842
C O N T E M P O R A RY B I B L I O G R A P H YStephen Anchell, The Darkroom Cookbook (Boston:
Focal Press, 1994).
Jan Arnow, Handbook of Alternative Photographic
Processes (New York: Van Nostrand Reinholt Co.,
1982).
Dick Arentz, Platinum & Palladium Printing, 2nd ed.
(Focal Press, 2005).
Dick Arentz, Outline for Platinum/Palladium Printing,
3rd ed. (Self-published, 1998).
Janet Ashford and John Odam, Start With a Scan
(Berkely, CA: Peachpit Press, 1996).
Geoffrey Batchen, Burning With Desire (Cambridge,
MA: MIT Press, 1999).
B
Selected Bibliography: Alternative Processes
John Barnier, ed., Coming Into Focus (San Francisco,
CA: Chronicle Books, 2000).
Faber Birren and M.E. Chevreul, The Principles of
Harmony and Contrast of Colors and Their
Applications to the Arts, rev. ed. (Schiffer, 2007).
Bill Bryson, A Short History of Nearly Everything
(New York: Broadway Books, 2003).
Buckland, Gail, Fox Talbot and the Invention of
Photography (Boston: Godine, 1980).
Peter C. Bunnell, ed., Non-silver Printing Processes
(New York: Arno Press, 1973).
Peter Bunnell, ed., A Photographic Vision: Pictorial
Photography, 1889–1923 (Salt Lake City: Peregrine
Smith, 1980).
Dan Burkholder, Making Digital Negatives for Contact
Printing (San Antonio, TX: Bladed Iris Press, 1998).
Vannevar Bush, “As We May Think,” The Atlantic, 1945.
Max Byrd, Shooting the Sun (Bantam/Random House,
2004).
Charles Caffin, Photography as a Fine Art, the
Achievement and Possibilities of Photographic Art
in America (1901; repr., Dobbs Ferry, NY: Morgan &
Morgan, 1971). Introduction by Thomas F. Barrow.
John Paul Caponigro, Adobe Photoshop Master Class
(San Jose, CA: Adobe Press, 2000).
John Paul Caponigro, Adobe Photoshop Master Class:
John Paul Caponigro, 2nd ed. (Adobe Press, 2003).
Nancy Clark, Ventilation (New York: Lyons & Burford,
1990).
Brian Coe and Mark Haworth-Booth, A Guide to Early
Photographic Processes (London, England: Victoria
& Albert Museum, 1983).
APP–2 Jill Skupin Burkholder, Man with Baseballs, 2001 (bromoil) This image, from the State Fair of Texas in Dallas, is made with the bromoil process. Jill writes, “I have a strange reaction to this image. Maybe because it’s just the torso, it makes me think of the statue David which throws me into an antiquity state of mind. The carnival barker seems more like a Greek hero to me, ready to battle the dark forces.” (Courtesy of the Artist)
ZE_C8815_AppB_ptg01_hr_842-848.indd 842 12/19/14 4:11 PM
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843
Betty Hahn, Photography or Maybe Not (Albuquerque,
NM: University of New Mexico Press, 1995).
John Hammond, The Camera Obscura: A Chronicle
(Bristol, England: Adam Hilger Ltd., 1981).
Margaret Harker, The Linked Ring: The Secession
Movement in Photography in Britain, 1892–1910
(London: Heineman, 1979).
Barbara Hewitt, Blueprints of Fabric: Innovative Uses for
Cyanotype (Loveland, CO: Interweave Press, 1995).
Wolfgang Hesse, Hermann Krone (Historisches
Lehmuseum für Photographie, 1998). Kupferstich-
Kabinett der Staatlichen Kunstsammlungen
Dresden, Technishe Universitat, Dresden
Ann Hoy, Fabrications (New York: Abbeville Press,
1987).
Robert Hughes, “Mirrors and Windows,” Time, August 7,
1978.
Christopher James, The Book of Alternative
Photographic Processes, 1st ed. (Albany, NY:
Delmar Thomson Learning, 2002).
Christopher James, The Book of Alternative
Photographic Processes 2nd ed. (Albany, NY:
Delmar Cengage, 2007).
Kate Jennings and Mark Osterman, Dr. Thomas
Keith’s Waxed Paper Process Experiment: Part
II, Advanced Residency Program in Photograph
Conservation (ARP) at George Eastman House,
International Museum of Photography and Film,
August 2002.
