#photographyhistory — Public Fediverse posts

Picked up an Associated Press Guide to News Photography from 1989. While the information is dated i still find valuable lessons and feedback from generations of photographers whose only option was film. A lot of photographers now in days dont like studying old photo books but I find them very interesting and useful. Why do what we do if we cant study and learn from our predecessors.
#photographyhistory #35mm

Picked up an Associated Press Guide to News Photography from 1989. While the information is dated i still find valuable lessons and feedback from generations of photographers whose only option was film. A lot of photographers now in days dont like studying old photo books but I find them very interesting and useful. Why do what we do if we cant study and learn from our predecessors.
#photographyhistory #35mm

Want to read: Everything Is Photograph by Patricia Albers 📚:

I don’t usually post about books in the queue, but I just found this one, and wanted any other photographers interested to see it. Kertész took over 100,000 photographs, exhibited worldwide, and was the first major photographer to embrace the Leica.

https://cliff538.com/2026/05/13/want-to-read-everything-is.html

#books #photography #history #photographyhistory

Your art history post for today is actually photography history: by Kazumasa Ogawa (Japanese, 1860-1929), “Iris Kæmpferi,” 1896, colored collotype, 27.9 × 20.8 cm (11 × 8 3/16 in.), The J. Paul Getty Museum, Los Angeles. #arthistory #photography #PhotographyHistory

From Public Domain Review: ‘Ogawa Kazumasa, a Japanese photographer, printer, and publisher known for his pioneering work in photomechanical printing and photography in the Meiji era. Studying photography from the age of fifteen, Ogawa moved to Tokyo aged twenty to further his study and develop his English skills which he believed necessary to deepen his technical knowledge. After opening his own photography studio and working as an English interpreter for the Yokohama Police Department, Ogawa decided to travel to the United States to learn first hand the advance photographic techniques of the time. Having little money, Ogawa managed to get hired as a sailor on the USS Swatara and six months later landed in Washington. For the next two years, in Boston and Philadelphia, Ogawa studied printing techniques including the complicated collotype process with which he'd make his name on returning to Japan.

In 1884, Ogawa opened a photographic studio in Tokyo and in 1888 established a dry plate manufacturing company, and the following year, Japan's first collotype business, the "K. Ogawa printing factory". He also worked as an editor for various photography magazines, which he printed using the collotype printing process and was a founding member of the Japan Photographic Society.’

Your photography history post for today: by the photography studio of Southworth and Hawes (American, active 1843–1863), Woman in Black Taffeta Dress and Lace Shawl, ca. 1850, daguerreotype with applied color, 8 1/2 x 6 1/2 inches (21.6 x 16.5 cm), The Metropolitan Museum of Art, New York. #photography #PhotographyHistory #vintagephotography

From the The Daguerreian Society: “A daguerreotype is the earliest widely adopted form of photography, introduced in 1839 by Louis-Jacques-Mandé Daguerre. It produced a highly detailed, one-of-a-kind image on a polished silver-coated copper plate. No negative was involved—each daguerreotype is a unique object…

The daguerreotype was revolutionary: It produced images with unprecedented accuracy and detail; made portraiture accessible to the middle class; and led to the rise of a booming photographic industry during the 1840s–1850s, as studios rapidly spread across Europe and the United States.”

Your photography history post for today: by Consuelo Kanaga (1894–1978). Child with Apple Blossoms, Tennessee, 1948. #photography #photographyhistory #womenphotographers

From the Brooklyn Museum: ‘For 60 years, Consuelo Kanaga (American, 1894–1978) used her camera to confront urgent social issues of her time, from urban poverty to labor rights to racial terror and inequality…

After starting out as a pioneering photojournalist—a rare role for women at the time—Kanaga would become known for her modernist still lifes and celebrated portraits. She captured the dignity and resilience of marginalized people, such as Black workers during the Jim Crow era. Unique among her peers, including her friends Dorothea Lange and Imogen Cunningham, Kanaga employed modernism’s powerful visual language to take on inequities by provoking thought and fostering empathy. As she put it, “Most people try to be striking to catch the eye. I think the thing is not to catch the eye but the spirit.”’

Your photography history post for today: by Eugène Atget (1857-1927), “Boulevard de Strasbourg,” 1912. #photography #PhotographyHistory #vintagephotography #darkroomphotography #darkroom #blackandwhitephotography

From the International Center of Photography “Eugène Atget was a French photographer best known for his photographs of the architecture and streets of Paris. He took up photography in the late 1880s and supplied studies for painters, architects, and stage designers. Atget began shooting Paris in 1898 using a large format view camera to capture the city in detail. His photographs, many of which were taken at dawn, are notable for their diffuse light and wide views that give a sense of space and ambience. They also document Paris and its rapid changes; many of the areas Atget photographed were soon to be razed as part of massive modernization projects.

Atget’s photographs drew the admiration of a variety of artists, most notably Man Ray, Henri Matisse, and Pablo Picasso. Man Ray even used one of Atget’s photographs for the cover of his surrealist magazine la Révolution surréaliste. The photographer Berenice Abbott preserved Atget’s prints and negatives and was the first person to exhibit Atget’s work outside of France.”

Your photography history post for today: by Eugène Atget (1857-1927), “Boulevard de Strasbourg,” 1912. #photography #PhotographyHistory #vintagephotography #darkroomphotography #darkroom #blackandwhitephotography

From the International Center of Photography “Eugène Atget was a French photographer best known for his photographs of the architecture and streets of Paris. He took up photography in the late 1880s and supplied studies for painters, architects, and stage designers. Atget began shooting Paris in 1898 using a large format view camera to capture the city in detail. His photographs, many of which were taken at dawn, are notable for their diffuse light and wide views that give a sense of space and ambience. They also document Paris and its rapid changes; many of the areas Atget photographed were soon to be razed as part of massive modernization projects.

Atget’s photographs drew the admiration of a variety of artists, most notably Man Ray, Henri Matisse, and Pablo Picasso. Man Ray even used one of Atget’s photographs for the cover of his surrealist magazine la Révolution surréaliste. The photographer Berenice Abbott preserved Atget’s prints and negatives and was the first person to exhibit Atget’s work outside of France.”

Your photography history post for today: by Eugène Atget (1857-1927), “Boulevard de Strasbourg,” 1912. #photography #PhotographyHistory #vintagephotography #darkroomphotography #darkroom #blackandwhitephotography

From the International Center of Photography “Eugène Atget was a French photographer best known for his photographs of the architecture and streets of Paris. He took up photography in the late 1880s and supplied studies for painters, architects, and stage designers. Atget began shooting Paris in 1898 using a large format view camera to capture the city in detail. His photographs, many of which were taken at dawn, are notable for their diffuse light and wide views that give a sense of space and ambience. They also document Paris and its rapid changes; many of the areas Atget photographed were soon to be razed as part of massive modernization projects.

Atget’s photographs drew the admiration of a variety of artists, most notably Man Ray, Henri Matisse, and Pablo Picasso. Man Ray even used one of Atget’s photographs for the cover of his surrealist magazine la Révolution surréaliste. The photographer Berenice Abbott preserved Atget’s prints and negatives and was the first person to exhibit Atget’s work outside of France.”

