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444.01   Improving content on US states
The arrival of the masses
444.02   Californian Gold Rush (1848-1855)
444.03   George Robinson Fardon: San Francisco Album. Photographs of the Most Beautiful Views and Public Buildings of San Francisco (1856-1857)
444.04   Arnold Genthe: Chinatown
444.05   California: Cliff House
444.06   California: Point Lobos
444.07   California: Yosemite Valley
444.08   California: Yosemite: Yosemite valley and the Merced River
444.09   California: Yosemite: Glacier Point
The Great Outdoors
444.10   Carleton Watkins and the Yosemite Valley (California, USA)
444.11   Seth Kinman: California hunter
Capturing movement
444.12   Eadweard Muybridge: Experimental establishments
San Francisco Earthquake (1868)
444.13   Earthquake: San Francisco (1868)
San Francisco advertising album (1880)
444.14   I.W. Taber: The Taber photographic album of principal business houses, residences and persons (1880)
San Francisco Earthquake and Fire (1906)
444.15   USA, California, San Francisco earthquake and fire - 1906
444.16   USA, California, San Francisco earthquake and fire - 1906 - The photographers
Pictorialism in California
444.17   William Dassonville: Trees and the San Francisco skyline
444.18   Anne Brigman: Pictorialist nudes
Ansel Adams and the American perception of sublime nature
444.19   Ansel Adams and Straight landscape photography
444.20   Ansel Adams: Illustrated Guide to Yosemite Valley (1946)
444.21   Ansel Adams: Hills Brothers Coffee Can
444.22   Ansel Adams
Edward Weston
444.23   Edward Weston: Point Lobos
444.24   Edward Weston: Oceano Dunes
The Great Depression
444.25   Dorothea Lange: White Angel Breadline, San Francisco
Internment in California
444.26   Internment camps in the USA during the Second World War
Street photography
444.27   Joseph Selle's Fox Movie Flash: Mid-Century Street Vendor Photography
444.28   Max Yavno: California
Ed Ruscha and the Artist's book
444.29   Ed Ruscha: Self-published books
444.30   Ed Ruscha: Royal Road Test
444.31   Ed Ruscha: Every Building on Sunset Strip
444.32   Ed Ruscha: Thirtyfour Parking Lots in Los Angeles
New Topographics
444.33   Lewis Baltz: New Industrial parks near Irvine, California (1974)
Aerial photography of California
444.34   William A. Garnett: Aerial views of Californian suburbia
444.35   David Maisel: Oblivion
Contemporary culture
444.36   Lauren Greenfield: Girl Culture
444.37   Philip-Lorca diCorcia: Street hustlers
This theme includes example sections and will be revised and added to as we proceed. Suggestions for additions, improvements and the correction of factual errors are always appreciated.
Information requests 
444.01   North and Central America >  Improving content on US states 
We are seeking to extend the information and examples we can share on this American state.
  • The introduction of photography - The earliest known photographs of this state/territory and who was involved.
  • Documentary - Significant documentary, expedition or scientific studies - funded by government, industrial, religious groups or charities. Perhaps there have been studies of civil engineering projects, urban renewal and railroad construction. If you know where images can be obtained from let us know.
  • Regional photographic societies - Details on any societies and camera clubs that have been significant.
  • Publications - Local books, directories, journals and articles which you consider are significant in understanding this region. Particularly interested in early illustrated books, portfolios and albums. Images of the covers are useful.
  • Photographic studios - Both historic and contemporary studios along with photographs of them and any photography-related advertising .
  • Photographers - Listings and biographies of important local photographers and those who visited.
  • Anecdotes - Stories about local photographers, studios, collectors or perhaps the story behind a single photograph.
  • Collections - Contact details for collections that you know contain work that should be better known. Are there collections that you know which are at risk? If you own photography collections let us know (This will not be made public without your permission.)
  • Newspapers / magazines - Early examples where their use of photography was innovative or historically significant.
  • Photography in popular culture - Cartoons, tales, songs, poems, superstitions and stories.
  • Unusual - Is there anything unusual that you know about in the history of photography of this region?
  • Experts - Names of any specialists in the photo-history of this state. Have you written about this state and have something you would like to share? (This will not be made public without your permission and please include yourself if you feel it is appropriate.)
These points are indicative of topics that could be included on this page.
If you are able to assist in any way it is appreciated.
The arrival of the masses 
444.02   North and Central America >  Californian Gold Rush (1848-1855) 
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444.03   North and Central America >  George Robinson Fardon: San Francisco Album. Photographs of the Most Beautiful Views and Public Buildings of San Francisco (1856-1857) 
About this photographer | Photographs by this photographer 
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Slideshow (Be patient as this has 32 slides to load.) 
George Robinson Fardon (1806-1886) with his series of albumenized salt paper prints in San Francisco Album. Photographs of the Most Beautiful Views and Public Buildings of San Francisco (1856-1857) has the distinction of creating the first album of photographs on an American city ever published.[1]
Fardon arrived in San Francisco in 1856 and had a Daguerreian Studio at 203 Clay Street in 1859. The book George Robinson Fardon. San Francisco Album: Photographs of the Most Beautiful Views and Public Buildings (San Francisco: Fraenkel Galleries, Hans P. Kraus, Jr. and Chronicle Books, 1999) includes a catalogue of the 65 known San Francisco views and their variants by Fardon. Although this is a small number of plates and only nine copies of the complete album are known the importance of a photographic series showing the urban development of an American city is difficult to over emphasize.
Fardon later moved to Victoria on Vancouver Island and became one of the earliest photographers on the West Coast of Canada. He first opened a studio at 68 Government Street and in 1864 moved to Langley Street. He died on 20th August 1886 and was buried at Ross Bay Cemetery in Victoria. 
   George Robinson  Fardon 
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444.04   North and Central America >  Arnold Genthe: Chinatown 
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Arnold Genthe was an immigrant from Germany who took up residency in San Francisco in California from 1895 and photographed the streets of Chinatown while trying to remain as inobtrusive as possible. In his autobiography As I remember (1936) Genthe remembered his first visits to Chinatown:
Like all good tourists I had a Baedeker. A sentence saying, "It is not advisable to visit the Chinese quarter unless one is accompanied by a guide," intrigued me. There is a vagabond streak in me which balks at caution. As soon as I could make myself free, I was on my way to Chinatown, where I was to go again and again, for it was this bit of the Orient set down in the heart of a western metropolis that was to swing my destiny into new and unforeseen channels.[2]
"The smell of the place—it was a mixture of the scent of sandalwood and exotic herbs from the drugstores, the sickly sweetness of opium smoke, the fumes of incense and roast pork, and the pungent odors from the sausages and raw meats hanging in the "Street of the Butchers." And in the air there was always the sound of temple gongs, the clashing of cymbals and the shrill notes of an orchestra. It was something for me to write home about."[2]
Arnold Genthe lost most of his early work in the San Francisco Fire of 1906. 
444.05   North and Central America >  California: Cliff House 
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444.06   North and Central America >  California: Point Lobos 
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444.07   North and Central America >  California: Yosemite Valley 
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References to the valley by early non-native travelers started to appear in the 1830s but it had been known to the Native American Paiute-Miwok tribes of the Southern Sierras long before that. When the California Gold Rush started in 1848 the numbers of miners rapidly increased leading to tensions that led to the Mariposa Indian War. On 27 March 1851 a battalion of soldiers entered the valley and after this its wonders spread to the general populace. In 1859 Charles Leander Weed (1824-1903) took what are thought to be the first daguerreotypes of the valley.[4]  
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Charles Leander Weed 
Carleton Eugene Watkins (1829-1916) took a large number of glass plates of the Yosemite Valley and these have become icons for how the valley is seen today.[5] On 30 June 1864 signed an Act of Congress ceding the Yosemite Valley and the Mariposa Grove of Giant Sequoia to the State of California.
...the said State shall accept this grant upon the express conditions that the premises shall be held for public use, resort, and recreation; shall be inalienable for all time;...[6]
Isaiah West Taber[7] took over the photographic studio of Watkins in 1876 and continued to reprint from the negatives of Watkins.  
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Carleton Eugene Watkins 
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Isaiah West Taber 
Eadweard Muybridge best remembered for his studies of animal and human locomotion, took majestic views of Yosemite Valley.  
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Eadweard Muybridge: Yosemite 
One of the earliest photographically illustrated travel books was the 1875 Treasure Spots of the World: A selection of the chief beauties and wonders of nature and art[8] by Walter Bentley Woodbury and plate 18 was On the Merced, Yosemite valley, California by Thomas Houseworth.  
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Walter Bentley Woodbury: Treasure Spots of the World (1876) 
George Fiske (1835-1918)[9] was Yosemite’s first resident photographer and learnt his photographic skills from Charles Leander Weed. He worked in the Yosemite Valley between the time of Watkins and later masters such as Ansel Adams. His work is not as well known as it should be as fires in 1904 and 1943 destroyed most of it.  
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George Fiske: Yosemite 
Every feature of Yosemite has been photographed intensively for well over a hundred years so the changes at the waterfalls of Bridalveil Falls, Nevada Falls and Vernal Falls are well documented. The steep cliffs of El Capitan, so often festooned with climbers, Half Dome and the vista points of Inspiration Point and Glacier Point are on the itineraries of tourists. From the redwoods of Mariposa Grove to the Yosemite Valley and the Merced River each point has been visited time and time again by tourists and large format photographers following the visual styles of Ansel Adams and others.  
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Stereoviews of Yosemite 
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Ansel Adams and Yosemite 
Picture postcards of each vantage point, lake and cliff will have been sold in vast numbers over the years and so the sights are stored within popular memory and imagination and yet each fails to encompass the reality.  