B. E. Jones, ed., Cassell’s Cyclopedia of Photography
(New York: Arno Press, 1973).
Nancy Keeler, “Inventors and Entrepreneurs,” History
of Photography 26(1).
Ross King, Brunelleschi’s Dome: How a Renaissance
Genius Reinvented Architecture (Penguin, 2001).
Ross King, Michelangelo and the Pope’s Ceiling,
new ed. (Pimlico, 2006).
Jaromir Kosar, Light Sensitive Systems: Chemistry
and Application of Non Silver Halide Photographic
Processes (New York: John Wiley and Sons, 1965).
Boris Kossoy, “Hercules Florence: Pioneer of
Photography in Brazil,” Image 20(1): 12-21.
Loring Knoblauch, “2013, The Year of Interdisciplinary
Photography,” Collectors Daily, January 2014.
Steven Levy, Insanely Great (New York: Penguin Books,
1994).
John Coffer, The Doers Guide (self-published, 2000).
Athel Cornish-Bowden, “Elizabeth Fulhame and the
Discovery of Catalysis 100 Years Before Buchner,”
Journal of Bioscience 23 (1998): 87–92.
William Crawford, The Keepers of Light (Dobbs Ferry,
NY: Morgan & Morgan, 1979).
George DeWolfe, George DeWolfe’s Fine Digital
Photography Workshop (McGraw-Hill Osborne
Media, 2006).
Robert Doty, Photo-Secession: Stieglitz and the Fine
Art Movement in Photography (New York: Dover
Publications, 1978).
Will Dunniway, The Wet Collodion Plate: 16 Steps to
Making the Plates (Self-published, 2010).
George Eaton, Photographic Chemistry (Dobbs Ferry,
NY: Morgan & Morgan, 1999).
Dan Estabrook, 3-D gum printing worksheet and email
reply to anthotype question (1998).
Howard Etkin and Carson Graves, “Toning Safety,”
Ilford Photo Instructor Newsletter (1997).
Malin Fabri, Anthotypes: Explore the darkroom in
your garden and make photographs using plants
(2012).
Richard Farber, Historic Photographic Processes (New
York: Allworth Press, 1998).
Vilém Flusser, Towards a Philosophy of Photography
(London: Reaktion Books, 1983).
Peter Galassi, Before Photography: Painting and the
Invention of Photography (New York: Museum of
Modern Art, 1981).
Arnold Gassan, A Chronology of Photography (Athens,
OH: Handbook Company, 1972).
Arnold Gassan, Handbook for Contemporary
Photography, 4th ed. (Rochester, NY: Light
Impressions, 1977).
Helmut Gernsheim, The Origins of Photography (New
York: Thames and Hudson, 1982).
Allan Goodman, Elegant Images: Instructions and
Troubleshooting Guide for Platinum and Palladium
Photoprinting (Delaware, MD: Elegant Images, 1976).
Christopher Grey, Photographer’s Guide to Polaroid
Transfers (Buffalo, NY: Amherst Media, 1999).
Alan Greene, Primitive Photography: A Guide to Making
Cameras. Lenses, and Calotypes (Focal Press, 2001).
Sarah Greenough, On the Art of Fixing a Shadow: 150
Years of Photography (Boston: Bulfinch Press, 1989).
ZE_C8815_AppB_ptg01_hr_842-848.indd 843 12/19/14 4:11 PM
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844
John Rudiak, “Creating a Platinotype,” View Camera,
July/August 1994.
Salman Rushdie, Midnight’s Children (Random House,
1981).
David Scopick, The Gum Bichromate Book (Rochester,
NY: Light Impressions, 1987).
Larry Schaaf and Hans Kraus (contributor) Sun
Gardens: Victorian Photograms by Anna Atkins
(New York: Aperture, 1985). This book is based on
Anna Atkins’s 10-year, 3-volume collection entitled
British Algae: Cyanotype Impressions, privately
printed (1843–1853).
Larry Schaaf, Out of the Shadows: Herschel, Talbot,
and the Invention of Photography (New Haven,
CT: Yale University Press, 1992).
Larry J Schaaf, “The Talbot Collection: National
Museum of American History,” History of
Photography 24(1) 7–15.
