For the best portrait photograph taken by an amateur photographer we offer the
following : First Ptize: A Silver Medal and Photographic Times Certificate of Merit.
Second Prize : A Bronze Medal and Photographic Times Certificate of Merit.
The American Annual of Photography and Photographic Times Almanac for 1890
. Paper cover ( by mail , 14 cents additional ) ..... Library Edition ( by mail , 14
cents additional ) ..... 1 00 No. 34. The Optical Lantern . Illustrated . By ANDREW
A History of Photography . Written as a practical guide and an introduction to its
latest developments . By W. JEROME HARRISON , F.G.S. Cloth bound .. No. 24.
The American Annual of Photography and Photographic Times Almanac for 1888
For the best portrait photograph taken by an amateur photographer we offer the
following : First Prize : A Silver Medal and PHOTOGRAPHIC TIMES Certificate of
Merit . Second Prize : A Bronze Medal and PHOTOGRAPHIC Times Certificate of
An effective, and less toxic, solution can be found in The Photographic Times, Vol
. XI, 1881, p. 182. Look it up. The idea of photographs printed on various parts of
the anatomy was constantly surfacing. “The latest society fad,” according to the ...
Hervey, Walter L. “Gertrude Käsebier—Photographer.” Photo Era 62 (March ... “
The Foremost Women Photographers of America: The Work of Gertrude Käsebier
.” Ladies Home Journal 18 ... in Photography.” Photographic Times 30 (June ...
Author: Michelle Delaney
Publisher: University of Oklahoma Press
William F. “Buffalo Bill” Cody, star of the American West, began his journey to fame at age twenty-three, when he met writer Ned Buntline. The pulp novels Buntline later penned were loosely based on Cody’s scouting and bison-hunting adventures and sparked a national sensation. Other writers picked up the living legend of “Buffalo Bill” for their own pulp novels, and in 1872 Buntline produced a theatrical show starring Cody himself. In 1883, Cody opened his own show, Buffalo Bill’s Wild West, which ultimately became the foundation for the world’s image of the American frontier. After the Civil War, new transcontinental railroads aided rapid westward expansion, fostering Americans’ long-held fascination with their western frontier. The railroads enabled traveling shows to move farther and faster, and improved printing technologies allowed those shows to print in large sizes and quantities lively color posters and advertisements. Cody’s show team partnered with printers, lithographers, photographers, and iconic western American artists, such as Frederic Remington and Charles Schreyvogel, to create posters and advertisements for Buffalo Bill’s Wild West. Circuses and other shows used similar techniques, but Cody’s team perfected them, creating unique posters that branded Buffalo Bill’s Wild West as the true Wild West experience. They helped attract patrons from across the nation and ultimately from around the world at every stop the traveling show made. In Art and Advertising in Buffalo Bill’s Wild West, Michelle Delaney showcases these numerous posters in full color, many of which have never before been reproduced, pairing them with new research into previously inaccessible manuscript and photograph collections. Her study also includes Cody’s correspondence with his staff, revealing the showman’s friendships with notable American and European artists and his show’s complex, modern publicity model. Beautifully designed, Art and Advertising in Buffalo Bill’s Wild West presents a new perspective on the art, innovation, and advertising acumen that created the international frontier experience of Buffalo Bill’s Wild West.
Now that amateur photography has become more popular on account of the
great increase in the number of ... J.K.C. The American Annual of Photography
and Photographic Times Almanac for 1897 , edited by Walter E. Woodbury ,
Professional photographers feared the rise of “you-push-the-button automatons”
in their profession who would replace photo developers and make skilled
workers unnecessary.45 On one level, Photographic Times' antagonism toward
Author: Rachel Plotnick
Publisher: MIT Press
Category: Technology & Engineering
Push a button and turn on the television; tap a button and get a ride; click a button and “like” something. The touch of a finger can set an appliance, a car, or a system in motion, even if the user doesn't understand the underlying mechanisms or algorithms. How did buttons become so ubiquitous? Why do people love them, loathe them, and fear them? In Power Button, Rachel Plotnick traces the origins of today's push-button society by examining how buttons have been made, distributed, used, rejected, and refashioned throughout history. Focusing on the period between 1880 and 1925, when “technologies of the hand” proliferated (including typewriters, telegraphs, and fingerprinting), Plotnick describes the ways that button pushing became a means for digital command, which promised effortless, discreet, and fool-proof control. Emphasizing the doubly digital nature of button pushing—as an act of the finger and a binary activity (on/off, up/down)—Plotnick suggests that the tenets of precomputational digital command anticipate contemporary ideas of computer users. Plotnick discusses the uses of early push buttons to call servants, and the growing tensions between those who work with their hands and those who command with their fingers; automation as “automagic,” enabling command at a distance; instant gratification, and the victory of light over darkness; and early twentieth-century imaginings of a future push-button culture. Push buttons, Plotnick tells us, have demonstrated remarkable staying power, despite efforts to cast button pushers as lazy, privileged, and even dangerous.