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Picture postcards of Yosemite 
That any photography can do justice to the grandeur of Yosemite has at times been questioned as it was in the article "A Day in the Yosemite with a Kodak" by Samuel Douglas Dodge published in the Bay State Monthly in 1890:
It seems almost ridiculous to point a Kodak at those scenes, to which no painting by word or pen or color can do the least justice; and yet as the stage rattles up to the hotel, and the tired and dusty travellers dismount, the little leather cases containing the cameras of the amateur photographers have become so omnipresent that a porter would think something was missing did he not have one slung from either shoulder as he leads the guest to the office. And when, after a rest from the fatigues of the journey, the tourist sets out from the hotel, armed with his instrument, to register, if may be, a few of the many glorious scenes about him, that those at home may enjoy them, there comes a feeling of utter helplessness at the prospect before him. It is like going out to battle with a toy pistol. Even the stately summit of El Capitan seems to look down in scorn at the presuming amateur as he points his camera at his polished side, as if to rebuke him for his effort to catch even a part of his stately grandeur; and the "Spirit of the Evil Wind" at Pohono or Bridal Veil Falls seems to roar more loudly, as if in anger, as it falls like an avalanche of snow over its inaccessible summit. But we apologize to our conscience, that it is only to record the incidents of our trip and to catch such bits as may serve in the future to remind us of our visit, and not that we expect in the remotest degree to portray the scene before us.[10]
Despite this warning many photographers, including most notably Ansel Adams,[11] have continued to photograph every rock face, pool, tree and blade of grass within the Yosemite Valley. 
444.08   North and Central America >  California: Yosemite: Yosemite valley and the Merced River 
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Slideshow (Be patient as this has 30 slides to load.) 
444.09   North and Central America >  California: Yosemite: Glacier Point 
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Glacier Point in Yosemite National Park, California, offers a spectacular view across the Yosemite Valley that has long been appreciated. In an 1871 guidebook by the Geological Survey of California it said:
There is one point overhanging the Valley, about half a mile northeast of the Sentinel Dome, and directly in a line with the edge of the Half Dome. This is called Glacier Point, and the view from it combines perhaps more elements of beauty and grandeur than any other single one about the Valley. The Nevada and Vernal Falls are both plainly in sight, and directly over them is the Obelisk, with a portion of the range extending off to the right, until concealed behind the conical mass of Mount Starr King. To the left of the Cap of Liberty is the depression in which lies the Little Yosemite, and beyond this, in the farthest distance, the lofty summits of the Mount Lyell Group. The pines fringing the edge of Glacier Point are the Finus Jeffreyi. The view of the Half Dome from this point is stupendous, as the spectator is very near to that object, and in a position to see it almost exactly edgewise. We regret that we are not able to give a figure of it from this point of view. Language is powerless to express the effect which this gigantic mass of rock, so utterly unlike anything else in the world, produces on the mind.[12]
The Great Outdoors 
444.10   North and Central America >  Carleton Watkins and the Yosemite Valley (California, USA) 
About this photographer | Photographs by this photographer 
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Slideshow (Be patient as this has 27 slides to load.) 
Carleton Eugene Watkins (1829-1916) took a large number of photographs of the Yosemite Valley in California (USA) throughout his career and these were used as evidence to support the protection of the natural landscape from logging and homesteading.[13] Lobbying encouraged President Abraham Lincoln to protect the Mariposa Grove of giant redwoods and the valley in the Yosemite Grant of 30 June 1864. This was the start of the national parks in the United States and photographs were part of the supporting evidence used to justify it.[14] 
444.11   North and Central America >  Seth Kinman: California hunter 
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In November 1864 Seth Kinman (1815-1888), a noted "California Hunter and Trapper", presented an elk-horn chair to President Lincoln and the chair is commemorated on a carte de visite. Noah Brooks in listing the presents given to President Lincoln wrote:
The latest present is one which has been brought from California by an old trapper, whose name I have vexatiously forgotten. The gift is a chair of buckhorns, with the branching antlers interlaced to form the back, seat and arms. It is an unique affair, and much like one the same trapper gave to Buchanan four or five years ago.[15]
Stanley Kimmel wrote in his book Mr. Lincoln's Washington (1957) that Seth Kinman
… informed the President that he had another little keepsake with him in the form of a fiddle made from the skull of his favorite mule, which, when alive, appeared to have music in his soul, for he would always look around the camps on the plains when he heard music. After the mule had been dead for some time, he passed his bleached bones one day and the idea struck him that there might be music in the bones, so he made the fiddle. Later he took a rib, and some hairs from the tail, and made the bow. Much to the amusement of Lincoln and other spectators, he played 'Essence of Old Virginia' and 'John Brown' on the bones of the mule. Lincoln said that if he could play the fiddle he would ask him for it, but since he could not, the fiddle would be better off in Mr. Kinman's hands.[16]
Capturing movement 
444.12   North and Central America >  Eadweard Muybridge: Experimental establishments 
About this photographer | Photographs by this photographer 
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Eadweard Muybridge[17] and Étienne Jules Marey[18] were contemporaries who used photography to understand motion. The work of Muybridge was initiated to provide scientific evidence that there was a point when a horse was galloping that all its feet were off the ground at the same time. In a pre-moving film age capturing an image that would confirm this was a difficult challenger that required scientific rigour. Muybridge achieved this through the construction of an experimental track at the Palo Alto Stock Ranch of Leland Stanford[19] in California. By using multiple cameras with shutters triggered by threads that would be broken by a horse moving across the sight lines of the cameras he was able to capture multiple photographs showing each phase of movement.[20] Although the experimental track was built for horses the project was extended to include other animals and humans leading to empirical results in better understanding motion and gait. Muybridge continued his work at the University of Pennsylvania and this would lead to changes in the way artists addressed nature and how scientists and educators explained it.[21]
A contemporary account published in 1892 provided a description of how the experimental equipment used by Muybridge at the University of Pennsylvania:
It is important, next, to refer to the results obtained by Mr. Muybridge in his later experiments, carried out at the University of Pennsylvania, which were published in a large book containing all the series of photographs. The following is a brief account of the method he used.
It consisted in the employment of three batteries, each containing twelve cameras. The object of working with three batteries was to enable him to obtain photographs from three points of view simultaneously, and the manner in which be arranged them was as follows. One battery was set parallel to the track along which the object to be photographed moved, so that its image would be formed on each plate successively as it passed before the lenses; and since the distance between the object and each camera was constant, only one focus was required. Placed at right angles to this track, and directed up and down it, were fixed respectively the two other batteries, and the cameras in these were so adjusted as to have in their field of view the same series of positions as seen in the first battery, only of course from two different standpoints; but since in this case the distance between the object and the cameras was always varying, each of the latter had to be specially adjusted for its own focus. so on.
The instantaneous shutters of all the cameras were connected by wires to a set of twelve metal studs situated on the circumference of a disk, each stud being fastened to a set of three wires, each of which comes from the first camera in each battery, the second set from the second cameras, and so on.
A second disk, placed close by, and carrying a brush, was made to rotate, the brush coming in contact with each of the studs in turn. By this means, a series of currents was sent to these groups of three cameras intermittently ; and, as each contact was made, three shutters were simultaneously released—one in each of the series —giving a group of three synchronous pictures of the object that was moving on the track, showing the fore, hind, and lateral views.[22]
   Scientific Movement 
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San Francisco Earthquake (1868) 
444.13   North and Central America >  Earthquake: San Francisco (1868) 
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San Francisco advertising album (1880) 
444.14   North and Central America >  I.W. Taber: The Taber photographic album of principal business houses, residences and persons (1880) 
About this photographer | Photographs by this photographer 
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Trade directories listing the principal manufacturers, suppliers, and shops of a city or region were an essential part of any expanding town. They were the "Yellow Pages" of their day and preserved as essential research tools by local studies libraries. Some trade directories had tipped-in photographs[23] that were commissioned to illustrate the premises or goods of a vendor. Isiah West Taber took photographs of businesses in San Francisco for his directory The Taber photographic album of principal business houses, residences & persons (1880).[24] William James Topley produced a similar volume The Ottawa album, containing photographs and advertisements of the principal business houses, hotels and steamboats and local views (1875)[25] Pages from an advertising album of Philadelphia taken by S[amuel] McMullin also survive.[26] 
San Francisco Earthquake and Fire (1906) 
444.15   North and Central America >  USA, California, San Francisco earthquake and fire - 1906 
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The San Francisco earthquake struck on April 18, 1906, at 5:12 a.m. and it had the disadvantage of affecting a major population center - but the advantage for photographer that so many photographers were available to record the devastation of the earthquake and the fire that followed. The earthquake was a massive 8.25 on the Richter scale and had a duration of only 49 seconds. The fire that followed did far greater damage destroying about 28,000 buildings. In this catastrophe 315 people were killed outright with a 352 missing. 6 people were shot for criminal offences during the tragedy and one more was shot by mistake. The whole event left 225,000 homeless.
Photographers lost their homes, Carleton E. Watkins lost his studio and negatives.[27] In one photograph we can see Carleton E. Watkins, the great photographer of California, with his cane being helped along a rubble strewn street with smoke rising behind him.[28] 
444.16   North and Central America >  USA, California, San Francisco earthquake and fire - 1906 - The photographers 
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The photographers who covered the San Francisco earthquake and fire of 1906 included:
  • Arnold Genthe who included a description of the fire in his autobiography As I Remember, (1936).[29]
  • Edward A. "Doc" Rogers who photographed for the San Francisco Morning Call
  • George Parmentier and Harry Coleman with the San Francisco Examiner
  • George Haley for the San Francisco Chronicle
  • George R, Lawrence took aerial panoramas of the devastation taken from 2000 ft above the city.
The buildings of the key newspapers were all destroyed in the fire but the photographers and journalists used the presses of the Oakland Tribune to create a four-page combined issue. 