Your photography history post for today: by Eugène Atget (1857-1927), “Boulevard de Strasbourg,” 1912. #photography #PhotographyHistory #vintagephotography #darkroomphotography #darkroom #blackandwhitephotography

From the International Center of Photography “Eugène Atget was a French photographer best known for his photographs of the architecture and streets of Paris. He took up photography in the late 1880s and supplied studies for painters, architects, and stage designers. Atget began shooting Paris in 1898 using a large format view camera to capture the city in detail. His photographs, many of which were taken at dawn, are notable for their diffuse light and wide views that give a sense of space and ambience. They also document Paris and its rapid changes; many of the areas Atget photographed were soon to be razed as part of massive modernization projects.

Atget’s photographs drew the admiration of a variety of artists, most notably Man Ray, Henri Matisse, and Pablo Picasso. Man Ray even used one of Atget’s photographs for the cover of his surrealist magazine la Révolution surréaliste. The photographer Berenice Abbott preserved Atget’s prints and negatives and was the first person to exhibit Atget’s work outside of France.”

Your photography history post for today: by Eugène Atget (1857-1927), “Boulevard de Strasbourg,” 1912. #photography #PhotographyHistory #vintagephotography #darkroomphotography #darkroom #blackandwhitephotography

From the International Center of Photography “Eugène Atget was a French photographer best known for his photographs of the architecture and streets of Paris. He took up photography in the late 1880s and supplied studies for painters, architects, and stage designers. Atget began shooting Paris in 1898 using a large format view camera to capture the city in detail. His photographs, many of which were taken at dawn, are notable for their diffuse light and wide views that give a sense of space and ambience. They also document Paris and its rapid changes; many of the areas Atget photographed were soon to be razed as part of massive modernization projects.

Atget’s photographs drew the admiration of a variety of artists, most notably Man Ray, Henri Matisse, and Pablo Picasso. Man Ray even used one of Atget’s photographs for the cover of his surrealist magazine la Révolution surréaliste. The photographer Berenice Abbott preserved Atget’s prints and negatives and was the first person to exhibit Atget’s work outside of France.”

By Margaret Bourke-White (1904-1971), “Flood Refugees, Louisville, Kentucky,” 1937. #photography #photographyhistory #womenphotographers

From Phillips Auctioneers, New York, Apr 4 2019: “Flood Refugees, Louisville, Kentucky, dramatizes the humanitarian crisis created by the flooding of the Ohio River in 1937, which killed nearly 900 people and displaced thousands more in Louisville, hitting that city’s African-American quarter especially hard. At the time, the Louisville flood was considered one of the three most disastrous floods in American history.

Margaret Bourke-White was dispatched by LIFE magazine in January to cover the story, and she arrived on the last flight into Louisville before the airport closed. Hitching rides on rowboats and a raft, she made her way into the city and photographed throughout the flood zones. The photograph offered here is the best of that series, capturing the harsh juxtapositions of American life at the time in a single frame. It was first published in LIFE in February 1937. The irony of the billboard’s message was lost on no one: as LIFE’s caption wryly observed, 'It was going to take a lot of money to restore the American standard of living in the cities and towns of the Ohio Valley.'”

Over 80 years ago, but it could be today, in so many places. Your photography history post for today: by Wayne Miller (1918-2013), Two Boys, Naples, Italy, 1944. #photography #WarPhotography #photographyhistory #worldwarII

Excerpts from his obituary in the New York Times: ‘Mr. Miller, the Chicago-born son of a doctor and a nurse, was given a camera as a high school graduation present and a few years later enrolled in art school. Quickly determining that it did not suit him, he joined the Navy, and that, perhaps surprisingly, was where he got his first real chance to do what he wanted to do: “to photograph mankind,” he once put it, “and explain man to man.”

Mr. Miller was one of a half-dozen photographers asked by the photographer and curator Edward Steichen to join a special Navy photography unit he had formed during World War II. Mr. Miller traveled the world in his new role, capturing American soldiers in battle from the Philippines to the south of France, hopscotching his way through combat zones with rare freedom for a soldier…

“Miller’s work is intimate but never presumptuous; each black-and-white image retains its mystery,” [critic Margo] Jefferson wrote. “You realize there is more to know about this community than a camera’s eye — or ours — can find. It is part of his gift that he knows this, too.”’ ~ By William Yardley, “Wayne Miller, Photographer of War and Peace, Dies at 94,” The New York Times, May 25, 2013.

Over 80 years ago, but it could be today, in so many places. Your photography history post for today: by Wayne Miller (1918-2013), Two Boys, Naples, Italy, 1944. #photography #WarPhotography #photographyhistory #worldwarII

Excerpts from his obituary in the New York Times: ‘Mr. Miller, the Chicago-born son of a doctor and a nurse, was given a camera as a high school graduation present and a few years later enrolled in art school. Quickly determining that it did not suit him, he joined the Navy, and that, perhaps surprisingly, was where he got his first real chance to do what he wanted to do: “to photograph mankind,” he once put it, “and explain man to man.”

Mr. Miller was one of a half-dozen photographers asked by the photographer and curator Edward Steichen to join a special Navy photography unit he had formed during World War II. Mr. Miller traveled the world in his new role, capturing American soldiers in battle from the Philippines to the south of France, hopscotching his way through combat zones with rare freedom for a soldier…

“Miller’s work is intimate but never presumptuous; each black-and-white image retains its mystery,” [critic Margo] Jefferson wrote. “You realize there is more to know about this community than a camera’s eye — or ours — can find. It is part of his gift that he knows this, too.”’ ~ By William Yardley, “Wayne Miller, Photographer of War and Peace, Dies at 94,” The New York Times, May 25, 2013.

Over 80 years ago, but it could be today, in so many places. Your photography history post for today: by Wayne Miller (1918-2013), Two Boys, Naples, Italy, 1944. #photography #WarPhotography #photographyhistory #worldwarII

Excerpts from his obituary in the New York Times: ‘Mr. Miller, the Chicago-born son of a doctor and a nurse, was given a camera as a high school graduation present and a few years later enrolled in art school. Quickly determining that it did not suit him, he joined the Navy, and that, perhaps surprisingly, was where he got his first real chance to do what he wanted to do: “to photograph mankind,” he once put it, “and explain man to man.”

Mr. Miller was one of a half-dozen photographers asked by the photographer and curator Edward Steichen to join a special Navy photography unit he had formed during World War II. Mr. Miller traveled the world in his new role, capturing American soldiers in battle from the Philippines to the south of France, hopscotching his way through combat zones with rare freedom for a soldier…

“Miller’s work is intimate but never presumptuous; each black-and-white image retains its mystery,” [critic Margo] Jefferson wrote. “You realize there is more to know about this community than a camera’s eye — or ours — can find. It is part of his gift that he knows this, too.”’ ~ By William Yardley, “Wayne Miller, Photographer of War and Peace, Dies at 94,” The New York Times, May 25, 2013.