The Photographic Times 23 ( June 19 , 1891 ) : 298 . “ The Vienna Exhibition . ”
The Photographic Times 23 ( June 26 , 1891 ) : 313 . “ A Simplified Kallitype
Printing Process . ” American Annual of Photography and Photographic Times ...
Author: Alfred Stieglitz
Stieglitz's most significant essays published together for the first time in a single volume. Over the years, Alfred Stieglitz wrote extensively and authoritatively about many aspects of photography. In Stieglitz on Photography renowned Stieglitz expert Sarah Greenough and art historian Richard Whelan gather more than fifty of this master photographer's astute writings about the medium, along with their insightful and anecdotal commentary on each article. Throughout his six-decade career, Stieglitz devoted himself almost entirely to the investigation of truth and integrity in artistic expression. With the pioneering exhibitions he mounted at Gallery 291, the pages of Camera Work he edited and produced, and his extensive writings on photography, Stieglitz tirelessly championed photography as a fine art-a legacy that continues to influence thinking on photography today. Illustrated with reproductions of photographs by Stieglitz and his contemporaries, as well as with selections of his articles in their original layouts, this volume contains reproductions of many of Stieglitz's photographs that are otherwise unknown today.
28. 29. 30. 31. William S. Davis, “The Pictorial Possibilities of New York,” Photographic Times 41 (October 32. ... Colin Westerbeck and Joel Meyerowitz,
Bystander: A History of Street Photography (New York: Little Brown, 2001), 101.
Author: Sara Blair
Publisher: Princeton University Press
How New York’s Lower East Side inspired new ways of seeing America New York City's Lower East Side, long viewed as the space of what Jacob Riis notoriously called the "other half," was also a crucible for experimentation in photography, film, literature, and visual technologies. This book takes an unprecedented look at the practices of observation that emerged from this critical site of encounter, showing how they have informed literary and everyday narratives of America, its citizens, and its possible futures. Taking readers from the mid-nineteenth century to the present, Sara Blair traces the career of the Lower East Side as a place where image-makers, writers, and social reformers tested new techniques for apprehending America—and their subjects looked back, confronting the means used to represent them. This dynamic shaped the birth of American photojournalism, the writings of Stephen Crane and Abraham Cahan, and the forms of early cinema. During the 1930s, the emptying ghetto opened contested views of the modern city, animating the work of such writers and photographers as Henry Roth, Walker Evans, and Ben Shahn. After World War II, the Lower East Side became a key resource for imagining poetic revolution, as in the work of Allen Ginsberg and LeRoi Jones, and exploring dystopian futures, from Cold War atomic strikes to the death of print culture and the threat of climate change. How the Other Half Looks reveals how the Lower East Side has inspired new ways of looking—and looking back—that have shaped literary and popular expression as well as American modernity.
Rudolf Eickemeyer , Jr . , quoted in " Rudolf Eickemeyer , Jr . , and His Work , ” Photographic Times , vol . 26 ( February 1895 ) : 77 – 78 . 39 . Sydney Allen (
Sadakichi Hartmann ) , " The Pond , " Metropolitan ( October 1906 ) : II . 29 .
Author: Christian A. Peterson
Publisher: Minneapolis Inst of Arts
Discusses a leading English photographer who spearheaded "naturalistic photography"