Pictorialism in California 
444.17   North and Central America >  William Dassonville: Trees and the San Francisco skyline 
About this photographer | Photographs by this photographer 
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William Dassonville (1879-1957)[30] was American West Coast pictorialist photographer. Although he took portraits early in his career, he is now known for his photographs of the California landscape, especially of San Francisco‘s waterfront and bay and Yosemite
444.18   North and Central America >  Anne Brigman: Pictorialist nudes 
About this photographer | Photographs by this photographer 
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Anne Brigman (1869-1950)[31] was a famous Pictorialist photographer and a member of Alfred Stieglitz's inner circle of the Photo-Secession.[32] Her blending of female nudes amidst the blasted pines of California were unusual in the 1920s for their unashamed praise of ethereal but erotic forms. These are the naked spirits of A Midsummer Night's Dream - inhabitants of a primordial world and the title of her book Songs of a Pagan (1949)[33] hints at this otherworldliness. 
Ansel Adams and the American perception of sublime nature 
444.19   North and Central America >  Ansel Adams and Straight landscape photography 
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Ansel Adams (1902-1984)[34] - widely recognized as the most influential and collectible of all American photographers was a direct continuation of these photographers - except all trace of man was excluded where possible. The message was clearly that this was virgin land and needed to be kept as such. The black and white images with their incredible tonal ranges have become icons to hang as posters on millions of walls and to be sent as postcards and greetings cards. The banality of how these images are currently used does little to undervalue the strength of the images or their propaganda uses by protectors of the environment. Ansel Adams used his pictures as educational aids to inform the public and politicians about the value of the pristine wilderness and to highlight the need to preserve it for posterity. His actions undoubtedly led to a rise in public consciousness and that was instrumental in the creation of national parks. 
444.20   North and Central America >  Ansel Adams: Illustrated Guide to Yosemite Valley (1946) 
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Ansel Adams and his wife Virginia collaborated on the book Illustrated Guide to Yosemite Valley (1946).[35] They had done the same for their book Michael and Anne in Yosemite Valley (1941)[36] that dealt with their children Michael (born 1933) and Anne (born 1935) as they grew up in the valley. 
444.21   North and Central America >  Ansel Adams: Hills Brothers Coffee Can 
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In 1969 a sepia version of Ansel Adam's photograph Winter Morning, Yosemite Valley, California was used on a Hill's Brothers coffee can. In 1994 pinhole photographer Jo Babcock used one of the coffee cans as a pinhole camera to take a photograph of Yosemite Valley
444.22   North and Central America >  Ansel Adams 
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Ansel Adams[37] has remained one of the seminal figures of landscape photography because of his environmental concerns, technical prowess and teaching abilities. His photographs of the Yosemite Valley and the forests of aspens and birch trees are some of the most highly prized of all - noted for their tones that cover the full ranges of blacks and whites and the sharpness that he craved for.
"Both the grand and the intimate aspects of nature can be revealed in the expressive photograph. Both can stir enduring affirmations and discoveries, and can surely help the spectator in his search for identification with the vast world of natural beauty and the wonder surrounding him." (Ansel Adams )
He saw the magnificence of nature identified with it early in his career and spent the rest of trying to take photographs that were a timeless perfection that captured the ephemeral moments of the natural world. Providing a permanent reminder of an almost spiritual bond with nature.
Fashions within landscape photography change as with everything else and at times Ansel Adams has been criticized as Elliott Erwitt wrote:
"Quality doesn't mean deep blacks and whatever tonal range. That's not quality, that's a kind of quality. The pictures of Robert Frank might strike someone as being sloppy - the tone range isn't right and things like that - but they're far superior to the pictures of Ansel Adams with regard to quality, because the quality of Ansel Adams, if I may say so, is essentially the quality of a postcard. But the quality of Robert Frank is a quality that has something to do with what he's doing, what his mind is. It's not balancing out the sky to the sand and so forth. It's got to do with intention." (Elliott Erwitt)
Each person's intention is different and the photographs of Ansel Adams match the intentions he strived to achieve. The images he left us are some of the most beloved of all American landscape photographs and have left us a legacy that the large format photographers of today still follow. 
Edward Weston 
444.23   North and Central America >  Edward Weston: Point Lobos 
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In 1929 Edward Weston moved to Carmel in California and made his first photographs of Point Lobos.[38] The area is noted for rocky coves with harbor seals and gnarled Monterey Cypress. The weathen-beaten rocks, pebbles, kelp, trees and seagulls provided a tranquility and continual subjects for the large format black and white photography in which he excelled. Financial troubles were eased by an Guggeneim grant in 1937 which allowed him to travel and build a small house on Wildcat Hill.[39] Edward Weston continued to photograph there until 1948 when the effects of his Parkinson's disease was making it difficult to work.[40] His ashes were scattered into the ocean at Pebbly Beach at Point Lobos in 1958. 
444.24   North and Central America >  Edward Weston: Oceano Dunes 
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In 1936 Edward Weston tooks his first photographs of the Oceano Dunes in California.[41] Many of the soft flowing tips of the sands echoing the nudes he was taking at the same time. Weston denied that his still lives were sexual and he did with his dunes but there is a lingering suspicion in the way curators describe them that hints at multiple interpretations. Dunes have "sinuous lines and rolling shapes"[42] and a curatorial comment from the Metropolitan Museum of Art described one in the following way:
The shapes of the peppers Weston photographed became women, his women became landscapes, and his landscapes emerged with attributes of all living nature. Whether the forms in this picture resemble waves, backs, buttocks, or breasts is immaterial. They are made of shifting sand, and that is the subject of the picture.[43]
Is it really immaterial? These were the same dunes that he photographed a naked Charis Wilson in and the woman he would marry in 1939.[44] 
The Great Depression 
444.25   North and Central America >  Dorothea Lange: White Angel Breadline, San Francisco 
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This photograph by Dorothea Lange was taken at the White Angel Jungle[45], a soup kitchen for San Francisco's jobless during the Great Depression. From June 1931 until September 1933 Lois Jordan, a wealthy white woman known as the "White Angel", supported the soup kitchen at Abe Reuff's lot, bounded by the Embarcadero and Battery, between Filbert and Greenwich, through charitable donations. There is a small historical marker with photographs on the site near Levi's Plaza Park at 1160 Battery St. next to The Embarcadero road at the end of Pier 23 in San Francisco.
Widely reproduced it has become one of the iconic photographs of economic hardship and was used as the cover photograph for Irving Bernstein A Caring Society: The New Deal, the Worker, and the Great Depression (Houghton Mifflin, 1985).
There is an a story that this photograph was tacked on the wall up in the studio of Dorothea Lange and on her darkroom door there was a quotation by Francis Bacon[46]:
The contemplation of things as they are without error or confusion without substitution or imposture is in itself a nobler thing than a whole harvest of invention.[47]
Internment in California 
444.26   North and Central America >  Internment camps in the USA during the Second World War 
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Under pressure from public outcry following the Pearl Harbour attack on 7 December 1941 on February 19th 1942 President Roosevelt signed Executive Order 9066 by which 120,000 people of Japanese descent living in the US were interned in camps. The controversy over this action still continues as more than two thirds of those interned were US citizens and had never shown any signs of disloyalty.
  • Hansel Mieth and her husband Otto Hagel were working for LIFE magazine when they were assigned to photograph the Heart Mountain Relocation Center in Wyoming during the Second World War where more than 10,000 Japanese and Japanese Americans were being unconstitutionally incarcerated. Bill Manbo (1908-1992) documented the Heart Mountain camp in colour using Kodachrome.
  • Ansel Adams photographed Japanese internment camp at Manzanar (California).
  • Dorothea Lange photographed an Japanese internment camp and her photographs were censored by the U.S. Army and not published until many years later.
In December 1944 Public Proclamation number 21 allowed internees to return to their homes from January 1945 onwards. The photographs of the camps were not published during the war and it was not until the 1990s that it became politically acceptable to publish them. 
Street photography 
444.27   North and Central America >  Joseph Selle's Fox Movie Flash: Mid-Century Street Vendor Photography 
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Slideshow (Be patient as this has 46 slides to load.) 
Joseph Selle was a commercial photographer in the Union Square area of San Francisco for forty years, from the 30s to the 70s. He took candid snapshots of pedestrians and then sold the portraits by mail for fifty cents each. When he retired his entire archive - totaling some one million images - went to Visual Studies Workshop in Rochester, New York. Now, due to digital technology, a small selection of this vast body of work is available. It is an enormously moving experience of time travel to "walk" the streets along with Selle and see our parents and grandparents or younger selves on display. Curated with the cooperation of VSW archivist Andrew Eskind, this preliminary exhibition will include video projection of thousands of images.
Joseph Selle: Curatorial Reflections
I distinctly remember a tall older man haunting Union Square in the early 70s, offering to sell pedestrians their photographic portraits. After more than three decades I still remember him for some reason: perhaps it was his height, his odd outfit of a taxi driver’s hat and long duster. It is a supreme coincidence that after all this time I have come to work with Joseph Selle’s lifetime accumulated archive.
Viewing these images is an overwhelming emotional experience. After a session editing the photographs, one is unlikely to ever walk the city streets in quite the same way, because an awareness of the lives that once occupied these same sidewalks becomes unshakable. The Selle archive is as close as we will ever come to the experience of time travel, experiencing the streets of San Francisco half a century ago. Truly a memento mori, we encounter vibrantly alive people in the midst of their quotidian lives, people whom we infer are now long dead, while the children displayed are themselves entering late middle age. I don’t believe I have ever understood both the tragedy and dignity of life as viscerally as I have while immersed in this project.
It is fascinating and moving to see how people organize themselves, create structure, within such a simple act as walking down the street. Mothers and grandmothers hold children’s hands. Adult children support their aged parents. Women friends walk side by side, talking, touching. Couples and families align themselves with each other, to other pedestrians, and to the architecture. Vehicle traffic and crowding causes odd behavior and balletic moves.