Over 80 years ago, but it could be today, in so many places. Your photography history post for today: by Wayne Miller (1918-2013), Two Boys, Naples, Italy, 1944. #photography #WarPhotography #photographyhistory #worldwarII

Excerpts from his obituary in the New York Times: ‘Mr. Miller, the Chicago-born son of a doctor and a nurse, was given a camera as a high school graduation present and a few years later enrolled in art school. Quickly determining that it did not suit him, he joined the Navy, and that, perhaps surprisingly, was where he got his first real chance to do what he wanted to do: “to photograph mankind,” he once put it, “and explain man to man.”

Mr. Miller was one of a half-dozen photographers asked by the photographer and curator Edward Steichen to join a special Navy photography unit he had formed during World War II. Mr. Miller traveled the world in his new role, capturing American soldiers in battle from the Philippines to the south of France, hopscotching his way through combat zones with rare freedom for a soldier…

“Miller’s work is intimate but never presumptuous; each black-and-white image retains its mystery,” [critic Margo] Jefferson wrote. “You realize there is more to know about this community than a camera’s eye — or ours — can find. It is part of his gift that he knows this, too.”’ ~ By William Yardley, “Wayne Miller, Photographer of War and Peace, Dies at 94,” The New York Times, May 25, 2013.

Over 80 years ago, but it could be today, in so many places. Your photography history post for today: by Wayne Miller (1918-2013), Two Boys, Naples, Italy, 1944. #photography #WarPhotography #photographyhistory #worldwarII

Excerpts from his obituary in the New York Times: ‘Mr. Miller, the Chicago-born son of a doctor and a nurse, was given a camera as a high school graduation present and a few years later enrolled in art school. Quickly determining that it did not suit him, he joined the Navy, and that, perhaps surprisingly, was where he got his first real chance to do what he wanted to do: “to photograph mankind,” he once put it, “and explain man to man.”

Mr. Miller was one of a half-dozen photographers asked by the photographer and curator Edward Steichen to join a special Navy photography unit he had formed during World War II. Mr. Miller traveled the world in his new role, capturing American soldiers in battle from the Philippines to the south of France, hopscotching his way through combat zones with rare freedom for a soldier…

“Miller’s work is intimate but never presumptuous; each black-and-white image retains its mystery,” [critic Margo] Jefferson wrote. “You realize there is more to know about this community than a camera’s eye — or ours — can find. It is part of his gift that he knows this, too.”’ ~ By William Yardley, “Wayne Miller, Photographer of War and Peace, Dies at 94,” The New York Times, May 25, 2013.

Your photography history photo for today was taken 81 years ago: an Italian boy looks out over the river Adige and the Victory Bridge (Ponte della Vittoria), dynamited by the Germans, photo by Schmidt, 196th Signal Photo Co., Verona, Italy, 26 April 1945. #photography #WarPhotography #photographyhistory

From the Army Pictorial Center, Signal Corps Photographic Center: ‘The 196th Signal Photographic Company under direction of Army Pictorial Service became activated on 24 February 1945 at Trespiano, Italy…

The mission of this command was to gather both still and motion pictures. The pictures to be secured were of many varieties. While their primary objective was to secure pictures of combat, the various missions entailed all types of record, historical, publicity, strategic and others of a morale-building nature. The company had a laboratory, which moved constantly with the organization itself and a well set-up headquarters personnel which had to keep the forward elements of the command teams always supplied with materials and necessities to aid them in completing their hazardous missions. For instance, in keeping the vehicles always read for their difficult journeys through rough terrain. Seeing the food, PX supplies, changes of clothing and photographic supplies were ever on hand. The Headquarters camera repair department had to have the cameras always in top condition. This was particularly difficult due to the many miles that separated the photo combat teams and the headquarters of these teams…

There were many problems to consider. One of them was the difficult terrain over which the teams traveled and the absolute necessity of getting their pictures back to Corps. After all, old pictures, of a particular news and noteworthy occasion are of no value if too late to tie in with the news of that particular sector engaged at the time. Getting the pictures to Corps, then flown back to rear laboratories and processed and flown to the States after censorship, was carried on with the least possible delay. Another thing was the constant traveling forward and backward under constant enemy fire.”

Your photography history photo for today was taken 81 years ago: an Italian boy looks out over the river Adige and the Victory Bridge (Ponte della Vittoria), dynamited by the Germans, photo by Schmidt, 196th Signal Photo Co., Verona, Italy, 26 April 1945. #photography #WarPhotography #photographyhistory

From the Army Pictorial Center, Signal Corps Photographic Center: ‘The 196th Signal Photographic Company under direction of Army Pictorial Service became activated on 24 February 1945 at Trespiano, Italy…

The mission of this command was to gather both still and motion pictures. The pictures to be secured were of many varieties. While their primary objective was to secure pictures of combat, the various missions entailed all types of record, historical, publicity, strategic and others of a morale-building nature. The company had a laboratory, which moved constantly with the organization itself and a well set-up headquarters personnel which had to keep the forward elements of the command teams always supplied with materials and necessities to aid them in completing their hazardous missions. For instance, in keeping the vehicles always read for their difficult journeys through rough terrain. Seeing the food, PX supplies, changes of clothing and photographic supplies were ever on hand. The Headquarters camera repair department had to have the cameras always in top condition. This was particularly difficult due to the many miles that separated the photo combat teams and the headquarters of these teams…

There were many problems to consider. One of them was the difficult terrain over which the teams traveled and the absolute necessity of getting their pictures back to Corps. After all, old pictures, of a particular news and noteworthy occasion are of no value if too late to tie in with the news of that particular sector engaged at the time. Getting the pictures to Corps, then flown back to rear laboratories and processed and flown to the States after censorship, was carried on with the least possible delay. Another thing was the constant traveling forward and backward under constant enemy fire.”

Your photography history photo for today was taken 81 years ago: an Italian boy looks out over the river Adige and the Victory Bridge (Ponte della Vittoria), dynamited by the Germans, photo by Schmidt, 196th Signal Photo Co., Verona, Italy, 26 April 1945. #photography #WarPhotography #photographyhistory

From the Army Pictorial Center, Signal Corps Photographic Center: ‘The 196th Signal Photographic Company under direction of Army Pictorial Service became activated on 24 February 1945 at Trespiano, Italy…

The mission of this command was to gather both still and motion pictures. The pictures to be secured were of many varieties. While their primary objective was to secure pictures of combat, the various missions entailed all types of record, historical, publicity, strategic and others of a morale-building nature. The company had a laboratory, which moved constantly with the organization itself and a well set-up headquarters personnel which had to keep the forward elements of the command teams always supplied with materials and necessities to aid them in completing their hazardous missions. For instance, in keeping the vehicles always read for their difficult journeys through rough terrain. Seeing the food, PX supplies, changes of clothing and photographic supplies were ever on hand. The Headquarters camera repair department had to have the cameras always in top condition. This was particularly difficult due to the many miles that separated the photo combat teams and the headquarters of these teams…

There were many problems to consider. One of them was the difficult terrain over which the teams traveled and the absolute necessity of getting their pictures back to Corps. After all, old pictures, of a particular news and noteworthy occasion are of no value if too late to tie in with the news of that particular sector engaged at the time. Getting the pictures to Corps, then flown back to rear laboratories and processed and flown to the States after censorship, was carried on with the least possible delay. Another thing was the constant traveling forward and backward under constant enemy fire.”