Larry Schaaf, ed., The Correspondence of William
Henry Fox Talbot. The Project has prepared a com-
prehensive edition of the nearly 10,000 letters to
and from Talbot (1800–1877) in association with
De Montfort University, Leicester. Web site: http://
www.foxtalbot.dmu.ac.uk/letters/letters.html
Susan Shaw and Monona Rossol (contributor)
Overexposure: Health Hazards in Photography
(New York: Allworth Press, 1991).
Thomas Shillea, Instruction Manual for the Platinum
Printing Process, 1986.
Jim Schull, The Hole Thing: A Manual of Pinhole
Photography (Dobbs Ferry, NY: Morgan &
Morgan, 1974).
Judy Seigel, ed., Post Factory Photography, Issues 1,
2, 3, 4, 5, 6, 7, and 8 (New York: Post Factory Press,
1998–2000).
Lucy Soutter, Why Art Photography (Routledge,
London, 2013).
Jerry Spagnoli, Daguerreotypes: 1995–2004
(Göttingen, Germany: Steidl Publishing, 2006).
D. A. Spencer, ed., Focal Encyclopedia of Photography
(London & New York: Focal Press, 1973).
Dick Stevens, Making Kallitypes: A Definitive Guide
(Stoneham, MA: Butterworth & Heinemann,
1990).
Craig Stevens, A Mordançage Process Worksheet . . .
from Jean Paul Sudre notes (1998).
Merck Index, Encyclopedia of Chemicals and Drugs
(Whitehouse Station, NJ: Merck & Co., 1968).
Bonnie Pierce Lhotka, Digital Alchemy: Printmaking
Techniques for Fine Art, Photography, and Mixed
Media (New Riders, 2010).
Luis Nadeau, History and Practice of Platinum
Printing (New Brunswick, Canada: Atelier Luis
Nadeau, 1994).
Luis Nadeau, Encyclopedia of Printing, Photographic
& Photomechanical Processes (New Brunswick,
Canada: Atelier Luis Nadeau, 1989).
Luis Nadeau, Gum Dichromate (New Brunswick,
Canada: Atelier Luis Nadeau, 1987).
Bea Nettles, Breaking the Rules: A Photo Media
Cookbook, 3rd ed. (Urbana, Illinois: Inky Press
Productions, 1992).
Beumont Newhall, The History of Photography (New
York: Museum of Modern Art, 1982).
Beaumont Newhall, ed., The Art and Science of Photo-
graphy (Century House, Watkins Glen, NY, 1956).
Mark Osterman, The Wet Plate Process; A Working
Guide (Scully & Osterman, 2002).
Lynn Picknett and Clive Prince, Turin Shroud: In
Whose Image? The Truth Behind the Centuries-
Long Conspiracy of Silence (Amherst, MA: Acacia
Press, 1994).
James Reilly, The Albumen and Salted Paper Book:
The History and Practice of Photographic Printing
1840–1895 (Rochester, N.Y: Light Impressions, 1980).
Martin Reed and Sarah Jones, Silver Gelatin: A
Users Guide to Liquid Emulsions (New York:
Amphoto, 1996).
Eric Renner and Nancy Spencer, Pinhole Photography
(Stoneham, MA: Focal Press, 1994).
Lyle Rexer, Antiquarian Avant-Garde: The New Wave
in Old Process Photography (New York: Harry N.
Abrams, 2002).
Lyle Rexer, The Edge of Vision: The Rise of Abstraction
in Photography (New York: Aperture, 2013).
Nancy Rexroth, The Platinotype (Missoula, MT:
Formulary Press/Violet Press, 1977).
John Ross, Clare Romano, and Tim Ross, The Complete
Printmaker (New York: Collier Macmillan
Publishers, The Free Press, 1990).
John Rudiak, “The Platinotype,” View Camera,
January/February 1994.
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845
Bruce Warren, Photography (New York: Delmar
Publishers, 1993).
Roger Watson and Helen Rappaport, Capturing the Light:
The Birth of Photography, A True Story of Genius and
Rivalry (New York: St. Martin’s Press, 2013).
Randall Webb and Martin Reed, Spirits of Salts
(London: Argentum, 1999).
Mike Wooldridge and Linda Wooldridge, Teach Yourself
VISUALLY Photoshop CS2 (2005).