This is to some extent an anthropological experience, as we see that a trip downtown to Union Square, even well into the 1960s, was an occasion for wearing one’s best clothing. Women inevitably wear white gloves and hats, and almost never wear slacks. Fox stoles and mink coats abound. Men wear suits and ties, and hats. Everyone smokes. Everyone shops. Everyone’s clean. Just blocks away on Market Street, we discover more people of color and more casually dressed people, especially as the 50s move along into the 60s. Taken at the end of the baby boom, the pictures include many more pregnant women than we are used to seeing on the streets today. Men smoke pipes.
People are faced with a behavioral choice if they see someone like Selle about to approach them on the street. Most ignore him if they notice him at all, but once they realize what he is up to, and that he’s harmless, often give themselves away by touching their hair or putting their best foot forward. Quite a few put their hands up to signal stop; many others laugh at being caught unaware.
History is lurking in the shadows of every photograph. In the 50s material one can detect the impact of Mamie Eisenhower’s conservative style on the women, and then suddenly just a few months later, Jackie Kennedy’s more chic approach is seen everywhere. We see an elderly man wearing a Kennedy straw hat during the election campaign. Then one evening on Market Street we see people carrying newspapers under their arms with the enormous banner headline: "….SLAIN!" and we can painfully infer that it marks the assassination of the President. Among the well-dressed people streaming by the photographer’s lens are a great number African American and Asian American people, and even a significant number of mixed-race couples; more occasionally we see Latinos, or a hipster in jeans or leather, or out gay people. San Francisco’s particular character was already apparently well on its way to being established.
Organizing the archive places the curator into several vexing dilemmas. These images have been captured for four decades like genies in a bottle, waiting to be released. Selecting a few of them for this catalogue feels like a betrayal to all the other lives glimpsed and not included that will now recede back into obscurity forever. Selecting a tiny number of these works to represent the whole is a daunting curatorial task. Arguably, to be most true to the archive one should allow chance to determine the selection: the richness of this work is the profound beauty of its ordinariness. As curator I am drawn to the most artfully or quirkily framed shots. I am tempted to disregard the great majority of the pictures that are out of focus. As historian one could cull the 18,000 images for important moments. As anthropologist there is the opportunity to represent the entire population: the wealthy, the middle class, the working class, all the racial backgrounds, the clothing, lifestyles and eccentricities of the culture. I have tried to represent all these approaches as best I can; a book many times the size of this catalogue is called for.
The territory of museums has widened over the past decade to include more and more consideration of visual materials made by non-artists that nonetheless reflect skill, style, meaning and power. The street vendor work of Joseph Selle is just at the brink of being appreciated in that same way and it is a thrill and a privilege to participate in that rediscovery. This project could not have happened without the energy and dedication of Andrew Eskind of Visual Studies Workshop in Rochester, New York. Eskind has taken on the pursuit of information about Selle with the precision of a private eye and the dedicated professionalism of the historian he truly is. I offer my humble thanks to him for bringing this project to me, enabling the Nelson Gallery to share it with the UC Davis community.
© Renny Pritikin
Davis, California
February 2005
How long does it take to look at a million photographs? Is it even possible? It‘s said that in today‘s media saturated society, we‘re each exposed to 1500 images daily. If that‘s an average (and not counting TV and movies), what are the high and low extremes? Can one look at, say, even 10,000 in a day and still make any sense out of them?
This conceptual conundrum is perhaps what delayed archivists and students from exploring and exhibiting the more than one million surviving negatives made between the 1950s and 1970s by the San Francisco street vendor photographic firm, Fox Movie Flash.
Fox Movie Flash was owned by Joseph Selle (1906-1988) and operated out of 942 Market Street from the 1930s until the 1970s. Selle ventured out onto Market Street often framing his photographs under the marquee of the neighboring Pix Theatre at 946 Market. He also worked all of the corners and side streets around Union Square during peak periods of pedestrian traffic. He and associate photographers wearing the Fox Movie Flash cap carried rather heavy, modified DeVry movie cameras (marketed by Burke & James, Inc as "Street Vending Cameras"). They were pre focused at 10 ft and loaded with sufficient film to snap up to 1500 images of shoppers and tourists with the hope of selling some percentage of them souvenir portraits of their visit to San Francisco‘s prime retail shopping district. Charlie Rester, the last living Fox Movie Flash associate photographer recalls that on good days photographers could earn $100/day - a respectable living at the time.
This photographic genre - street vendor photography - has yet to attract much attention from museums, collectors, or historians. Yet there is anecdotal evidence that similar cameras and the same business model were used in many other American cities as well as abroad. Selle and fellow practitioners were not at all interested in the esthetics of their photographs. In fact, it is unlikely they even looked at every frame among the 1500 on the 100-foot rolls of negatives. The one-out-of-10 (or more likely one-out-of-100) pedestrians who actually paid the 50 cents ($1 by the 1970s) for the postcard-size souvenirs made their purchase decisions sight-unseen. Neither creator nor purchaser was making decisions on the basis of visual interest, or qualitative judgment. Only those frames matched by ticket number to individual purchasers were even printed. Among the many permutations of the speculative commercial practice now called street vendor photography, this one has also been aptly referred to as ‘surprise photography‘. (cf Mapping Sitting: On Portraiture and Photography; Walid Raad, Karl Bassil, Zeina Maasri, Akram Zaatari; 2002)
The term "surprise" is fitting in more ways than one. The purchaser received the souvenir within a few weeks in the mail. Having no opportunity for a preview, the end-product may have been a pleasant surprise, or a dud. Not every frame is sharp, well composed, or properly exposed. San Franciscan Jack Tillmany recalls his mother making 2 purchases from Fox Movie Flash operators when he was a kid going downtown with her in the 1950s. The first is a cherished memento; the second a disappointment. The photographers, too, should have experienced surprises - both while on the streets encountering sailors, shoppers, tourists, lovers, families - as well as in the darkroom where surely they looked at, and, perhaps laughed at frames which hadn‘t sold as well as those which were printed for buyers. The best surprise of all, however, are the many reactions we can experience today whether selecting previously unseen images for publication, or viewing original shooting sequences as if they were movies - complete with bad frames, changing weather, newspaper headlines, movie theatre marquees, dress, kids, smokers, relationships.
US Davis American Studies professor Jay Mechling refers to the psychological term "intermittant reward" to explain why many viewers become so captivated watching the original unedited shooting sequences that they‘ll continue watching without knowing when - or if - there will soon be an end. If every once in a while, we‘re rewarded by a surprise - by an image striking to us for its accidental composition, for its recollection of someone we knew or loved, for its goofiness - we‘ll happily continue watching expecting a new surprise at any moment.
Thus, beyond the sheer logistical challenge of exploring over a million undifferentiated images, the archivist today needs to consider the multitude of potential unimagined points of interest represented in this vast documentary record. For curators, such as Renny Pritikin, there‘s the irresistible temptation to do what Selle and his co-hort photographers never found time or motivation to do. He has applied the criteria of visual interest we‘d otherwise associate with non-commercial street photographers such as Walker Evans, Lee Friedlander, Garry Winogrand, Harry Callahan, or even Weegee. His selections reproduced here from the 18,000 frames digitally scanned to date (only 1% of the extant total) could easily be matched by totally different sets selected from the perspective of social historians, movie buffs (theatre marquees are a recurring theme), architecture historians, urbanologists, or those of us who are plain and simple sentimental old picture junkies.
© Andrew Eskind
Rochester, NY
March 2005
[These texts accompanied the exhibition Joseph Selle‘s Fox Movie Flash - Mid-Century Street Vendor Photography that was held at the Nelson Gallery at UC Davis, January 13th - March 13th, 2005. This exhibition used projected images.] 
   Portrait SF Street Vendor 
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444.28   North and Central America >  Max Yavno: California 
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Max Yavno (1911-1985) was a freelance documentary photographer noted for his street photography of California in the 1940s and 50s.[48] 
Ed Ruscha and the Artist's book 
444.29   North and Central America >  Ed Ruscha: Self-published books 
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444.30   North and Central America >  Ed Ruscha: Royal Road Test 
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444.31   North and Central America >  Ed Ruscha: Every Building on Sunset Strip 
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444.32   North and Central America >  Ed Ruscha: Thirtyfour Parking Lots in Los Angeles 
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New Topographics 
444.33   North and Central America >  Lewis Baltz: New Industrial parks near Irvine, California (1974) 
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As Lewis Baltz said in a 2009 interview:
I’m trying to really remember what I was thinking at the time, but all these things begin with the definite article: the Prototypes [1967-76], the Tract Houses [1971], the New Industrial Parks [1974]. I wanted to be specific in that way. I wanted to at least give the impression, possibly a false one, that these things were exactly specifically located and locatable, even if they weren’t. The tract houses were made all the way from the California coast to what would be 80 miles inland, and some of the houses – I’m trying to remember what stuff cost then, but like, some of the cheaper houses were $6,000; some of the more expensive ones were 100 [thousand dollars].[49]
During an interview with Jeff Rian he asked "How had you come to make The Tract Houses? What did you want to say with them? What were you after?" and Lewis Baltz replied:
This was somewhere around the time when sculpture conquered the universe. Not object sculpture, but the idea that any object, or collection of objects, or spaces or acts could be seen sculpturally, no matter how commonplace. A pile of dirt could be read for its sculptural qualities; a pile of dirt on the back of a pick-up truck could be seen as a parody of kinetic sculpture. Everything could be recovered for this Weltanschauung, including painting (like early Frank Stella) and language (like by Lawrence Weiner or Joseph Kosuth). It seemed a triumph of the power of art. Art changed nothing, but by informing people’s perception of the phenomenal world it changed everything. The world was already in the condition of art, waiting to be noticed as such. As Robert Irwin famously said, ” I feel like a man sitting beside a river selling water.” I think that’s one of the reasons some or many of The Prototypes are jarring is because I use a high-art photographic technique to present views of nothing, that is, of no special interest per se. In my mind this was absurd, a metaphor of the condition.[50]
Aerial photography of California 
444.34   North and Central America >  William A. Garnett: Aerial views of Californian suburbia 
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William Garnett (1916-2006)[51] was an American photographer who takes abstract aerial photographs of the Californian landscape from a light plane.[52][53] Garnett had studied at Art Center College of Design in Los Angeles and during the Second World War he had his first opportunity of view the world from above. This experience changed his life and he learnt to fly and eventually acquired a Cessna which allowed him to fly low and use handheld cameras out of the window to capture aerial photographs of California. In 1950 he took a series at Lakewod in California that show the phases of a suburb under development from the grading, trenching, foundations and slabs, framing, platering and roofing right through to the finished housing. This series gives the sense of the optimism of the 1950s with houses for all in new suburbs but also the imposed uniformity and environmental wastelands that would develop out of a lifestyle that was only possible with private transportation and cheap oil. 