Your photography history photo for today was taken 81 years ago: an Italian boy looks out over the river Adige and the Victory Bridge (Ponte della Vittoria), dynamited by the Germans, photo by Schmidt, 196th Signal Photo Co., Verona, Italy, 26 April 1945. #photography #WarPhotography #photographyhistory

From the Army Pictorial Center, Signal Corps Photographic Center: ‘The 196th Signal Photographic Company under direction of Army Pictorial Service became activated on 24 February 1945 at Trespiano, Italy…

The mission of this command was to gather both still and motion pictures. The pictures to be secured were of many varieties. While their primary objective was to secure pictures of combat, the various missions entailed all types of record, historical, publicity, strategic and others of a morale-building nature. The company had a laboratory, which moved constantly with the organization itself and a well set-up headquarters personnel which had to keep the forward elements of the command teams always supplied with materials and necessities to aid them in completing their hazardous missions. For instance, in keeping the vehicles always read for their difficult journeys through rough terrain. Seeing the food, PX supplies, changes of clothing and photographic supplies were ever on hand. The Headquarters camera repair department had to have the cameras always in top condition. This was particularly difficult due to the many miles that separated the photo combat teams and the headquarters of these teams…

There were many problems to consider. One of them was the difficult terrain over which the teams traveled and the absolute necessity of getting their pictures back to Corps. After all, old pictures, of a particular news and noteworthy occasion are of no value if too late to tie in with the news of that particular sector engaged at the time. Getting the pictures to Corps, then flown back to rear laboratories and processed and flown to the States after censorship, was carried on with the least possible delay. Another thing was the constant traveling forward and backward under constant enemy fire.”

Your photography history photo for today was taken 81 years ago: an Italian boy looks out over the river Adige and the Victory Bridge (Ponte della Vittoria), dynamited by the Germans, photo by Schmidt, 196th Signal Photo Co., Verona, Italy, 26 April 1945. #photography #WarPhotography #photographyhistory

From the Army Pictorial Center, Signal Corps Photographic Center: ‘The 196th Signal Photographic Company under direction of Army Pictorial Service became activated on 24 February 1945 at Trespiano, Italy…

The mission of this command was to gather both still and motion pictures. The pictures to be secured were of many varieties. While their primary objective was to secure pictures of combat, the various missions entailed all types of record, historical, publicity, strategic and others of a morale-building nature. The company had a laboratory, which moved constantly with the organization itself and a well set-up headquarters personnel which had to keep the forward elements of the command teams always supplied with materials and necessities to aid them in completing their hazardous missions. For instance, in keeping the vehicles always read for their difficult journeys through rough terrain. Seeing the food, PX supplies, changes of clothing and photographic supplies were ever on hand. The Headquarters camera repair department had to have the cameras always in top condition. This was particularly difficult due to the many miles that separated the photo combat teams and the headquarters of these teams…

There were many problems to consider. One of them was the difficult terrain over which the teams traveled and the absolute necessity of getting their pictures back to Corps. After all, old pictures, of a particular news and noteworthy occasion are of no value if too late to tie in with the news of that particular sector engaged at the time. Getting the pictures to Corps, then flown back to rear laboratories and processed and flown to the States after censorship, was carried on with the least possible delay. Another thing was the constant traveling forward and backward under constant enemy fire.”

Photography history: by Japanese photographer Kazumasa Ogawa, “A Damsel – Maiko cherry blossom time” (ca. 1890), albumin paper, colored, 27 x 20.6 cm, © National Museums in Berlin, Ethnological Museum. #photography #photographyhistory #vintagephotography #Japan

From the Printing Museum, Tokyo: Having been invented in France in the first half of the 19th century, photography arrived in Japan at the end of the Edo era (1603 to 1868), and was used to record a wide range of subjects. Kazumasa Ogawa (aka Kazuma or Isshin) (1860 to 1929) was a photographer who was active in the later half of the Meiji era (1868 to 1912), when photography had spread throughout society. The portrait of Japanese author Souseki Natsume that was formerly featured on the 1,000 yen note was taken by Ogawa. Many people have likely seen Ogawa’s works at one time or another.

Kazumasa Ogawa differed from other photographers in that he not only took photographs, but created and published many printed works through photoengraving. Photoengraving is a method used to make printing plates based on negative and positive principle using photographic technology. It started in Japan during the Meiji era, and continued to be used by printers to make plates. In the Meiji era, long before the arrival of television and radio broadcasting systems, the standard form of mass communication media consisted of printed matter such as newspapers, magazines, and books. Photographic illustrations played a significant role in the growing publication industry.”

By American photographer Imogen Cunningham (1883–1976), Two Callas, 1925, one of her most celebrated and iconic images. #photography #vintagephotography #artphotography #photographyhistory

From the Museum of Fine Arts, Houston: “Best known for photographs of flowers in her San Francisco garden taken during the 1920s and 1930s, Imogen Cunningham rejected soft-focus, sentimental imagery in favor of an approach that conveyed, with crystalline clarity, a sensuous delight in nature.”

Photograph by French writer, caricaturist, and photographer Félix Nadar (1820-1910) of actress Sarah Bernhardt (1844-1923), known as the Divine Sarah, salt print from a collodion glass negative, ca. 1860-1865. #photography #vintagephotography #photographyhistory

Photography history: by African photographer Seydou Keïta (ca. 1921-2001), Untitled [Seated Woman with Chevron Print Dress], 1956. #photograpy #photographyhistory #africa #africanphotography #portraitphotography #vintagephotography

From the Metropolitan Museum of Art: “From 1949 to 1977 Keita was the most popular portrait photographer in his native Bamako, Mali, producing thousands of commissioned portraits of politicians, government workers, shop owners, and ordinary citizens that comprise an outstanding visual record of a modern society.”

Photography history: by African photographer Seydou Keïta (ca. 1921-2001), Untitled [Seated Woman with Chevron Print Dress], 1956. #photograpy #photographyhistory #africa #africanphotography #portraitphotography #vintagephotography

From the Metropolitan Museum of Art: “From 1949 to 1977 Keita was the most popular portrait photographer in his native Bamako, Mali, producing thousands of commissioned portraits of politicians, government workers, shop owners, and ordinary citizens that comprise an outstanding visual record of a modern society.”

Photography history: by African photographer Seydou Keïta (ca. 1921-2001), Untitled [Seated Woman with Chevron Print Dress], 1956. #photograpy #photographyhistory #africa #africanphotography #portraitphotography #vintagephotography

From the Metropolitan Museum of Art: “From 1949 to 1977 Keita was the most popular portrait photographer in his native Bamako, Mali, producing thousands of commissioned portraits of politicians, government workers, shop owners, and ordinary citizens that comprise an outstanding visual record of a modern society.”