Lee Witkin and Barbara London, The Photograph
Collector’s Guide (Boston: New York Graphics
Society, 1979).
E A R LY & H I S TO R I CA L B I B L I O G R A P H YAristotle, Problems, I. Books I-XXI, trans. by W. S. Hett
(London: William Heinemann Ltd., 1936).
W. de W. Abney and Lyonel Clark, Platinotype (London:
Sampson Low, Marston and Co., 1895).
W. de W. Abney and Lyonel Clark, Platinotype (New
York: Scovill & Adams, 1898).
W. de W. Abney, Instruction in Photography (London:
Piper and Carter, 1886).
Leon Battista Alberti, On Painting, trans. Cecil Grayson
(London: Phaidon Press Ltd, 1972).
Count Francesco Algorotti, Essays on Painting
(London: Davis & Reymers, 1764).
Paul Anderson, Pictorial Photography, Its Principles
and Practice (New York: J.B. Lippincot, 1917.
(Republished as The Technique of Pictorial
Photography, 1939).
Paul Anderson, Handbook of Photography (New York:
Whittlesey House, 1939).
Anna Atkins, British Algae: Cyanotype Impressions
(Halstead Place, Sevenoaks: Privately printed, 1843–
1853). A dozen copies are known to exist. The first
volume of images was issued in October 1843 (prior
to Talbot’s The Pencil of Nature). See L. J. Schaaf and
H. P. Kraus, Sun Gardens: Victorian Photograms by
Anna Atkins” (New York: Aperture, 1985).
George E. Brown, Ferric & Heliographic Processes
(London: Dawbarn & Ward: 1900).
Rev. W. H. Burbank, Photographic Printing Methods
(New York: Scovill & Adams, 1891).
Rev. W. H. Burbank, The Photographic Negative
Written As a Practical Guide to the Presentation
of Sensitive Surfaces by the Calotype, Albumen,
Dick Sullivan, Lab Notes (Van Nuys, CA: Bostick &
Sullivan, 1982).
Dick Sullivan and Carl Weese, The New Platinum Print
(Santa Fe, NM: Working Pictures Press Book, 1998).
John Szarkowski, Looking at Photographs (New York:
Museum of Modern Art, 1973).
George Tice, “Processes: Palladium & Platinum,”
Modern Photography, March 1971.
Hollis Todd and Richard Zakia, Photographic Sensito-
metry (Dobbs Ferry, NY: Morgan & Morgan, 1969).
Alan Trachtenberg, ed., Classic Essays on Photography
(New Haven, CT: Leete’s Island Books, 1980).
Sarah Van Keuren, A Non-Silver Manual, Self-
Published Notes for Students at the University of
the Arts in Philadelphia, 1999–2006.
Kent Wade, Alternative Photographic Processes
(Dobbs Ferry, NY: Morgan and Morgan, 1978).
Michael Ware, “The Argyrotype,” British Journal of
Photography 139 (6824): 17–19
Michael Ware, Cyanotype: The History, Science &
Art of Photographic Printing in Prussian Blue
(London: Science Museum & National Museum of
Photography, Film & Television, 1999).
Mike Ware and Pradip Malde, A Contemporary Method
for Making Photographic Prints in Platinum &
Palladium (1988).
Michael Ware, Mechanisms of Image Deterioration
in Early Photographs: The Sensitivity to Light of
W.H.F. Talbot’s Halide-Fixed Images 1834–1844
(London: Science Museum and National Museum of
Photography, Film & Television, 1994).
Michael Ware, Gold in Photography: The History and
Art of Chrysotype (Abergavenny: Ffotoffilm, 2006).
Michael Mike, The Chrysotype Manual: The Science
and Practice of Photographic Printing in Gold
(Abergavenny: Ffotoffilm, 2006).
Michael Ware, “An Investigation of Platinum and
Palladium Printing,” Journal of Photographic
Science 34: 13–25.
Michael Ware, “The Eighth Metal: The Rise of the
Platinotype Process,” in Photography 1900,
The Edinburgh Symposium (National Museums
of Scotland and National Galleries of Scotland,
1994).
Michael Ware, “Photographic Printing in Colloidal Gold,”
Journal of Photographic Science 42(5): 157–161.