444.35   North and Central America >  David Maisel: Oblivion 
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Slideshow (Be patient as this has 17 slides to load.) 
In a 2006 press release photographer David Maisel[54] described his series "Oblivion" in the following way:
Sanctuary and the Modern Metropolis
In his book "Warped Space," the architectural theorist Anthony Vidler speaks of the "paranoiac space of modernism," a space which is "mutated into a realm of panic, where all limits and boundaries become blurred…" These words come to mind when considering the urban aerial images of Los Angeles and its periphery shown in my photographic project called "Oblivion."
Certain spatial fears seem endemic to the modern metropolis, and Los Angeles defines this term in ways that no other American city can approximate. This amorphous skein of strip malls and gated developments, highway entrance and exit ramps, lays unfurled over the landscape like a sheet over a recalcitrant cadaver.
Surely the earth is dead beneath the sheer weight and breadth of this built form? As we cast a critical eye upon the megalopolis of Southern California, it is necessary to remind ourselves that there is still a heart beating within it. Indeed, 15 million hearts, with all the souls and dreams of the bodies powered by those hearts: the city as living, breathing organism, constantly breaking down and constantly replicating.
In its frenzy to expand, the city creates topographies of alienation, fear, and despair. Indeed, Los Angeles is emblematic of an idea of modern space that is linked to an increasing sense of collective societal anxiety. The invention of radical concepts of urban space was a theme central to the early twentieth century avant-garde, who called for modernity to escape from the constraints of history. We now know, in ways once thought unimaginable, that we cannot escape history. These aerial images describe a potentially desecrated urban fabric, even as they transcribe the commonplace. Indeed, in the post-9/11 age we now occupy, chaos and catastrophe seem implicit in the urban aerial view. To surveil and record the city from the air seems nearly to approach an act of civil disobedience. The images cannot help but serve as portent or prophesy of some future conflagration.
Is this the reason for the unease, the hint of claustrophobia and synesthetic terror that these pictures elicit? Or is it the endlessness of the expanse, the multiplying nothingness that fills frame after frame, the city metastasizing ceaselessly, which causes a sense of rising dread?
Our perceptions are contingent on the positions our bodies occupy in space. The architecturally-trained sculptor Gordon Matta-Clark split open the domestic structure of the home, peeled it apart and let us occupy the void he created. For those making their homes within the urban galaxy of Los Angeles, an entity with neither limit nor center, is there any space remaining that can serve as psychological refuge or sanctuary? From above, in these aerial views, we see encrypted within the city’s code the elements of our own vulnerability: an oblivion that is at once stately, magnificent, and potentially lethal. How do the city’s inhabitants adapt to these aspects of the modern metropolis? As Mike Davis writes in City of Quartz: Excavating the Future in Los Angeles, "social anxiety…is just the maladjustment to change. But who has anticipated, or adjusted to, the scale of change in Southern California in the last fifteen years?" Likewise, who among us has adapted to the more recent sea-change wrought in urban living by the demise of the Twin Towers of New York, and the lives that fell along with them?
The urban dweller of Southern California now exists in what Davis terms the fastest growing metropolis in the western world, "with a built-up surface area nearly the size of Ireland, and a GNP bigger than India’s." Left to navigate this terrain of anxiety and estrangement, with a pattern of urbanization the critic Peter Plagens calls "the ecology of evil," the citizen of this alien landscape may begin to ponder some of the elemental design questions of our time… Where is home? Where is our safe haven? How can we move towards such a place? Perhaps by forming such questions, we can begin to imagine the process of creating their answers. In the interim, these images imply an incessant search for sanctuary that never ends.[55]
   David  Maisel 
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Contemporary culture 
444.36   North and Central America >  Lauren Greenfield: Girl Culture 
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Laureen Greenfield in her documentary series has explored issues related to the temporal shrinking of adolescence in Los Angeles,[56] body image[57] and an obsession in American society with dieting[58] Her 2012 film The Queen of Versailles was a documentary of a billionaire couple as the construction of their vast mansion stumbled as the real estate bubble burst. The common thread through these is the superficiality of a fast-paced and self-obsessed lifestyle fuelled by wealth. The mantra of physical perfection pushed to extremes where girls are expected to be, or desire to be, women without the knowledge that comes with maturity and self-knowledge. In this world vanity and the display of wealth and position through clothing and material possessions replaces inner values. It is impossible to criticise the individuals portrayed without knowing them but a viewing of Laureen Greenfield's work as a whole is a portrayal of a small part of American society that has the intellectual depth of a beauty pageant. 
   Lauren  Greenfield 
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444.37   North and Central America >  Philip-Lorca diCorcia: Street hustlers 
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Some series from the work of Philip-Lorca diCorcia[59] blur the boundaries between different genre including street photography, documentary, staged photography and fabricated realities. The use of sophisticated lighting systems such as those used by Gregory Crewdson[60] mean that there is intentionality as the location was selected, lighting set up and the shot framed before the subject arrived. In one series by Lorca diCorcia the location was prepared and then street hustlers from Santa Monica Boulevard in Los Angeles were picked up and paid their normal rate for a sexual act. No sexual act took place but the hustler was taken to the prepared location and photographed - the photographs having a title made up of three parts - the name of the person, where they came from and the amount paid. The resulting photograph is therefore partly documentary with portraits of social outsiders but it breaks the rules by changing location and it is not a street photography even though it takes place on the street. Reality has been twisted by the use of additional lighting and so what are we seeing? The resulting staged tableaux can be considered exploitative but they make the viewer question their pre-conceptions of reality and genre. 

  1. Λ George Robinson Fardon, 1856, Photographs of the Most Beautiful Views and Public Buildings of San Francisco; George Robinson Fardon & Jeffrey Fraenkel, 1999, George Robinson Fardon. San Francisco Album: Photographs of the Most Beautiful Views and Public Buildings, (San Francisco: Fraenkel Galleries, Hans P. Kraus, Jr. and Chronicle Books) 
  2. Λ Arnold Genthe, 1936, As I remember, (Reynal & Hitchcock), p. 32 
  3. Λ Arnold Genthe, 1936, As I remember, (Reynal & Hitchcock), p. 33 
  4. Λ Peter Palmquist, 1979, ‘California's Peripatetic Photographer, Charles Leander Weed‘, California History, vol. 58, no. 3 
  5. Λ Weston Naef, 2009, Carleton Watkins in Yosemite, (J. Paul Getty Museum) 
  6. Λ 38th United States Congress, Session 1, 1864 ceded Yosemite Valley and the Mariposa Grove of Giant Sequoia to the State of California.
    Yosemite National Park was established 1 October 1890 and as there was no National Parks Service at the time it was under the jurisdiction of the United States Army's Troop I of the 4th Cavalry from 19 May 1891. 
  7. Λ Linda Bonnett & Wayne Bonnett, 2004, Taber, a photographic legacy, 1870-1900, (CA: Sausalito: Windgate Press) 
  8. Λ Paul Hickman & Terence Pitts, 1980, George Fiske: Yosemite Photographer, (Flagstaff: Northland Press)
    The Bancroft Library, University of California, Berkeley has 68 examples of his work: Collection Number: BANC PIC 19xx.066--ALB 
  9. Λ Walter Bentley Woodbury (ed.), 1875, Treasure spots of the world: A selection of the chief beauties and wonders of nature and art, (London: London: Ward, Lock, and Tyler)
    The plates in this book were printed using the Woodburytype process. 
  10. Λ Samuel Douglas Dodge, December 1890, "A Day in the Yosemite with a Kodak", Bay State Monthly, vol. III, no. 4, p. 460 
  11. Λ AThere are vast numbers of books and calendars including photographs by Ansel Adams including - Ansel Adams, 1948, Yosemite and the High Sierra, (Boston); Ansel Adams, 1950, My Camera in Yosemite Valley, (Yosemite, CA); Ansel Adams & Nancy Newhall, 1959, Yosemite Valley, (San Francisco; 5 Associates)
    nsel Adams also photographed his children within the Yosemite Valley - Ansel & Virginia Adams, 1941, Michael and Anne in Yosemite Valley, (New York: Studio Publications). 
  12. Λ Geological Survey of California & Josiah Dwight Whitney, 1871, The Yosemite Guide-Book: A description of the Yosemite Valley and the adjacent region of the Sierra Nevada, and of the big trees of California .., (Ambridge: University Press, Welch, Bigelow, & Co.), p. 92 
  13. Λ Weston Naef, 2009, Carleton Watkins in Yosemite, (J. Paul Getty Museum) 
  14. Λ President Abraham Lincoln signed the Yosemite Valley Grant Act, Senate Bill 203, on June 30, 1864. The legislation gave California the Yosemite Valley and the Mariposa Big Tree Grove "upon the express conditions that the premises shall be held for public use, resort, and recreation." For background - The Library of Congress, American Memory "Today in History: June 30" - 
  15. Λ Michael Burlingame, (ed.), 2002, Lincoln Observed: Civil War Dispatches of Noah Brooks, (Johns Hopkins University Press), p. 147 - November 25, 1864 
  16. Λ Stanley Kimmel, 1857, Mr. Lincoln's Washington, (New York: Coward-McCann, Inc.), p. 157. 