Photography history: by African photographer Seydou Keïta (ca. 1921-2001), Untitled [Seated Woman with Chevron Print Dress], 1956. #photograpy #photographyhistory #africa #africanphotography #portraitphotography #vintagephotography

From the Metropolitan Museum of Art: “From 1949 to 1977 Keita was the most popular portrait photographer in his native Bamako, Mali, producing thousands of commissioned portraits of politicians, government workers, shop owners, and ordinary citizens that comprise an outstanding visual record of a modern society.”

Early street photography by Chinese photographer Lai Fong (Afong Studio), ca.1839–1890, “A Commercial Street in Guangzhou,” ca. 1880, albumen print, 29 x 22.5 cm (11 7/16 x 8 7/8 in.), this print in the collection of The Cleveland Museum of Art. #photography #streetphotography #vintagephotography #photographyhistory

Photography history: portrait of Princess Indira Devi of Kapurthala, mid 1930s, Kinsey Studios, Delhi. #photography #vintagephotography #vintage #india #photographyhistory

From the blog “Arjunpuri in Qatar”:
‘“Maharajkumari Indira Devi (a.k.a. Princess Indee), born in 1912, was the daughter of Maharaja Paramjit Singh and Maharani Brinda of Kapurthala. By all accounts a spirited, intelligent young woman, she left India for Britain in her early 20s to become a movie star. She studied at the Royal Academy of Dramatic Arts in London, and worked briefly in the movies, narrating a few films.

After the outbreak of WWII, this feisty young princess successfully passed the St. John Ambulance examination and drove ambulances during air raids! She eventually joined the BBC in 1942, and hosted several series of radio broadcasts in Hindustani for Indian forces stationed in the Middle East. She also became famous for hosting ‘The Debate Continues’- a weekly broadcast to India. For this programme, she reported from the House of Commons, where she was the only woman in the entire press gallery!

Popularly known as the ‘Radio Princess’, she continued to work for the BBC till 1968. She passed away in 1979, in Ibiza, Spain.”

Your photography history post for today: by Ansel Adams (1902-1984), “Moonrise, Hernandez, New Mexico,” 1941. #photography #blackandwhitephotography #darkroomphotography #PhotographyHistory

From Christie’s New York, 6 October 2021: “We were sailing southward along the highway not far from Española when I glanced to the left and saw an extraordinary situation—an inevitable photograph. —Ansel Adams

Decades after the image was captured, Ansel Adams vividly recalled the circumstances surrounding the picture. 'Well, this was a tremendous sight to be seen, and I had to beg everybody in the car to help me to get everything out, to get the tripod. And the magnificent white mountains, clear day, church [with] a flat adobe roof, and the moon [that] was up about, oh, 30 degrees, several days before full. And there was a long line of clouds here, the sun was just running low behind them, putting the light on white crosses. I think it was one of the great scientists who said that ‘chance favors the prepared mind,’ and in this case I had to be sufficiently prepared to make this work. I instinctively felt I had quite the extraordinary image, and I think you know it.' It was a remarkable achievement in an otherwise disappointing day that had yielded little success along the Chama River valley on November 1st, during Adams' commission to photograph the Southwest by the U.S. department of the Interior and the U.S. Potash Company of New Mexico.”

Your photography history post for today: by Ansel Adams (1902-1984), “Moonrise, Hernandez, New Mexico,” 1941. #photography #blackandwhitephotography #darkroomphotography #PhotographyHistory

From Christie’s New York, 6 October 2021: “We were sailing southward along the highway not far from Española when I glanced to the left and saw an extraordinary situation—an inevitable photograph. —Ansel Adams

Decades after the image was captured, Ansel Adams vividly recalled the circumstances surrounding the picture. 'Well, this was a tremendous sight to be seen, and I had to beg everybody in the car to help me to get everything out, to get the tripod. And the magnificent white mountains, clear day, church [with] a flat adobe roof, and the moon [that] was up about, oh, 30 degrees, several days before full. And there was a long line of clouds here, the sun was just running low behind them, putting the light on white crosses. I think it was one of the great scientists who said that ‘chance favors the prepared mind,’ and in this case I had to be sufficiently prepared to make this work. I instinctively felt I had quite the extraordinary image, and I think you know it.' It was a remarkable achievement in an otherwise disappointing day that had yielded little success along the Chama River valley on November 1st, during Adams' commission to photograph the Southwest by the U.S. department of the Interior and the U.S. Potash Company of New Mexico.”

Your photography history post for today: by Ansel Adams (1902-1984), “Moonrise, Hernandez, New Mexico,” 1941. #photography #blackandwhitephotography #darkroomphotography #PhotographyHistory

From Christie’s New York, 6 October 2021: “We were sailing southward along the highway not far from Española when I glanced to the left and saw an extraordinary situation—an inevitable photograph. —Ansel Adams

Decades after the image was captured, Ansel Adams vividly recalled the circumstances surrounding the picture. 'Well, this was a tremendous sight to be seen, and I had to beg everybody in the car to help me to get everything out, to get the tripod. And the magnificent white mountains, clear day, church [with] a flat adobe roof, and the moon [that] was up about, oh, 30 degrees, several days before full. And there was a long line of clouds here, the sun was just running low behind them, putting the light on white crosses. I think it was one of the great scientists who said that ‘chance favors the prepared mind,’ and in this case I had to be sufficiently prepared to make this work. I instinctively felt I had quite the extraordinary image, and I think you know it.' It was a remarkable achievement in an otherwise disappointing day that had yielded little success along the Chama River valley on November 1st, during Adams' commission to photograph the Southwest by the U.S. department of the Interior and the U.S. Potash Company of New Mexico.”

Your photography history post for today: by Ansel Adams (1902-1984), “Moonrise, Hernandez, New Mexico,” 1941. #photography #blackandwhitephotography #darkroomphotography #PhotographyHistory

From Christie’s New York, 6 October 2021: “We were sailing southward along the highway not far from Española when I glanced to the left and saw an extraordinary situation—an inevitable photograph. —Ansel Adams

Decades after the image was captured, Ansel Adams vividly recalled the circumstances surrounding the picture. 'Well, this was a tremendous sight to be seen, and I had to beg everybody in the car to help me to get everything out, to get the tripod. And the magnificent white mountains, clear day, church [with] a flat adobe roof, and the moon [that] was up about, oh, 30 degrees, several days before full. And there was a long line of clouds here, the sun was just running low behind them, putting the light on white crosses. I think it was one of the great scientists who said that ‘chance favors the prepared mind,’ and in this case I had to be sufficiently prepared to make this work. I instinctively felt I had quite the extraordinary image, and I think you know it.' It was a remarkable achievement in an otherwise disappointing day that had yielded little success along the Chama River valley on November 1st, during Adams' commission to photograph the Southwest by the U.S. department of the Interior and the U.S. Potash Company of New Mexico.”

