Introduction |
9.01 | Introduction to the portrait |
9.02 | Early examples of portraiture |
9.03 | Early stylistic choices with portraiture |
Having a portrait taken |
9.04 | Portrait factory on Broadway, New York |
9.05 | Visit to Plumbe's Gallery, New York (1846) |
9.06 | Daguerreotypes: Occupations and roles |
9.07 | Daguerreotypes: Occupations and roles of women |
9.08 | Interesting group posed for a Daguerreotype by a friend of the family / Interesting and valuable result (1855) |
9.09 | Letter from W.L. Marcy, Secretary of War, to Major General Z. Taylor, Commanding Army of Occupation, Monterey, Mexico (5 October 1846) |
Guidelines for sitters |
9.10 | Introduction for guidelines for sitters |
9.11 | Guidelines for sitters - Southworth & Hawes (1852) |
9.12 | Albert S. Southworth: Suggestions to Ladies Who Sit for Daguerreotypes (1854 and 1855) |
9.13 | Guidelines for sitters - Mons. Blume (Ireland) |
9.14 | William Notman: Photography. Things You Ought to Know (1866) |
9.15 | Guidelines for sitters - Jesse Gostick (1860) |
9.16 | Tintype: Hints for dress |
9.17 | Guidelines for sitters on cartes de visite |
9.18 | Hints to Sitters and Visitors - Ross' Photographic Gallery, Petaluma, California (1886) |
9.19 | Hints to Sitters - Newcombe & Baird, Halifax, Nova Scotia (1888) |
9.20 | Guidelines for sitters - American Journal of Photography (1890) |
9.21 | When being Photographed (1896) |
Sitting for photography |
9.22 | Photographs taken during the same sitting |
Complaints about quality |
9.23 | Complaints about portraiture |
The risks of portraiture |
9.24 | The risks of portraiture to the sitter and the photographer |
Daguerreotype portraits |
9.25 | W. & F. Langenheim: Daguerreotype portraits |
9.26 | Robert Cornelius: Daguerreotype portraits |
9.27 | Jeremiah Gurney: Daguerreotype portraits |
9.28 | Samuel Broadbent: Daguerreotype portraits |
9.29 | Southworth and Hawes: Daguerreotype portraits |
9.30 | Rufus P. Anson: Daguerreotype portraits |
9.31 | J.E. Mayall: Daguerreotype portraits |
9.32 | Antoine Claudet: Daguerreotype portraits |
9.33 | William Edward Kilburn: Daguerreotype portraits |
9.34 | Richard Beard: Daguerreotype portraits |
9.35 | Louis-Adolphe Humbert de Molard: Daguerreotype portraits |
9.36 | J.T. Zealy: African American slaves |
9.37 | Lorenzo G. Chase: Anthropological studies |
Salt print portraits |
9.38 | Salt prints: Portraits |
9.39 | Hill & Adamson: Portraits |
Ambrotype portraits |
9.40 | Ambrotypes: Portrait |
9.41 | Japanese ambrotypes |
Studio portraits |
9.42 | Nadar: Portraits |
9.43 | Studio portraits in North Africa and the Middle East |
The "Artistic" portrait |
9.44 | The "artistic" portrait |
9.45 | Julia Margaret Cameron (1815-1879): Portraits |
9.46 | Lady Clementina Hawarden: Photographic studies |
So few smiles |
9.47 | Smiling in photography |
The "helping hand" and the "hidden mother" |
9.48 | The "helping hand", "hidden mother" and "hidden father" portraits |
Front and back views |
9.49 | Front and back view portraits |
Carte de visite portraits |
9.50 | Introduction to cartes de visite portraits |
9.51 | André Adolphe-Eugène Disdéri: Uncut carte de visite sheets |
9.52 | Cartes de visite: Celebrities |
9.53 | Giuseppe Garibaldi |
9.54 | Camille Silvy: Carte de visite portraits |
Cabinet card portraits |
9.55 | Cabinet cards: Portraits |
9.56 | Cabinet cards: Celebrities |
9.57 | Thomas Houseworth: Houseworth's Celebrities |
Tintype portraits |
9.58 | Tintypes: Portraits |
9.59 | Tin Type Album: Little gem tintypes |
Galleries of the famous |
9.60 | Introduction to galleries of the famous |
Galleries of the famous |
9.61 | Thompson Cooper, Lock & Whitfield: Men of Mark (1876-1883) |
9.62 | Lock and Whitfield (attributed): The Theatre (1877-1897) |
9.63 | Galerie Contemporaine, Litteraire, Artistique |
9.64 | Nadar: Galerie Contemporaine, Littéraire, Artistique |
9.65 | Paris - Artiste |
9.66 | Paris-Theatre / Paris-Portrait |
9.67 | Figaro-Album |
9.68 | Herbert Rose Barraud: Portraits |
Pictorialism |
9.69 | Pictorialism and the portrait |
9.70 | Pictorialism and the innocence of children |
9.71 | Clarence H. White: Portraits |
The start of the colour portrait |
9.72 | Autochromes: Portrait |
Modernism and the portrait |
9.73 | The move from Pictorialism to Modernism in portraiture |
9.74 | August Sander: Portraits |
9.75 | Helmar Lerski: Portraits |
9.76 | Erwin Blumenfeld: The concealed portrait |
The portraiture of celebrity |
9.77 | Yousuf Karsh: Portraits |
Vernacular portraits |
9.78 | Photobooth portraits |
9.79 | Mike Disfarmer: Heber Springs portraits |
9.80 | Joseph Selle's Fox Movie Flash: Mid-Century Street Vendor Photography |
Bust portraits |
9.81 | Bust portraits |
Humanistic portraiture |
9.82 | The Family of Man Exhibition (1955) |
9.83 | Gabriele and Helmut Nothhelfer: The first exhibition "Bali-Kino" Berlin (October 1974) |
9.84 | Gabriele and Helmut Nothhelfer: What‘s our Concern with Strangers? |
Diversity in portraiture |
9.85 | Photographers who photograph representations of people |
Post-modernism |
9.86 | Philip-Lorca diCorcia: Street hustlers |
9.87 | Ruud van Empel: Portraits |
9.88 | The contemporary portrait |
Defacing portraits |
9.89 | The defacing and destruction of portraits |
Conclusions |
9.90 | Keeping abreast of changes in portraiture |