Contents
| 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)
      
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
                               
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.
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.
444.04 North and Central America > Arnold Genthe: Chinatown
About this photographer | Photographs by this photographer
        
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.
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.
Genthe, Arnold, 1936, As I remember, (Reynal & Hitchcock), p. 32
"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."
Genthe, Arnold, 1936, As I remember, (Reynal & Hitchcock), p. 33
Arnold Genthe lost most of his early work in the San Francisco Fire of 1906.
444.05 North and Central America > California: Cliff House
           
444.06 North and Central America > California: Point Lobos
     
444.07 North and Central America > California: Yosemite: Yosemite valley and the Merced River
                           
444.08 North and Central America > California: Yosemite: Glacier Point
           
The Great Outdoors
444.09 North and Central America > Carleton Watkins and the Yosemite Valley (California, USA)
About this photographer | Photographs by this photographer
              Could not access file: http://www.luminous-lint.com/imagevault/html_1501_2000/1918L30897_thm.jpg     
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.
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. 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.
444.10 North and Central America > Seth Kinman: California hunter
 
Capturing movement
444.11 North and Central America > Eadweard Muybridge: Experimental establishments
About this photographer | Photographs by this photographer
      
San Francisco Earthquake (1868)
444.12 North and Central America > Earthquake: San Francisco (1868)
 
San Francisco advertising album (1880)
444.13 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
   
San Francisco Earthquake and Fire (1906)
444.14 North and Central America > USA, California, San Francisco earthquake and fire - 1906
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.
444.15 North and Central America > USA, California, San Francisco earthquake and fire - 1906 - The photographers
       
The photographers who covered the San Francisco earthquake and fire of 1906 included:
- Arnold Genthe who included a description of the fire in his 1936 autobiography As I Remember (Reynal & Hitchcock, 1936).
- Edward A. "Doc" Rogers - San Francisco Morning Call
- George Parmentier, Harry Coleman - both of the San Francisco Examiner
- George Haley - 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.
Ansel Adams and the American perception of sublime nature
444.16 North and Central America > Ansel Adams and Straight landscape photography
About this photographer | Photographs by this photographer
   
Ansel Adams (1902-1984), 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. 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.
444.17 North and Central America > Ansel Adams
About this photographer | Photographs by this photographer
   
Ansel Adams 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
444.18 North and Central America > Edward Weston: Point Lobos
About this photographer | Photographs by this photographer
 
444.19 North and Central America > Edward Weston: Dunes
About this photographer | Photographs by this photographer
  
The Great Depression
444.20 North and Central America > Dorothea Lange: White Angel Breadline, San Francisco
About this photographer | Photographs by this photographer
  
The photograph was taken at the White Angel Jungle, a soup kitchen for San Francisco's jobless during the 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:
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.
Milton Meltzer "Dorothea Lange: A Photographer's Life" (Syracuse University Press, 2000) p.286
Lois Jordan The work of the White Angel Jungle of San Francisco waterfront (Mother Lois Jordan Book Co., 1935)
Internment in California
444.21 North and Central America > Internment camps in the USA during the Second World War
           
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
444.22 North and Central America > Joseph Selle's Fox Movie Flash: Mid-Century Street Vendor Photography
About this photographer | Photographs by this photographer
                                             
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.]
Ed Ruscha and the Artist's book
444.23 North and Central America > Ed Ruscha: Self-published books
About this photographer | Photographs by this photographer
            
444.24 North and Central America > Ed Ruscha: Royal Road Test
About this photographer | Photographs by this photographer
444.25 North and Central America > Ed Ruscha: Every Building on Sunset Strip
About this photographer | Photographs by this photographer
444.26 North and Central America > Ed Ruscha: Thirtyfour Parking Lots in Los Angeles
About this photographer | Photographs by this photographer
 
New Topographics
444.27 North and Central America > Lewis Baltz: New Industrial parks near Irvine, California (1974)
About this photographer | Photographs by this photographer
   
Aerial photography of California
444.28 North and Central America > William A. Garnett: Aerial views of California
About this photographer | Photographs by this photographer
      
444.29 North and Central America > William A. Garnett: Aerial views of Californian suburbia
About this photographer | Photographs by this photographer
  
444.30 North and Central America > David Maisel: Oblivion
About this photographer | Photographs by this photographer
                
Contemporary culture
444.31 North and Central America > Lauren Greenfield: Girl Culture
About this photographer | Photographs by this photographer
                   
444.32 North and Central America > Philip-Lorca diCorcia: Street hustlers
About this photographer | Photographs by this photographer
    
Some series from the work of Philip-Lorca diCorcia 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 mean that there is intentionality as the location was selected, lighting set up and the shot framed before the subject arrived. In one series 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.
alan@luminous-lint.com |
    
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]
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]
Szarkowski, J., 2001, Adams at 100, (Boston: Bulfinch Press) [Δ]
Robert Adams
Adams, Robert, 1974, The New West: Landscape Along the Colorado Front Range, (The Colorado Associated University Press) [Δ]
Adams, Robert, 2008, The New West: Landscapes Along the Colorado Front Range, (New York: Aperture) [Δ]
Lewis Baltz
Baltz, Lewis, 1974, The New Industrial Parks near Irvine, California, ([New York]: [Leo Castelli/Castelli Graphics]) [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]
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]
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]
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]
Beaumont Newhall
Newhall, B., 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]
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]
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]
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]
C.L. Weed
Palmquist, Peter, 1979, ‘California's Peripatetic Photographer, Charles Leander Weed‘, California History, vol.58, no.3 [Δ]
Weegee
Weegee & Harris, Mel, 1953, Naked Hollywood, (New York: Pellegrini & Cudhay) [Δ]
Edward Weston
Newhall, B., 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]
If you feel this list is missing a significant book or article please let me know - Alan - alan@luminous-lint.com
Ansel Adams (1902-1984) • Lewis Baltz (1945-) • Elias A. Bonine (1843-1916) • Bradley & Rulofson • George Robinson Fardon (1807-1886) • William A. Garnett (1916-2006) • Anthony Hernandez (1947-) • Don Jim (1922-2006) • George R. Lawrence (1868-1938) • Lawrence & Houseworth • Fred Lyon • Chris McCaw (1971-) • Rondal Partridge (1917-) • Michael Rauner • William Rulofson (1826-1878) • Edward Ruscha (1937-) • Wyland Stanley • Joseph B. Starkweather • I.W. Taber (1830-1912) • Robert H. Vance (1825-1876) • Brett Weston (1911-1993) • Edward Weston (1886-1958) | Home > Geographical regions > North and Central America > USA > California
A wider gazeRelated topics
f/64
|
|
