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| 1. |  | Daniele Buetti 2004 is everything true just as it is? Australian Centre for Photography Courtesy Conny Dietzschold Gallery, Sydney/Köln |
| 2. |  | Huntington Witherill 2003 Amaryllis #1 Archival pigment ink print 20 x 28 in, 14 x 20 in Verve Gallery of Photography (CLOSED - 2017) © Huntington Witherill - Courtesy of Verve Fine Arts Gallery 20 x 28", Edition of 15 14 x 20", Edition of 125 |
| 3. |  | Emile Joachim Constant Puyo 1900 (ca) Eventail Photogravure 3 15/16 x 9 5/8 in Lee Gallery Courtesy of Lee Gallery (Z1458) "L'Art Photographique" blindstamp, l.r. recto, |
| 4. |  | Sgt. 1st Class Johancharles Van Boers 2004, 16 November The glow from a fire illuminates a Bradley Fighting Vehicle from the 2nd Brigade Combat Team, 1st Cavalry Division, as Soldiers mop up remaining pockets of insurgents in Fallujah, Iraq. This photo appeared on www.army.mil Digital photograph U.S. Army Photo Courtesy of U.S. Army |
| 5. |  | Gertrude Käsebier 1905 (ca) Portrait of a Woman 0il transfer or gum print, red-toned 7.25 x 5.75 in (184 x 146 mm) Charles Isaacs Photographs, Inc Courtesy of Charles Isaacs (u1058c) |
| 6. |  | Harold E. Edgerton 1939 Football Kick Dye transfer print h: 16.6 x w: 14 in / h: 42.2 x w: 35.6 cm Etherton Gallery Signed verso |
| 7. |  | Leora Laor 2003 Image of Light #12 [Image of Light] Lambda print 18 x 24 / 24 x 30 Andrea Meislin Gallery |
| 8. |  | Patrick Nagatani 1993 El Nadador/Nacimiento Ilfo Color print 30 x 40 Andrew Smith Gallery |
| 9. |  | Roger Camp 1995 Water Music 29 [Water Music] Cibachrome print 20 x 30 in Provided by the artist - Roger Camp |
| 10. |  | Richard Caldicott n.d. Untitled = 165 Cibachrome print 50 x 40 Ariel Meyerowitz Gallery |
| 11. |  | Ellen Carey 2007 Untitled (034) Polaroid 20 x 24 in (Polaroid) 24 x 22 in (image) 34 x 22 in (paper) JHB Gallery |
| 12. |  | Burton Pritzker n.d. Untitled [Paper constructions] Color print Provided by the artist - Burton Pritzker |
| 13. |  | Jack Welpott 1980-1993 Tri-Color Separation Dye transfer print 7 5/16 x 7 7/16 Barry Singer Gallery |
| 14. |  | Andres Serrano 1987 Piss Christ Dye-destruction print 60 x 40 ins Source requested © Andres Serrano. Courtesy Yvon Lambert New York, Paris Serrano walks the line between the sacred and the sensational in images such as Piss Christ and his recent The History of Sex. Serrano has stated that: "I think God created the body for a reason and we were meant to exploit it." Andres Serrano in Richard Goldstein, "The Taboo Artist," The Village Voice, vol. XLII, no. 10 (March 11, 1997), 51. |
| 15. |  | Terry King n.d. The south aisle of Chichester Cathedral Autotype carbon tissue print Provided by the artist - Terry King A significant problem was that, as working methods had not been well enough established to give consistent quality, many albumen prints faded. Other methods than those using silver salts were looked for. The first successful commercial method of making non-silver prints was Swan's carbon print of 1864 that was first marketed by the Autotype Company that continued to make carbon tissue until 2009. At the end the tissue was made for the copper plate gravure process. Carbon referred to the carbon black pigment originally used as the pigment where the varying thickness of dichromated gelatine gave the gradations in the print. The print here was made using Autotype carbon tissue for gravure. The process gives probably the best results of any photographic printing process and it will accept negatives of a density range of up to 2.8. The pigment, iron oxide, discolours as the copper plate is etched. As it gives the burnt sienna of renaissance drawings, I am happy to use it. |
| 16. |  | Richard Ehrlich 2002 Namibia Landscape, Plate #NL5 Archival Epson print 30 x 40 Bonni Benrubi Gallery |
| 17. |  | Kate Breakey 1998 Northern Cardinal II Print, hand-painted Catherine Edelman Gallery |
| 18. |  | Robert Stivers 1997 Red Dogs Cibachrome print Catherine Edelman Gallery |
| 19. |  | Vernon Fisher 2000 Wonder Acrylic on canvas 60 x 66 Charles Cowles Gallery, Inc |
| 20. |  | Ernst Haas 1980 Rote Tulpen, Japan Dye transfer print Galerie Zur Stockeregg © The Ernst Haas Estate - Used with permission |
| 21. |  | Sandy Skoglund 1994 The Wedding Cibachrome 38 x 48 in Fay Gold Gallery |