ZE_C8815_AppB_ptg01_hr_842-848.indd 845 12/19/14 4:11 PM
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846
W. Jerome Harrison, Scoville Photographic Series, A
History of Photography (New York: Scoville Mfg.
Company, 1887).
W. Jerome Harrison, The Chemistry of Photography
(New York: Scoville & Adams Company, 1892).
J.F.W Herschel, “On the Action of Light in
Determining the Precipitation of Muriate
of Platinum by Lime-Water,” London and
Edinburgh Philosophical Magazine and Journal
of Science I, July 1832.
J.F.W. Herschel, “On the chemical action of the rays
of the solar spectrum on preparations of silver
and other substances, both metallic and non-
metallic, and on some photographic processes,”
Philosophical Transactions of the Royal Society of
London (1840): 1–59.
J.F.W. Herschel, “On the Action of the Rays of
the Solar Spectrum on Vegetable Colours
and on Some New Photographic Processes,”
Philosophical Transactions of the Royal Society
202 (London: 1842).
Margaret Herschel, Memoir and Correspondence of
Caroline Herschel (New York: Appleton & Co., 1876).
Ibn al-Haitam, On the Form of an Eclipse, circa 1038.
This document can be found at the India Office
Library in London.
Robert Hunt, Researches on Light (1844; repr., New
York: Arno Press, 1973).
Bernard E. Jones, ed., Cassell’s Cyclopaedia of
Photography (London:Cassell and Co., 1911).
Edward MacCurdy, The Notebooks of Leonardo da
Vinci (New York: Reynal & Hitchcock, 1938).
C. B. Neblette, Photography: Its Materials and
Processes (New York: Van Nostrand Co., 1927).
Isidore Niépce (son of Joseph Nicéphore Niépce)
History of the Discovery Improperly Called
Daguerreotype (Paris: Astier, 1841).
G. Pizzighelli and Baron A Hübl, Platinotype (London:
Harrison and Sons, 1886).
Rev. J. B. Reade, A letter to Robert Hunt written
on February 13, 1854, that you will find most enter-
taining.
Karl Wilhelm Scheele, Chemical Observations and
Experiments on Air and Fire (1777).
R. S. Schultze, “Rediscovery and Description of
Original Material on the Photographic Researches
Collodion, and Gelatine Processes, On Glass
and Paper, With Supplementary Chapters on
Development, Etc., Etc. (New York: Scovill, 1888).
M. E. Chevreul, De La Loi du Contraste Simultane des
Couleurs (Pitois-Levrault, 1839).
M.E. Chevreul, The Principles of Harmony and
Contrasts of Colors and Their Application to the
Arts, trans. ed. (1854).
Lyonel Clark, Platinum Toning: Introducing
Directions for the Production of the Sensitive
Paper (New York: E. & H.T. Anthony, 1890).
L. P. Clerc, The Technique of Photography (Bath,
England: Henry Greenwood & Company, 1930; New
York: Pitman & Sons, 1930).
Hugh Welch Diamond, “ The Simplicity of the Calotype
Process,” Notes and Queries: A Medium of Inter-
Communication for Literary Men, Artists,
Antiquaries, Geneologists, Etc., Volume 8th,
December 17, 1853 (London: George Bell, 1853).
Peter Henry Emerson, Life and Landscape on the
Norfolk Broads (London: Sampson Low, Marston,
Searle, & Rivington, 1886).
Peter Henry Emerson, Naturalistic Photography
for Students of the Art (London: Sampson Low,
Marston, Searle & Rivington, 1889).
Peter Henry Emerson, The Death of Naturalistic
Photography (London: Self-published, 1890).
Edward Estabrooke, The Ferrotype and How to Make
It (1872 and 1903 in twelve revised editions. Morgan
& Morgan printed the last version in 1974.)
Frank R. Fraprie and Walter E. Woodbury,
Photographic Amusements: Including Tricks
and Unusual or Novel Effects Obtainable with
the Camera (Boston: American Photographic
Publishing, 1931).
Frank R. Fraprie and Florence O’Connor,
Photographic Amusements: Including Tricks
and Unusual or Novel Effects Obtainable with
the Camera (Boston: American Photographic
Publishing, 1937).
Lady Elizabeth Eastlake, “Photography,” London
Quarterly Review, April 1857: 442–68.