  17. Λ Eadweard Muybridge: Defining Modernities
    (Accessed: 1 May 2014)
    Edward Ball, 2013, The Inventor and the Tycoon: A Gilded Age Murder and the Birth of Moving Pictures, (Random House) 
  18. Λ Publications by Étienne Jules Marey include - Étienne Jules Marey, 1878, La machine animale. Locomotion terrestre et aérienne, (Paris: Librairie Germer Baillière - Bibliothèque Scientifique Internationale); E.J. Marey, 23 November 1883, "The Physiological Station of Paris - I", Science, vol. II, no. 42, pp. 678-681; E.J. Marey, 30 November 1883, "The Physiological Station of Paris - II", Science, vol. II, no. 42, pp. 708-711; Étienne Jules Marey, 1890, Le vol des oiseaux, (G. Masson); Étienne Jules Marey, 1894, Le Mouvement, (G. Masson)
    Exhibition catalogue - 1977, E. J. Marey, 1830–1904: La Photographie du Mouvement, (Paris: Centre Georges Pompidou)
    Overview of the work of Étienne Jules Marey - Marta Braun, 1994, Picturing Time: The Work of Etienne-Jules Marey (1830–1904), (Chicago and London: The University of Chicago Press) 
  19. Λ Norman E. Tutorow, 2004, The Governor: The Life and Legacy of Leland Stanford, (The Arthur H. Clark Company), Two volumes. 
  20. Λ The work of Eadweard Muybridge is not credited in this book but he did do the photographs - J.D.B. Stillman, 1882, The Horse in Motion, As Shown by Instantaneous Photography, With a Study on Animal Mechanics, (Boston: James R. Osgood and Company)
    Eadweard Muybridge, 1893, Descriptive Zoopraxography or the Science of Animal Locomotion made popular, (University of Pennsylvania: Bureau of Education at the World's Columbian Exposition, in Zoopraxographical Hall); Eadweard Muybridge, 1925, Animals in Motion, (Chapman and Hall)
    Numerous contemporary illustrated descriptions appeared in magazines for example - May 1883, "Photographing Animals in Rapid Motion", The Manufacturer and Builder, vil 15, p. 106 
  21. Λ At the American Museum of Natural History in New York when Samuel Harmsted Chubb (1863-1949) mounted the skeleton racehorse Sysonby it clearly shows the influence of Eadweard Muybridge. See the 35mm colour slide of this. (American Museum of Natural History, Identifier: K13812) 
  22. Λ W., 7 January 1892, "Chronophotography, or, Photography as applied to Moving Objects", Nature, vol. 45, pp. 228-232 
  23. Λ Tipped-in - ILAB: International League of Antiquarian Booksellers
    (Accessed: 7 November 2013)
    Attached to, but not integral to the binding of the book. We usually use this term to indicate something that has been added: a letter from the author, a newspaper or magazine review or obituary, etc. The nature of what is tipped-in will determine whether this addition will enhance or devalue the book.
  24. Λ I. West Taber, 1880, The Taber photographic album of principal business houses, residences & persons (San Francisco: I. W. Taber) 
  25. Λ 1875, The Ottawa album, containing photographs and advertisements of the principal business houses, hotels and steamboats and local views (Ottawa), includes 61 tipped-in prints.
    William James Topley - Dictionary of Canadian Biography
    (Accessed: 28 November 2013) 
  26. Λ Thanks to Dan Weinstock for providing examples from the S[amuel] McMullin (Philadelphia) advertising album. 
  27. Λ Peter E. Palmquist, 1983, Carleton E. Watkins: photographer of the American West, (Albuquerque: University of New Mexico Press) 
  28. Λ A copy of this photograph is in the Bancroft Library, University of California, Berkeley. 
  29. Λ Arnold Genthe, 1936, As I Remember (Reynal & Hitchcock) 
  30. Λ Peter Palmquist, 1999, Dassonville: William E. Dassonville, California Photographer (1879-1957), (Carl Mautz Publishing) 
  31. Λ S. Ehrens, 1995, A Poetic Vision: The Photographs of Anne Brigman, (Santa Barbara: Santa Barbara Museum of Art) 
  32. Λ William Innes Homer, 1983, Alfred Stieglitz and the Photo-Secession, (New York: Little, Brown) 
  33. Λ Anne Brigman, 1949, Songs of a Pagan, (Caldwell, Idaho: Caxton Printers) 
  34. Λ Ansel Adams, 1981, Ansel Adams: Images, 1923–1974, (Boston: New York Graphic Society); Nancy Newhall, 1963, Ansel Adams: The Eloquent Light, (San Francisco: Sierra Club); Andrea G. Stillman, 2012, Looking at Ansel Adams: The Photographs and the Man, (Little, Brown and Company) 
  35. Λ Virginia Adams & Ansel Adams, 1946, Illustrated Guide to Yosemite Valley, (H. S. Crocker Co., Inc.), Third edition 
  36. Λ Virginia Adams & Ansel Adams, 1941, Michael and Anne in Yosemite Valley, (New York: Studio Publications) 
  37. Λ Ansel Adams, 1981, Ansel Adams: Images, 1923–1974, (Boston: New York Graphic Society); Nancy Newhall, 1963, Ansel Adams: The Eloquent Light, (San Francisco: Sierra Club); Andrea G. Stillman, 2012, Looking at Ansel Adams: The Photographs and the Man, (Little, Brown and Company) 
  38. Λ Point Lobos is now a State Natural Reserve and a U.S. National Landmark. 
  39. Λ Wildcat Hill was named because of the feral cats that roamed the locality and they were immortalised in - Charis Wilson & Edward Weston, 1947, The Cats of Wildcat Hill, (New York: Duell, Sloan and Pearce) 
  40. Λ Edward Weston, 1950, My Camera on Point Lobos; 30 Photographs and Excerpts from E. W.’s Daybook, (Boston: Houghton Mifflin) 
  41. Λ Edward Weston & Brett Weston, 2003, Dune, (Wild Horse Island Press) 
  42. Λ "Sand Dunes, Oceano, California", 1936, Edward Weston, Museum of Fine Art Boston, Accession number: 1983.169
    (Accessed: 25 March 2013)
  43. Λ "Dunes, Oceano", 1936, Edward Weston, Metrolpolitian Museum of Art NY, Ford Motor Company Collection, Gift of Ford Motor ompany and John C. Waddell, 1987 (1987.1100.129)
    (Accessed: 25 March 2013) 
  44. Λ Edward Weston married Charis Wilson on 24 April 1939 and she filed for divorce on 13 December 1946.
    See also - "Eloquent Nude: The Love and Legacy of Edward Weston and Charis Wilson", Documentary film. 
  45. Λ Lois Jordan, 1935, The work of the White Angel Jungle of San Francisco waterfront (Mother Lois Jordan Book Co.) 
  46. Λ Milton Meltzer, 2000, Dorothea Lange: A Photographer's Life, (Syracuse University Press) p. 286 
  47. Λ For a variant - Francis Bacon, 1815, The Works of Francis Bacon: Novum organum scientiarum, Volume 4 of The Works of Francis Bacon, (M. Jones), pp. 144-145 (Google Books)
    ...the contemplation of things, as they are in themselves, without substitution or imposture, error or confusion, is itself of greater dignity than all the benefits of invention.
  48. Λ For Max Yavno - Max Yavno, 1981, The Photography of Max Yavno (Berkeley, University of California Press). For his two early books on California - Max Yavno, 1948, The Book of San Francisco, (Houghton-Mifflin); Max Yavno, 1950, The Book of Los Angeles, (Houghton-Mifflin) 
  49. Λ Oral history interview with Lewis Baltz, 2009 November 15-17, Archives of American Art, Smithsonian Institution
    (Accessed: 27 June 2014) 
  50. Λ Last interview of Lewis Baltz with Jeff Rian - L'Oeil de la Photographie
    (Accessed: 8 December 2014) 
  51. Λ William A. Garnett - J. Paul Getty Trust
    (Accessed: 21 August 2013) 
  52. Λ William Garnett, 1996, William Garnett, Aerial Photographs, (University of California Press) 
  53. Λ Garnett Photographs - The Jay M. Garnett and Nancy J. Garnett Rev. Trust website.