Your photography history post for today: by Ansel Adams (1902-1984), “Moonrise, Hernandez, New Mexico,” 1941. #photography #blackandwhitephotography #darkroomphotography #PhotographyHistory

From Christie’s New York, 6 October 2021: “We were sailing southward along the highway not far from Española when I glanced to the left and saw an extraordinary situation—an inevitable photograph. —Ansel Adams

Decades after the image was captured, Ansel Adams vividly recalled the circumstances surrounding the picture. 'Well, this was a tremendous sight to be seen, and I had to beg everybody in the car to help me to get everything out, to get the tripod. And the magnificent white mountains, clear day, church [with] a flat adobe roof, and the moon [that] was up about, oh, 30 degrees, several days before full. And there was a long line of clouds here, the sun was just running low behind them, putting the light on white crosses. I think it was one of the great scientists who said that ‘chance favors the prepared mind,’ and in this case I had to be sufficiently prepared to make this work. I instinctively felt I had quite the extraordinary image, and I think you know it.' It was a remarkable achievement in an otherwise disappointing day that had yielded little success along the Chama River valley on November 1st, during Adams' commission to photograph the Southwest by the U.S. department of the Interior and the U.S. Potash Company of New Mexico.”

Your photography history post for today: By Henryk Ross (1910–1991), photo of a Łódź Ghetto scarecrow with Star of David, ca. 1940-1944, Museum of Fine Arts, Boston. Today is Yom HaShoah (Holocaust Martyrs' and Heroes' Remembrance Day), remembering the 6 million Jewish lives lost in the Holocaust. #PhotographyHistory #YomHashoa #holocaust #photography

From ‘The Jewish Photographer Henryk Ross: “I wanted to leave a historical record of our martyrdom",’ by Franziska Reiniger, Yad Vashem, The World Holocaust Remembrance Center: ‘When the Lodz Ghetto was sealed by the Germans in May 1940, Ross was forced to move into the ghetto. He managed to get a job as one of the official photographers in the ghetto. Along with his colleague Mendel Grossman, Ross was in charge of producing identity and propaganda photographs for the Department of Statistics in the Lodz Ghetto. Due to his task, Ross had access to film and processing facilities in the ghetto. He used these to secretly document the conditions in the ghetto, the suffering of the Jews there, and the brutality of the Germans. His work was an act of resistance against the prohibition of the Germans and the ghetto authorities to take pictures that were not officially approved. He hid his camera underneath his coat, opened it slightly, and snapped the photographs. Ross exposed himself to dangers and risked his life in order to take the pictures. In this fashion, he accumulated thousands of pictures that tell us what life was like in the Lodz Ghetto.

When the liquidation of the ghetto began in 1944, Ross buried his archive in the ground of the ghetto, so it could be dug up and could bear witness to the persecution of European Jewry after the war.

“Just before the closure of the ghetto (1944) I buried my negatives in the ground in order that there should be some record of our tragedy, namely the total elimination of the Jews from Lodz by the Nazi executioners. I was anticipating the total destruction of Polish Jewry. I wanted to leave a historical record of our martyrdom."…

Henryk Ross stayed behind in the ghetto as part of the clean-up commando. He survived the Holocaust, and located and dug up the documentary material after the war.’

Your photography history post for today: By Henryk Ross (1910–1991), photo of a Łódź Ghetto scarecrow with Star of David, ca. 1940-1944, Museum of Fine Arts, Boston. Today is Yom HaShoah (Holocaust Martyrs' and Heroes' Remembrance Day), remembering the 6 million Jewish lives lost in the Holocaust. #PhotographyHistory #YomHashoa #holocaust #photography

From ‘The Jewish Photographer Henryk Ross: “I wanted to leave a historical record of our martyrdom",’ by Franziska Reiniger, Yad Vashem, The World Holocaust Remembrance Center: ‘When the Lodz Ghetto was sealed by the Germans in May 1940, Ross was forced to move into the ghetto. He managed to get a job as one of the official photographers in the ghetto. Along with his colleague Mendel Grossman, Ross was in charge of producing identity and propaganda photographs for the Department of Statistics in the Lodz Ghetto. Due to his task, Ross had access to film and processing facilities in the ghetto. He used these to secretly document the conditions in the ghetto, the suffering of the Jews there, and the brutality of the Germans. His work was an act of resistance against the prohibition of the Germans and the ghetto authorities to take pictures that were not officially approved. He hid his camera underneath his coat, opened it slightly, and snapped the photographs. Ross exposed himself to dangers and risked his life in order to take the pictures. In this fashion, he accumulated thousands of pictures that tell us what life was like in the Lodz Ghetto.

When the liquidation of the ghetto began in 1944, Ross buried his archive in the ground of the ghetto, so it could be dug up and could bear witness to the persecution of European Jewry after the war.

“Just before the closure of the ghetto (1944) I buried my negatives in the ground in order that there should be some record of our tragedy, namely the total elimination of the Jews from Lodz by the Nazi executioners. I was anticipating the total destruction of Polish Jewry. I wanted to leave a historical record of our martyrdom."…

Henryk Ross stayed behind in the ghetto as part of the clean-up commando. He survived the Holocaust, and located and dug up the documentary material after the war.’

Your photography history post for today: By Henryk Ross (1910–1991), photo of a Łódź Ghetto scarecrow with Star of David, ca. 1940-1944, Museum of Fine Arts, Boston. Today is Yom HaShoah (Holocaust Martyrs' and Heroes' Remembrance Day), remembering the 6 million Jewish lives lost in the Holocaust. #PhotographyHistory #YomHashoa #holocaust #photography

From ‘The Jewish Photographer Henryk Ross: “I wanted to leave a historical record of our martyrdom",’ by Franziska Reiniger, Yad Vashem, The World Holocaust Remembrance Center: ‘When the Lodz Ghetto was sealed by the Germans in May 1940, Ross was forced to move into the ghetto. He managed to get a job as one of the official photographers in the ghetto. Along with his colleague Mendel Grossman, Ross was in charge of producing identity and propaganda photographs for the Department of Statistics in the Lodz Ghetto. Due to his task, Ross had access to film and processing facilities in the ghetto. He used these to secretly document the conditions in the ghetto, the suffering of the Jews there, and the brutality of the Germans. His work was an act of resistance against the prohibition of the Germans and the ghetto authorities to take pictures that were not officially approved. He hid his camera underneath his coat, opened it slightly, and snapped the photographs. Ross exposed himself to dangers and risked his life in order to take the pictures. In this fashion, he accumulated thousands of pictures that tell us what life was like in the Lodz Ghetto.

When the liquidation of the ghetto began in 1944, Ross buried his archive in the ground of the ghetto, so it could be dug up and could bear witness to the persecution of European Jewry after the war.

“Just before the closure of the ghetto (1944) I buried my negatives in the ground in order that there should be some record of our tragedy, namely the total elimination of the Jews from Lodz by the Nazi executioners. I was anticipating the total destruction of Polish Jewry. I wanted to leave a historical record of our martyrdom."…

Henryk Ross stayed behind in the ghetto as part of the clean-up commando. He survived the Holocaust, and located and dug up the documentary material after the war.’

