2.11. Rural Practice 2.12. Post-Mortem Portraits 2.13. The Daguerreotype and the Landscape 2.14. The Daguerreotype and Science | |
| 3. Calotype Rising: The Arrival of Photography 3.1. The Calotype 3.2. Romantic Aesthetic 3.3. Early Calotype Activity 3.4. Calotypists Establish a Practice 3.5. Calotype and Architecture: Missions héliographiques 3.6. The End of the Calotype and the Future of Photography | |
 Read chapter View photo | 4. Pictures on Glass: The Wet-Plate Process 4.1. The Albumen Process 4.2. The New Transparent Look 4.3. The Ambrotype 4.4. Pictures On Tin 4.5. The Carte de Visite and the Photo Album 4.6. The Cabinet Photograph: The Picture Gets Bigger 4.7. The Studio Tradition 4.8. Retouching and Enlargements 4.9. The Stereoscope 4.10. The Stereo Craze |
| 5. Prevailing Events/ Picturing Calamity 5.1. Calamity 5.2. Current Events 5.3. Early War Coverage 5.4. The American Civil War 5.5. How Photographs Were Circulated | |
| 6. A New Medium of Communication 6.1. Photography: Art or Industry? 6.2. Discovering a Photographic Language 6.3. Americans and the Art of Nature 6.4. Positivism | |
| 7. Standardizing the Practice: A Transparent Truth 7.1. Mechanical Photography 7.2. The Traveling Camera 7.3. Picturing Industrialization 7.4. Urban Life 7.5. The Other 7.6. The American West: The Narrative and the Sublime | |
| 8. New Ways of Visualizing Time and Space 8.1. The Inadequacy of Human Vision 8.2. Locomotion 8.3. Transforming Aesthetics: Technical Breakthroughs 8.4. The Hand-Held Camera and the Snapshot 8.5. Time and Motion as an Extended Continuum 8.6. Moving Pictures 8.7. Color and Photography | |
| 9. Suggesting the Subject: The Evolution of Pictorialism 9.1. Roots of Pictorialism 9.2. Pictorialism and Naturalism 9.3. The Development of Pictorial Effect 9.4. The Secession Movement and the Rise of Photography Clubs 9.5. The Aesthetic Club Movement 9.6. Working Pictorially: A Variety of Approaches 9.7. American Perspectives 9.8. The Photo-Secession 9.9. The Decadent Movement and Tonalism 9.10. The Pictorial Epoch/ The Stieglitz Group 9.11. The Decline of Pictorialism | |
| 10. Modernism’s Innovations 10.1. Industrial Beauty 10.2. Cubism 10.3. High and Low Art 10.4. Futurism 10.5. Time, Movement, and the Machine 10.6. Toward a Modern Practice: Distilling Form 10.7. Dada 10.8. Exploring Space and Time: The Return of the Photogram 10.9. Surrealism 10.10. Collage 10.11. Suprematism 10.12. Art, Technology, and a New Faith 10.13. Paul Strand and Straight Photography: Purity of Use | |
| 11. The New Culture of Light 11.1. Teaching Modernism: The American Impulse 11.2. Stieglitz’s “Equivalents” 11.3. Steichen Goes Commercial 11.4. Form as Essence 11.5. Straight, Modernistic Photography 11.6. Film und Foto and New Objectivity 11.7. Experimentally Modern 11.8. New Vision 11.9. Pathways of Light: Time, Space, and Form 11.10. Surrealistic Themes | |
| 12. Social Documents 12.1. An American Urge: Social Uplift 12.2. Ethnological Approaches 12.3. Emerging Ethnic Consciousness 12.4. The Physiognomic Approach 12.5. The Great Depression: The Economics of Photography 12.6. The FAP Project: Changing New York 12.7. The Photo Booth: Self-Portraits for All 12.8. Mass-Observation 12.9. The Film and Photo League | |
| 13. Nabbing Time 13.1. Anticipating the Moment | |
| 14. From Halftones to Bytes 14.1. Pictures and Printer’s Ink 14.2. The Photo Magazine 14.3. The Separation of Art and Commerce: Advertising and Fashion 14.4. Newspapers 14.5. War Reportage 14.6. The New Subjective Journalism 14.7. Bytes of News | |
| 15. The Atomic Age 15.1. New Light/Fresh Methods 15.2. The Surrealistic Metaphor 15.3. The Photograph as Spirit 15.4. Photo Education as Self-Expression 15.5. Family of Man 15.6. Photography and Alienation 15.7. NYC 15.8. Making a Big Jump 15.9. The Subjective Documentary 15.10. The Terror of Riches | |
| 16. New Frontiers: Expanding Boundaries 16.1. Structuralism: Reading a Photograph 16.2. The Found Image: The Beginnings of Postmodernism 16.3. The Rise of Pop Art 16.4. Challenging the Code 16.5. The Social Landscape 16.6. New Journalism 16.7. Multiple Points of View 16.8. The Rapid Growth of Photographic Education | |
| 17. Changing Realities 17.1. Alternative Visions 17.2. New Approaches 17.3. Turning the Straight Photograph on Itself 17.4. Personal Accounts: Documentary Fiction 17.5. The Snapshot 17.6. Post-Structuralism/ New Topographics 17.7. The Rephotographic Survey Project / Time Changes 17.8. Artists’ Books 17.9. Reconfiguring Information 17.10. Expanding Markets 17.11. Critical Writing | |
| 18. Thinking About Photography 18.1. Conceptual Art: The Act of Choosing 18.2. Performance Art 18.3. A Return to Typologies 18.4. Postmodernism 18.5. Deconstructing Myths 18.6. Gender Matters 18.7. Fabrication 18.8. Altering Time and Space 18.9. Investigating the Body 18.10. Multiculturalism: Exploring Identity & History 18.11. A Personal Cultural Landscape 18.12. The Digital Future Is Now 18.13. The Postphotographic Age |
 | Robert Hirsch Exploring Color Photography, Fifth edition (Focal Press, 2010) |