Elizabeth Fulhame, An Essay on Combustion, With a
View to a New Art of Dying and Painting, wherein
the Phlogistic and Antiphlogistic Hypotheses Are
Proved Erroneous (London: Self-published, 1794).
ZE_C8815_AppB_ptg01_hr_842-848.indd 846 12/19/14 4:11 PM
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847
of Sir F.W. John Herschel, 1939–1944,” Journal of
Photographic Science 13 (1965).
Jean Senebier, Mémoires physico-chimiques sur
l’influence de la lumière solaire (Genève, 1782).
Henry Snelling, The History and Practice of the Art
of Photography (New York: G. P. Putnam, 1849).
Note: The chapter on the Calotype and Chrysotype,
Chapter IX, is particularly informative.
Mary Somerville, “On the Action of Rays of the Spectrum
on Vegetable Juices,” Philosophical Transactions of
the Royal Society 136 (1846).
Thomas Sutton (editor of Photographic Notes)
A Dictionary of Photography (London: Sampson,
Low, Son and Co., 1858).
Thomas Sutton, The Calotype Process. A Hand Book to
Photography on Paper, 1st ed. (1854). Frontispiece
with two mounted specimens of unwashed and
washed iodized paper, twelve pages of advertise-
ments at end, publisher’s orange flexible cloth, front
endpapers dampstained.
Thomas Sutton, A New Method of Printing
Photographs, by Which Per manent and Artistic
Results May Be Uniformily Obtained (St. Brelade’s
Bay, Jersey: Self-published, 1855).
Thomas Sutton, “On Printing by Development,”
Photographic Notes 1(1): vii-viii.
William Henry Fox Talbot, “Calotype Photogenic
Drawing,” (communique to the Royal Society,
London, June 10, 1841).
William Henry Fox Talbot, The Pencil of Nature (London:
Longman, Brown Green & Longmans, 1844).
William Henry Fox Talbot, Letter sent to the Royal
Society on February 20, 1839, clarifying the specifics
in the production of photogenic drawings.
William Henry Fox Talbot, Photogenic Drawing Details,
Literary Gazette, February 22, 1839.
William Henry Fox Talbot, “Patents by William Henry
Fox Talbot for Improvements in Photography,
June 1843,” Chemical Gazette, Volume II, 1844.
Norman Tiphaigne de la Roche, Giphantie (Paris: 1760).
John Tennant, The Photo-Miniature, #10 (London:
Dawbarn and Ward, January 1900).
John Tennant, The Photo-Miniature #47 (London:
Dawbarn and Ward, 1903).
John Tennant, The Photo-Miniature, #69 (London:
Dawbarn and Ward, December 1904).
John Towler, The Silver Sunbeam, rev. ed. (1864; repr.,
Morgan & Morgan, 1974).
E. J. Wall and Franklin I. Jordan, Photographic Facts
and Formulas (Boston: American Photographic
Publishing Co., 1947).
H. Snowden Ward, Figures, Facts and Formulae of
Photography (London: Dawbarn and Ward, 1903).
W. A. Watts, The Photographic Reference Book
(London: Iliffe and Son, 1896).
Wedgewood and Davy, An Account of a method of
Copying paintings Upon Glass and Making Profiles
by the Agency of Light Upon Nitrate of Silver
(1802).
Hans Thøger Winther, Anviisning til paa Trende
Forskjellige Veie at fembringe of fastholde
Lysbilleder paa papir (Self-published, 1845).
APP–3 Etienne Carjat (1828–1906) Portrait of Charles Baudelaire, c. 1863 (woodburytype plate from Galerie Contemporaine, Paris, 1878)Charles Baudelaire (1821–1867) the subject of this image, was a man of deep moods and un-relenting despair whose poetry centered upon the inseparable connection between beauty and the inevitable corruption of that beauty. Baudelaire wrote about his first impressions of photography in less than glowing terms, implying that society was squalid and narcissistic in its rush to gaze upon trivial images of itself rendered on scraps of metal. He also wrote, in a critique of an exhibition in 1859, “If photography is allowed to supplement art in some of its functions, it will soon have supplanted or corrupted it altogether. . . .” And that, my friends, is about as positive a statement as Baudelaire ever made. (Courtesy of George Eastman House, International Museum of Photography and Film)
ZE_C8815_AppB_ptg01_hr_842-848.indd 847 12/19/14 4:11 PM