Your photography history post for today: By Henryk Ross (1910–1991), photo of a Łódź Ghetto scarecrow with Star of David, ca. 1940-1944, Museum of Fine Arts, Boston. Today is Yom HaShoah (Holocaust Martyrs' and Heroes' Remembrance Day), remembering the 6 million Jewish lives lost in the Holocaust. #PhotographyHistory #YomHashoa #holocaust #photography

From ‘The Jewish Photographer Henryk Ross: “I wanted to leave a historical record of our martyrdom",’ by Franziska Reiniger, Yad Vashem, The World Holocaust Remembrance Center: ‘When the Lodz Ghetto was sealed by the Germans in May 1940, Ross was forced to move into the ghetto. He managed to get a job as one of the official photographers in the ghetto. Along with his colleague Mendel Grossman, Ross was in charge of producing identity and propaganda photographs for the Department of Statistics in the Lodz Ghetto. Due to his task, Ross had access to film and processing facilities in the ghetto. He used these to secretly document the conditions in the ghetto, the suffering of the Jews there, and the brutality of the Germans. His work was an act of resistance against the prohibition of the Germans and the ghetto authorities to take pictures that were not officially approved. He hid his camera underneath his coat, opened it slightly, and snapped the photographs. Ross exposed himself to dangers and risked his life in order to take the pictures. In this fashion, he accumulated thousands of pictures that tell us what life was like in the Lodz Ghetto.

When the liquidation of the ghetto began in 1944, Ross buried his archive in the ground of the ghetto, so it could be dug up and could bear witness to the persecution of European Jewry after the war.

“Just before the closure of the ghetto (1944) I buried my negatives in the ground in order that there should be some record of our tragedy, namely the total elimination of the Jews from Lodz by the Nazi executioners. I was anticipating the total destruction of Polish Jewry. I wanted to leave a historical record of our martyrdom."…

Henryk Ross stayed behind in the ghetto as part of the clean-up commando. He survived the Holocaust, and located and dug up the documentary material after the war.’

Your photography history post for today: By Henryk Ross (1910–1991), photo of a Łódź Ghetto scarecrow with Star of David, ca. 1940-1944, Museum of Fine Arts, Boston. Today is Yom HaShoah (Holocaust Martyrs' and Heroes' Remembrance Day), remembering the 6 million Jewish lives lost in the Holocaust. #PhotographyHistory #YomHashoa #holocaust #photography

From ‘The Jewish Photographer Henryk Ross: “I wanted to leave a historical record of our martyrdom",’ by Franziska Reiniger, Yad Vashem, The World Holocaust Remembrance Center: ‘When the Lodz Ghetto was sealed by the Germans in May 1940, Ross was forced to move into the ghetto. He managed to get a job as one of the official photographers in the ghetto. Along with his colleague Mendel Grossman, Ross was in charge of producing identity and propaganda photographs for the Department of Statistics in the Lodz Ghetto. Due to his task, Ross had access to film and processing facilities in the ghetto. He used these to secretly document the conditions in the ghetto, the suffering of the Jews there, and the brutality of the Germans. His work was an act of resistance against the prohibition of the Germans and the ghetto authorities to take pictures that were not officially approved. He hid his camera underneath his coat, opened it slightly, and snapped the photographs. Ross exposed himself to dangers and risked his life in order to take the pictures. In this fashion, he accumulated thousands of pictures that tell us what life was like in the Lodz Ghetto.

When the liquidation of the ghetto began in 1944, Ross buried his archive in the ground of the ghetto, so it could be dug up and could bear witness to the persecution of European Jewry after the war.

“Just before the closure of the ghetto (1944) I buried my negatives in the ground in order that there should be some record of our tragedy, namely the total elimination of the Jews from Lodz by the Nazi executioners. I was anticipating the total destruction of Polish Jewry. I wanted to leave a historical record of our martyrdom."…

Henryk Ross stayed behind in the ghetto as part of the clean-up commando. He survived the Holocaust, and located and dug up the documentary material after the war.’

Photo by Edward S. Curtis (1868-1952), “Mosa-Mohave,” photogravure, 1903. As a photograph it appears in many collections, both public & private. #photography #vintagephotography #photographyhistory #nativeamerican #indigenous

Here is a fascinating story from Siouxland Public Media about Curtis and how he raised funding from JP Morgan when he showed the magnate this photograph: https://www.kwit.org/featured-programs/2020-09-28/when-mosa-preserved-a-history

Beams of sunlight streaming through the windows at Grand Central Station, New York City, ca. 1930. (Photo by Hal Morey/Fox Photos/Hulton Archive/Getty Images). #vintagephotography #photography #photographyhistory

I have seen this photo attributed to several different photographers, including Berenice Abbott and Alfred Stieglitz, but I tend to trust Getty Images.

From Canning Decorative Building Arts: “On February 2, 1913—after 10 years, 80 million, 3 shifts per day, and up to 10,000 workers at a time—Grand Central Terminal opened to the public. In the late 1990s, after years of neglect, near demolition, and a miraculous designation as the first historic landmark under the US landmarks conservancy act, a comprehensive restoration of the station’s structural, architectural, and decorative details returned the historic landmark to its former glory. Plans were also adopted to expand the purpose of the station to include a diverse selection of restaurants and shops that would serve commuters and tourists alike…

A detailed analysis of the dirt by scientists at McCrone Associates reported that the dirt and grime did not contain any nicotine or particles that could be attributed to cigar or cigarette smoke. The grime was the result of decades of air pollutants – specifically car and truck exhaust, and the emissions soot and contaminants from industrial plants and apartment-building incinerators.

These pollutants, multiplied by New York’s 14.8 million residents in the 50s, made for alarming cover stories in LIFE magazine featuring NY smog. The breath-defying air in NYC and other big cities at that time led to country-wide clean air regulations beginning in 1957, the first federal Clean Air Act in 1963, and most important, mandated emission standards for automobiles, trucks, and buses beginning in 1970.

For all those years, Grand Central stood in the midst of that haze with its windows open to the pollutant-laden air. But the cigarette and cigar smoke from hundreds of thousands of people passing through the terminal each day did not contribute to the heavy layer of dirt and grime found on the ceiling surface 125’ above.”

Your photography history post for today: by Lillian Bassman (1917-2012), “Night Bloom, Olga Pantushenkova, hat by Christian Lacroix Haute Couture, Paris,” gelatin silver print, published in The New York Times Magazine, 31 March 1996. #photography #photographyhistory #fashionphotography #darkroom #womanphotographer #womenphotographers

Excerpts from her obituary in The Guardian, written by Veronica Horwell, 16 Feb 2012: ‘Lillian Bassman wandered into fashion photography in pursuit of the happiness of constant creation. Her absorption in her work showed in every picture she took, or rather in every image she printed, for Bassman… was an exuberant experimenter in the darkroom. "In there, I felt a sense of being able to say something I wanted to say," she remarked. Her pictures are closer to those of the illustrators who shared the glossy pages of fashion magazines with photographers until the 1950s than to contemporaries such as Richard Avedon and Irving Penn. Avedon knew what Bassman was up to though, saying that she made "visible that heartbreaking invisible place between the appearance and the disappearance of things".

Bassman was a bohemian from her childhood in Brooklyn and Greenwich Village, New York, onwards. She was the daughter of Ukrainian emigres who had courted in the galleries of the Metropolitan Museum. Bassman admired the old masters, too, and was inspired by El Greco's near-monochrome, elongated portraits. Her early intention was to be a dancer, and she kept her eye for the grace in female movement that, she said, "usually passes unnoticed in everyday life".’