    (Accessed: 21 August 2013) 
  54. Λ David Maisel, 2006, Oblivion, (Nazraeli Press) 
  55. Λ David Maisel (2006), Press release 
  56. Λ Lauren Greenfield, 1997, Fast Forward: Growing Up in the Shadow of Hollywood, (Knopf) 
  57. Λ Lauren Greenfield, 2002, Girl Culture, (Chronicle Books) 
  58. Λ Lauren Greenfield & Joan Jacobs Brumberg, 2006, Thin, (Chronicle Books) 
  59. Λ Philip-Lorca diCorcia & Peter Galassi, 1995, Philip-Lorca diCorcia, (New York: Museum of Modern Art; distributed by Abrams); Philip-Lorca diCorcia, 2003, A Storybook Life, (Santa Fe, NM: Twin Palms Publishers); Dennis Freedman (ed.) & Philip-Lorca diCorcia, 2011, Philip-Lorca diCorcia: Eleven, (Freedman Damiani); Philip-Lorca diCorcia, 2013, Hustlers, (Steidl) 
  60. Λ Rick Moody & Gregory Crewdson, 2002, Twilight: Photographs by Gregory Crewdson, (Abrams); Stephan Berg (ed.), 2005, Gregory Crewdson, 1985–2005, (Ostfildern-Ruit: Hatje Cantz); Gregory Crewdson & Russell Banks, 2008, Beneath the Roses, (Abrams); Gregory Crewdson & Craig Burnett, 2011, Gregory Crewdson: In a Lonely Place, (Abrams)


HomeContents > Further research

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General reading 
1994, Pictorialism in California: Photographs 1900–1940, (Malibu, CA: J. Paul Getty Museum; San Marino, CA: Henry E. Huntington Library and Art Gallery) [Δ
Lee, Anthony W., 2001, Picturing Chinatown: Art and Orientalism in San Francisco, (University of California Press) isbn-13: 978-0520225923 [Δ
Mautz, Carl, 1997, Biographies of Western Photographers. A Reference Guide to Photographers Working in the 19th Century American West, (Nevada City: Carl Mautz Publishing) [Δ
Palmquist, Peter, 1980, July, ‘The Daguerreotype in San Francisco‘, History of Photography, vol. 4, no. 3, pp. 207-238 [Δ
Readings on, or by, individual photographers 
Ansel Adams 
Adams, Ansel, 1927, Parmelian Prints of the High Sierras, (San Francisco: [letterpress printed by the Grabhorn Press] Jean Chambers Moore publisher) [Δ
Adams, Ansel, 1944, Born free and equal, photographs of the loyal Japanese-Americans at Manzanar Relocation Center, Inyo County, California, (New York: U.S. Camera) [Δ
Adams, Ansel, 1966, California: The Dynamic State, (McNally & Loftin Pub.) [Δ
Adams, Ansel, 1981, Ansel Adams: Images, 1923–1974, (Boston: New York Graphic Society) [Δ
Robinson, Gerald, 2002, Elusive Truth: Four Photographers at Manzanar, (Carl Mautz) isbn-10: 1887694242 [Ansel Adams, Clem Albers, Dorothea Lange and Toyo Miyatake] [Δ
Szarkowski, J., 2001, Adams at 100, (Boston: Bulfinch Press) [Δ
Robert Adams 
Adams, Robert, 1974, The New West: Landscape Along the Colorado Front Range, (Colorado: The Colorado Associated University Press) [Δ
Adams, Robert, 2008, The New West: Landscapes Along the Colorado Front Range, (New York: Aperture) [Δ
Clem Albers 
Robinson, Gerald, 2002, Elusive Truth: Four Photographers at Manzanar, (Carl Mautz) isbn-10: 1887694242 [Ansel Adams, Clem Albers, Dorothea Lange and Toyo Miyatake] [Δ
Lewis Baltz 
Baltz, Lewis, 1974, ‘Notes on Recent Industrial Developments in Southern California‘, Images, vol. 17, no. 2, pp. 1-10 [Δ
Baltz, Lewis, 1974, The New Industrial Parks near Irvine, California, ([New York]: [Leo Castelli/Castelli Graphics]) [Δ
William Dassonville 
Palmquist, Peter, 1999, Dassonville: William E. Dassonville, California Photographer (1879-1957), (Carl Mautz) isbn-10: 1887694161 isbn-13: 978-1887694162 [Δ
Robert Dawson 
Dawson, Robert & Brechin, Gray, 1999, Farewell, Promised Land: Waking From the California Dream, (Berkeley: University of California Press) [Δ
Philip-Lorca diCorcia 
diCorcia, Philip-Lorca, 2013, Hustlers, (Steidl) isbn-10: 3869306173 isbn-13: 978-3869306179 [Δ
George Robinson Fardon 
Fardon, George Robinson, 1856, Photographs of the Most Beautiful Views and Public Buildings of San Francisco [Δ
Fardon, George Robinson & Fraenkel, Jeffrey, 1999, George Robinson Fardon. San Francisco Album: Photographs of the Most Beautiful Views and Public Buildings, (San Francisco: Fraenkel Galleries, Hans P. Kraus, Jr. and Chronicle Books) isbn-10: 0811826309 isbn-13: 978-0811826303 [Δ
George Fiske 
Hickman, Paul & Pitts, Terence, 1980, George Fiske: Yosemite Photographer, (Flagstaff: Northland Press) [Δ
William A. Garnett 
Garnett, William, 1996, William Garnett: Aerial Photographs, (University of California Press) isbn-10: 0520083482 isbn-13: 978-0520083486 [Δ
Arnold Genthe 
Genthe, Arnold, 1936, As I Remember, (Reynal & Hitchcock) [Δ
Genthe, Arnold & Tchen, John Kuo Wei, 1984, Genthe's Photographs of San Francisco's Old Chinatown, (Dover Publications) isbn-10: 0486245926 isbn-13: 978-0486245928 [Δ
Dorothea Lange 
Robinson, Gerald, 2002, Elusive Truth: Four Photographers at Manzanar, (Carl Mautz) isbn-10: 1887694242 [Ansel Adams, Clem Albers, Dorothea Lange and Toyo Miyatake] [Δ
Lawrence & Houseworth 
Lawrence & Houseworth, 1866, Gems of California Scenery. Catalogue of Views Photographed and Published by Lawrence & Houseworth, Opticians, 317 & 319 Montogomery Street, San Francisco, (San Francisco: Lawrence & Houseworth) [Third edition] [Δ
Fred Lyon 
Lyon, Fred, 2014, San Francisco: Portrait Of A City 1940 -1960, (Princeton Architectural Press) [Δ
Richard Misrach 
Michrach, Richard, 2001, Golden Gate, (Arena Editions) [Δ
Misrach, Richard, 1974, Telegraph 3 A.M. - The Street People of Telgraph Avenue, Berkeley, California, (Berkeley, CA: Cornucopia Press) [Δ
Toyo Miyatake 
Robinson, Gerald, 2002, Elusive Truth: Four Photographers at Manzanar, (Carl Mautz) isbn-10: 1887694242 [Ansel Adams, Clem Albers, Dorothea Lange and Toyo Miyatake] [Δ
Eadweard Muybridge 
Ball, Edward, 2013, The Inventor and the Tycoon: A Gilded Age Murder and the Birth of Moving Pictures, (Doubleday) isbn-10: 0385525753 isbn-13: 978-0385525756 [Δ
Harris, David, 1993, Eadweard Muybridge and the Photographic Panorama of San Francisco, 1850-1880, (Canadian Center for Architecture/Cambridge, MA: MIT Press) [Δ
Herbert, Stephen (ed.), 2004, Eadweard Muybridge: The Kingston Museum Bequest, (Hastings: Projection Box) [Δ
Hill, Paul, 2004, ‘The Panorama of San Francisco from California Street Hill‘, in Stephen Herbert ed. (2004), Eadweard Muybridge: The Kingston Museum Bequest, (Hastings, Projection Box) [Δ
Beaumont Newhall 
Newhall, Beaumont, 1986, Supreme Instants: The Photography of Edward Weston, (Boston: New York Graphic Society) [Δ
Nancy Newhall 
Newhall, Nancy (ed.), 1973, The Daybooks of Edward Weston: Volume 2, California, (Millerton, NY: Aperture) [Δ
Paul Outerbridge 
Howe, Graham; Ewing, William & Prodger, Phillip, 2009, Paul Outerbridge: New Color Photographs from Mexico and California, 1948-1955, (Nazraeli Press) isbn-13: 978-1590052617 [Δ
Arthur Clarence Pillsbury 
Pillsbury, Arthur C., 1921, ‘Photography in Yosemite National Park‘, in Handbook of Yosemite National Park [Δ
Edward Ruscha 
Ruscha, Edward, 1965, Some Los Angeles Apartments, (Los Angeles: Anderson, Ritchie & Simon) [Δ
Ruscha, Edward, 1966, Every Building on the Sunset Strip, (Los Angeles: Edward Ruscha) [Δ
Wolf, Sylvia, 2004, Ed Ruscha and Photography, (Göttingen, Germany: Steidl Verlag) [Δ
Julius Shulman 
Lubell, Sam & Woods, Douglas, 2011, Julius Shulman Los Angeles: The Birth of a Modern Metropolis, (Rizzoli) isbn-10: 0847835480 isbn-13: 978-0847835485 [Δ
Rosa, Joseph, 2008, A Constructed View: The Architectural Photography of Julius Shulman, (Rizzoli) isbn-10: 0847817776 isbn-13: 978-0847817771 [Δ
Stern, Michael & Hess, Alan, 2008, Julius Shulman: Palm Springs, (Rizzoli) isbn-10: 0847831132 isbn-13: 978-0847831135 [Δ
I.W. Taber 
Bonnett, Linda & Bonnett, Wayne, 2004, Taber, a photographic legacy, 1870-1900, (CA: Sausalito: Windgate Press) isbn-10: 091526921X isbn-13: 978-0915269211 [Introduction by Gary F. Kurutz] [Δ
Taber, I.W., 188?, Hints to Strangers: Where to go while in California [Δ
Taber, I.W., 18??, Scenery on the San Francisco and North Pacific and Sonoma Valley Railroads, California., (San Francisco?) [Δ
Taber, Isaiah West, 1884, California scenery & industries, (CA, San Francisco: Taber) [Δ
Taber, Isaiah West, 1894, The "Monarch" souvenir of Sunset City and sunset scenes : being views of California Midwinter Fair and famous scenes in the Golden State : a series of pictures, (CA, San Francisco: H.S. Crocker) [Δ
Taber, Isaiah West, 1894, 1st June - 30th June, California Medwinter International Exposition San Francisco, California [Δ
Taber, I[saiah] W[est], 1889, Catalogue, Alaska To Mexico. Pacific Coast Scenery. Views, Albums, Transparencies, Etc, (CAL, San Francisco: Taber) [No. 8 Montgomery St. - Copy in Bancroft LIbrary] [Δ