| 22. |  | Jeffrey Becom 1992 Red Door, San Cristobal Totonicapßn, Totonicapßn, Guatemala Ilfochrome print Various Provided by the artist - Jeffrey Becom © Jeffrey Becom |
| 23. |  | Jan Henle 1991-1994 La Jibarita IV Silver dye bleach print 194.3 x 204.5 cm (76 1/2 x 80 1/2 in) Metropolitan Museum of Art Purchase, The Howard Gilman Foundation Gift, 1994 (1994.269) © Jan Henle |
| 24. |  | 2000, 6 October Washington, D.C. NASA Terra/ASTER image NASA NASA GSFC, MITI, ERSDAC, JAROS, and U.S./Japan ASTER Science Team (Visible Earth v1 ID 5369) |
| 25. |  | Victor Keppler 1951 Camel cigarette advertisement - woman in convertible Color print, assembly (Carbro) process 31.5 x 46.6 cm George Eastman Museum Gift of 3M Company: ex-collection Louis Walton Sipley (GEH NEG: 31351, 77:0292:0027) |
| 26. |  | David Douglas Duncan 1963, May Late afternoon strollers: Champs-Elysees [Prismatics] Harry Ransom Humanities Research Center at the University of Texas at Austin © David Douglas Duncan, Harry Ransom Research Center - The University of Texas |
| 27. |  | Hans-Christian Schink 2002 LA Night #1 Ace Gallery - Los Angeles Photograph Courtesy of Ace Gallery, Los Angeles; Los Angeles Institute of Contemporary Art Photo Synthesis Colin Westerbeck Hans-Christian Schink studied photography in Leipzig in the 1980s "East German times," he says and came to Los Angeles in 2002 for a residency at Villa Aurora, the Pacific Palisades landmark and foundation dedicated to German American cultural exchange. Like the wartime refugees who had bought the villa, Schink found the city surpassingly strange. His photographs reveal the degree to which he couldn't reconcile the impressions Los Angeles had left on him . On the one hand, he went to the desolate city limits at high noon and made views that were almost blinded by the light blown-out pictures he took with a large-format camera. On the other, he photographed the heart of the city in the dead of night with a hand camera. These images were panoramic despite their tiny negatives. When he printed them, he enlarged the film and then enlarged the enlargement until he was working with only a one-centimeter square of the original negative. The example above is so grainy that you can hardly discern the back of a car at a traffic light. L.A. is like that, Schink feels: The harder you stare at it, the more it dissolves before your eyes. [Originally published in West Magazine : February 19, 2006 p.13] |
| 28. |  | Luc Janssens 2006 (ca) Untitled [Tokyo] Photogravure Provided by the artist - Luc Janssens |
| 29. |  | Christian Patterson 2003, April Memphis, TN, April 2003 (Seagram's Seven) [Sound Affects] C-print 24 x 36 in Provided by the artist - Christian Patterson © Christian Patterson The edition includes 24 x 36-inch c-prints, in an edition of 10 with two artist proofs; AND 50 x 60-inch c-prints, in an edition of 5 with one artist proof. |
| 30. |  | Mary Ann Lynch 2000 Red Pyramid Provided by the artist - Mary Ann Lynch © Mary Ann Lynch, 2000 Diana camera image mde with Tri-X 400 black-and-white film, and printed on chromogenic (color) paper. |
| 31. |  | Krijn van Noordwijk n.d. PANL Members Award Color print Provided by the artist - Krijn van Noordwijk |
| 32. |  | Roderick Packe 1996 From Series One [Series One] HackelBury Fine Art Ltd |
| 33. |  | William Greiner 1999 Polaroid, Los Angeles [LA 1999] Color print Provided by the artist - William Greiner |
| 34. |  | 1957, 18 April Red Osier, near Great Barrington Massachusetts, Dye transfer print Amon Carter Museum © 1990 Amon Carter Museum, Fort Worth, Texas (P1990.58.7.1), Courtesy of the After Image Gallery [*** PERMISSION NOT GRANTED ***] |
| 35. |  | Andrew Davidhazy 1985 (ca) Tomato [High speed photography] Kodak Ektachrome 35mm film 24 x 36 mm Provided by the artist - Andrew Davidhazy |
| 36. |  | Roderick Packe 1996 From Series One [Series One] HackelBury Fine Art Ltd |
| 37. |  | John Grant n.d. Red Rose on Rocks [Flowers] Archival pigment print, from high resolution scan 24 x 21 in Kathleen Ewing Gallery © John Grant Studios, Courtesy of Kathleen Ewing Gallery/ Washington DC |
| 38. |  | Weegee n.d. Untitled Color positive 8 x 10 in Rago Arts and Auction Center Courtesy of Rago (Sale Nov 17, 2007 - Lot 150) |
| 39. |  | Chad Kleitsch 2002 Untitled #6 [Flowers - White] Archival Epson print 10 x 10 Ariel Meyerowitz Gallery |
| 40. |  | Ernst Haas 1970 Rose Dye transfer print 20 x 30 Peter Fetterman Gallery © The Ernst Haas Estate - Used with permission |