Your photography history post for today: by Lillian Bassman (1917-2012), “Night Bloom, Olga Pantushenkova, hat by Christian Lacroix Haute Couture, Paris,” gelatin silver print, published in The New York Times Magazine, 31 March 1996. #photography #photographyhistory #fashionphotography #darkroom #womanphotographer #womenphotographers

Excerpts from her obituary in The Guardian, written by Veronica Horwell, 16 Feb 2012: ‘Lillian Bassman wandered into fashion photography in pursuit of the happiness of constant creation. Her absorption in her work showed in every picture she took, or rather in every image she printed, for Bassman… was an exuberant experimenter in the darkroom. "In there, I felt a sense of being able to say something I wanted to say," she remarked. Her pictures are closer to those of the illustrators who shared the glossy pages of fashion magazines with photographers until the 1950s than to contemporaries such as Richard Avedon and Irving Penn. Avedon knew what Bassman was up to though, saying that she made "visible that heartbreaking invisible place between the appearance and the disappearance of things".

Bassman was a bohemian from her childhood in Brooklyn and Greenwich Village, New York, onwards. She was the daughter of Ukrainian emigres who had courted in the galleries of the Metropolitan Museum. Bassman admired the old masters, too, and was inspired by El Greco's near-monochrome, elongated portraits. Her early intention was to be a dancer, and she kept her eye for the grace in female movement that, she said, "usually passes unnoticed in everyday life".’

Your photography history post for today: by Lillian Bassman (1917-2012), “Night Bloom, Olga Pantushenkova, hat by Christian Lacroix Haute Couture, Paris,” gelatin silver print, published in The New York Times Magazine, 31 March 1996. #photography #photographyhistory #fashionphotography #darkroom #womanphotographer #womenphotographers

Excerpts from her obituary in The Guardian, written by Veronica Horwell, 16 Feb 2012: ‘Lillian Bassman wandered into fashion photography in pursuit of the happiness of constant creation. Her absorption in her work showed in every picture she took, or rather in every image she printed, for Bassman… was an exuberant experimenter in the darkroom. "In there, I felt a sense of being able to say something I wanted to say," she remarked. Her pictures are closer to those of the illustrators who shared the glossy pages of fashion magazines with photographers until the 1950s than to contemporaries such as Richard Avedon and Irving Penn. Avedon knew what Bassman was up to though, saying that she made "visible that heartbreaking invisible place between the appearance and the disappearance of things".

Bassman was a bohemian from her childhood in Brooklyn and Greenwich Village, New York, onwards. She was the daughter of Ukrainian emigres who had courted in the galleries of the Metropolitan Museum. Bassman admired the old masters, too, and was inspired by El Greco's near-monochrome, elongated portraits. Her early intention was to be a dancer, and she kept her eye for the grace in female movement that, she said, "usually passes unnoticed in everyday life".’

Your photography history post for today: by Lillian Bassman (1917-2012), “Night Bloom, Olga Pantushenkova, hat by Christian Lacroix Haute Couture, Paris,” gelatin silver print, published in The New York Times Magazine, 31 March 1996. #photography #photographyhistory #fashionphotography #darkroom #womanphotographer #womenphotographers

Excerpts from her obituary in The Guardian, written by Veronica Horwell, 16 Feb 2012: ‘Lillian Bassman wandered into fashion photography in pursuit of the happiness of constant creation. Her absorption in her work showed in every picture she took, or rather in every image she printed, for Bassman… was an exuberant experimenter in the darkroom. "In there, I felt a sense of being able to say something I wanted to say," she remarked. Her pictures are closer to those of the illustrators who shared the glossy pages of fashion magazines with photographers until the 1950s than to contemporaries such as Richard Avedon and Irving Penn. Avedon knew what Bassman was up to though, saying that she made "visible that heartbreaking invisible place between the appearance and the disappearance of things".

Bassman was a bohemian from her childhood in Brooklyn and Greenwich Village, New York, onwards. She was the daughter of Ukrainian emigres who had courted in the galleries of the Metropolitan Museum. Bassman admired the old masters, too, and was inspired by El Greco's near-monochrome, elongated portraits. Her early intention was to be a dancer, and she kept her eye for the grace in female movement that, she said, "usually passes unnoticed in everyday life".’

Your photography history post for today: by Lillian Bassman (1917-2012), “Night Bloom, Olga Pantushenkova, hat by Christian Lacroix Haute Couture, Paris,” gelatin silver print, published in The New York Times Magazine, 31 March 1996. #photography #photographyhistory #fashionphotography #darkroom #womanphotographer #womenphotographers

Excerpts from her obituary in The Guardian, written by Veronica Horwell, 16 Feb 2012: ‘Lillian Bassman wandered into fashion photography in pursuit of the happiness of constant creation. Her absorption in her work showed in every picture she took, or rather in every image she printed, for Bassman… was an exuberant experimenter in the darkroom. "In there, I felt a sense of being able to say something I wanted to say," she remarked. Her pictures are closer to those of the illustrators who shared the glossy pages of fashion magazines with photographers until the 1950s than to contemporaries such as Richard Avedon and Irving Penn. Avedon knew what Bassman was up to though, saying that she made "visible that heartbreaking invisible place between the appearance and the disappearance of things".

Bassman was a bohemian from her childhood in Brooklyn and Greenwich Village, New York, onwards. She was the daughter of Ukrainian emigres who had courted in the galleries of the Metropolitan Museum. Bassman admired the old masters, too, and was inspired by El Greco's near-monochrome, elongated portraits. Her early intention was to be a dancer, and she kept her eye for the grace in female movement that, she said, "usually passes unnoticed in everyday life".’

Was re-inserting a 64GB SDXC card into my camera and thought, "How many people remember microdrives?" 🙋

Not as robust as CF cards, but ¼ the cost... just don't drop them.

Not to mention the Hasselblad Image Bank (weight 1½ lb/ 0.7kg and had a strap to carry over your shoulder - but 40GB!)

#memories #photography #PhotographyHistory #DigitalPhotography

Photograph by African-American photographer James Van Der Zee (1886–1983), “Couple, Harlem,” 1932, gelatin silver print. As a photo it appears in collections both public & private. #vintagephotography #BlackHistory #blackphotographer #PhotographyHistory

From Charles Hagen, The New York Times, April 15, 1994: “VanDerZee, who died in 1983 at the age of 96, was the leading photographer in Harlem during its heyday, from World War I until the 1940's.

Through the doors of VanDerZee's studio, situated first on West 135th Street and later on upper Seventh Avenue, passed a cross-section of Harlem society. His sitters included such celebrities as the Rev. Adam Clayton Powell Sr. and the dancer Bill (Bojangles) Robinson as well as a host of ordinary working men and women.”

And from Gene Thornton, The New York Times, Feb. 26, 1984: ‘James Van Der Zee had two careers in photography. The first was as a neighborhood photographer in Harlem during the 1920's and 30's. The second, as a national photographic celebrity, lasted from 1969, when his work of the 20's and 30's was prominently featured in the exhibition ''Harlem on My Mind'' at the Metropolitan Museum of Art, until his death in 1983 at the age of 96.’