Robert H. Vance 
Palmquist, Peter E., 1978, ‘Robert H. Vance: First Photographer of California Indians?‘, The Journal of California Anthropology, vol. 5, no. 1, pp. 113-114 [Δ
Vance, R.H., 1851, Catalogue of Daguerreotype Panoramic Views in California on Exhibition at No. 349 Broadway, (Opposite the Carleton House), (New York: Self-Published, Baker, Godwin & Company, Printers) [Δ
Carleton E. Watkins 
Fels, Thomas Weston, 1983, Carleton Watkins, photographer: Yosemite and Mariposa views from the collection of the Park McCullough House, North Bennington, Vermont, June 11-September 5, 1983, (Sterling and Francine Clark Art Institute) [Δ
Johnson, J.W., 1960, The Early Pacific Coast Photographs of Carleton E. Watkins, (Water Resources Center, University of California) [Δ
Naef, Weston, 2009, Carleton Watkins in Yosemite, (J. Paul Getty Museum) isbn-10: 0892369450 isbn-13: 978-0892369454 [Δ
Naef, Weston & Hult-Lewis, Christine, 2011, Carleton Watkins: The Complete Mammoth Photographs, (J. Paul Getty Museum) isbn-10: 1606060058 isbn-13: 978-1606060056 [Δ
Nickel, Douglas R.; Hambourg, Maria Morris & Palmquist, Peter E., 1999, Carleton Watkins: The Art of Perception, (San Francisco: San Francisco Museum of Modern Art) [Δ
Watkins, Carleton, 2014, Carleton Watkins: The Stanford Albums, (Stanford University Press) isbn-10: 0804792151 isbn-13: 978-0804792158 [Δ
C.L. Weed 
Palmquist, Peter, 1979, ‘California's Peripatetic Photographer, Charles Leander Weed‘, California History, vol. 58, no. 3 [Δ
Weegee & Harris, Mel, 1953, Naked Hollywood, (New York: Pellegrini & Cudhay) [Δ
Edward Weston 
Danly, Susan & Naef, Weston, 1986, Edward Weston in Los Angeles, (San Marino: Huntington Library and Art Gallery) [Δ
Newhall, Beaumont, 1986, Supreme Instants: The Photography of Edward Weston, (Boston: New York Graphic Society) [Δ
Newhall, Nancy (ed.), 1973, The Daybooks of Edward Weston: Volume 2, California, (Millerton, NY: Aperture) [Δ
Weston, Edward, 1950, My Camera on Point Lobos, (Yosemite National Park, CA: Virginia Adams; Boston: Houghton Mifflin Co.) [Δ
Wilson, Charis & Weston, Edward, 1940, California and the West, (New York: Duell, Sloan and Pearce) [Δ
Max Yavno 
Yavno, Max, 1948, The San Francisco Book, (Houghton-Mifflin) [Text by Herb Caen] [Δ
Yavno, Max, 1950, The Los Angeles Book, (Houghton-Mifflin) [Text by Lee Shippey] [Δ
Yavno, Max & Maddow, Ben, 1981, Photography of Max Yavno, (University of California Press) isbn-13: 978-0520044180 [Δ
If you feel this list is missing a significant book or article please let me know - Alan - 

HomeContentsPhotographers > Photographers worth investigating

Ansel Adams  (1902-1984) • Lewis Baltz  (1945-2014) • Elias A. Bonine  (1843-1916) • Bradley & Rulofson • George Robinson Fardon  (1807-1886) • William A. Garnett  (1916-2006) • Katy Grannan • John Gutmann  (1905-1998) • Anthony Hernandez  (1947-) • Don Jim  (check) • George R. Lawrence  (1868-1938) • Lawrence & Houseworth • Fred Lyon • Oscar Maurer  (1871-1965) • Chris McCaw  (1971-) • Eadweard Muybridge  (1830-1904) • Rondal Partridge  (1917-) • Arthur Clarence Pillsbury  (1870-1946) • Michael Rauner • William Rulofson  (1826-1878) • Edward Ruscha  (1937-) • Wyland Stanley • Joseph B. Starkweather • I.W. Taber  (1830-1912) • Robert H. Vance  (1825-1876) • Carleton E. Watkins  (1829-1916) • Brett Weston  (1911-1993) • Edward Weston  (1886-1958) • Max Yavno  (1911-1985)
HomeGeographical regionsNorth and Central AmericaUSA > California 
A wider gazeRelated topics 

HomeContentsOnline exhibitions > California

Please submit suggestions for Online Exhibitions that will enhance this theme.
Alan -

ThumbnailGeorge Robinson Fardon: San Francisco Album. Photographs of the Most Beautiful Views and Public Buildings of San Francisco 
Title | Lightbox | Checklist
Released (December 8, 2007)
ThumbnailJoseph Selle's Fox Movie Flash: Mid-Century Street Vendor Photography 
Title | Lightbox | Checklist
Released (November 14, 2006)
ThumbnailLauren Greenfield: Girl Culture 
Title | Lightbox | Checklist
Released (December 6, 2007)
ThumbnailRondal Partridge 
Title | Lightbox | Checklist
Released (September 27, 2007)
ThumbnailWilliam Dassonville 
Title | Lightbox | Checklist
Released (October 8, 2006)

HomeVisual indexes > California

Please submit suggestions for Visual Indexes to enhance this theme.
Alan -

ThumbnailSeth Kinman: California hunter 
ThumbnailAnsel Adams: Coffee Can 
About this photographer | Photographs by this photographer 
ThumbnailAnsel Adams: Illustrated Guide to Yosemite Valley (1946) 
About this photographer | Photographs by this photographer 
ThumbnailAnsel Adams: Manzanar Relocation Center 
About this photographer | Photographs by this photographer 
ThumbnailArnold Genthe: Chinatown 
About this photographer | Photographs by this photographer 
ThumbnailArnold Genthe: San Francisco: Earthquake and fire (1906) 
About this photographer | Photographs by this photographer 
ThumbnailCarleton E. Watkins: View from Glacier Point [Yosemite] 
About this photographer | Photographs by this photographer 
ThumbnailEadweard Muybridge: USA: CA: Yosemite 
About this photographer | Photographs by this photographer 
ThumbnailEdward Weston: Point Lobos 
About this photographer | Photographs by this photographer 
ThumbnailGeorge Fiske: Yosemite 
ThumbnailJudy Dater: Imogen Cunningham and Twinka, Yosemite 
About this photographer | Photographs by this photographer 
ThumbnailKeystone View Company: The Fallen Monarch, Mariposa Grove, Yosemite Valley, Cal [California]. U.S.A. 
About this photographer | Photographs by this photographer 
ThumbnailLawrence & Houseworth: Gems of California Scenery 
About this photographer | Photographs by this photographer 
ThumbnailLewis Baltz: New Industrial Parks 
About this photographer | Photographs by this photographer 
ThumbnailMax Yavno: San Francisco 
About this photographer | Photographs by this photographer 
ThumbnailUnderwood and Underwood: Burned cable cars, San Francisco, Cal. 
About this photographer | Photographs by this photographer 
ThumbnailWalker & Fagersteen: From Glacier Point 3,200 feet above Yosemite Valley Cal. 
ThumbnailWalker & Fagersteen: Glacier Point 3,200 feet above Yosemite Valley from the Merced River Cal. 
ThumbnailWalker & Fagersteen: Yosemite Valley, California 
ThumbnailWilliam A. Garnett: Aerial views of California 
About this photographer | Photographs by this photographer 
ThumbnailWilliam Dassonville: Trees and the San Francisco skyline 
About this photographer | Photographs by this photographer 
ThumbnailWilliam Shew: Shew's Daguerreian Saloon, San Francisco 
ThumbnailAlvin Langdon Coburn - Ansel Adams 
ThumbnailCarleton E. Watkins - William Henry Jackson 
ThumbnailClem Albers - William A. Garnett 
ThumbnailWalker & Fagersteen - E.O. Hoppé 
ThumbnailDocumentary: Earthquakes: San Francisco earthquake (1868) 
ThumbnailDocumentary: Earthquakes: San Francisco earthquake and fire (1906) 
ThumbnailDocumentary: Earthquakes: San Francisco, Howard St. 
ThumbnailWar: Second World War (1939-1945): Internment camps 
ThumbnailUSA: California: Cliff House 
ThumbnailUSA: California: Point Lobos 
ThumbnailUSA: California: San Francisco: Golden Gate Bridge 
ThumbnailUSA: California: Yosemite: Agassiz Column 
ThumbnailUSA: California: Yosemite: Bridalveil Fall 
ThumbnailUSA: California: Yosemite: El Capitan 
ThumbnailUSA: California: Yosemite: Glacier Point 
ThumbnailUSA: California: Yosemite: Half Dome 
ThumbnailUSA: California: Yosemite: Inspiration Point 
ThumbnailUSA: California: Yosemite: Mariposa 
ThumbnailUSA: California: Yosemite: Mirror Lake 
ThumbnailUSA: California: Yosemite: Nevada Falls 
ThumbnailUSA: California: Yosemite: Sentinal Rock 
ThumbnailUSA: California: Yosemite: The Three Brothers 
ThumbnailUSA: California: Yosemite: Vernal Falls 
ThumbnailUSA: California: Yosemite: Visitors 
ThumbnailUSA: California: Yosemite: Yosemite Falls 
ThumbnailUSA: California: Yosemite: Yosemite valley and the Merced River 
   Still thinking about these... 
ThumbnailAdams & Co. Express and Banking Office San Francisco exchange check 
ThumbnailBig Tree, Mother of the Forest. Diam. 26 feet. Calavarus [i.e. Calaveras] Co., Cal [California]. 
ThumbnailDescription of Prisoners Received at the California State Prison, May 1909-December 1914 
ThumbnailNotion Company's Works, California 
ThumbnailUSA: California: Yosemite: Postcards 
Refreshed: 20 January 2015, 02:52
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