The Thames & Hudson Dictionary of Photography
is a landmark publication that encompasses the history,
art and science of photography in a single volume.
At a time when information is instantly accessible
on the internet but is often of doubtful reliability
or provenance, this ambitious project both reasserts
the veracity, reliability and accuracy of scholarly
research in reference publishing and celebrates
the pleasure and immersive experience offered by
refined, elegant book design.
Compiled under the editorial guidance of Nathalie
Herschdorfer and in consultation with an international
panel of 150 experts, The Thames & Hudson Dictionary
of Photography is based on entirely fresh scholarship
by seventy-nine researchers from sixteen countries.
The culmination of nearly ten years of development and
research, this is the new, relevant and truly definitive
reference to photography.
Key features
Specification
Over 1,200 concise yet fully detailed entries on all
aspects of the subject, including photographers, images,
agencies, genres, movements, exhibitions, publications,
collectors, techniques and processes.
A comprehensive reference to over 180 years of
photographic history. Truly authoritative and based on
fresh scholarship.
Casebound with jacket
30.7 × 20.2 cm
(12⅛ × 8 in.)
448 pages
c. 300 illustrations,
c. 60 in colour
Illustrated throughout with over 300 images showing
key works, artist portraits, exhibitions, installations,
publications and technical diagrams.
A book that offers an immersive experience,
combining a clear presentation with the very best in
modern yet timeless typographic design.
The Thames & Hudson Dictionary of Photography – Information Pack
1
Over a decade in the making
Fresh scholarship and clarity of writing
The Thames & Hudson Dictionary of Photography
represents over a decade of careful consideration,
development and scholarship. Planning first began in the
late 1990s, when the internet and the dramatic changes
it would bring to publishing and other media were
hypothetical, and in the realm of those who predicted
our technological future.
The emergence of online resources as immediate,
if often unreliable, reference tools led to a lengthy
period of reflection on how a printed dictionary could
be positioned as not only reliable, but also authoritative,
profound and highly desirable in the Wikipedia age.
Our challenge was to present such a key reference work
for photography in a way that would be truly relevant
for a contemporary readership, and to exploit digital
technology’s potential for creating networks of knowledge
and experience over great distances. This expertise we
would use to define the dictionary’s content.
Following the consultation and peer-review process
and the finalizing of the list of entries, a team of
seventy-nine researchers and writers, under the
close supervision of Nathalie Herschdorfer, began to
undertake new, in-depth research for each entry. As
a result of their knowledge, skill and endeavours, the
individual entries are clear, concise and of the highest
quality. The Thames & Hudson Dictionary of Photography
thus presents an unparalleled, comprehensive overview
of the history, art and technology of one of the
cornerstones of visual culture.
An international panel of experts and
a democratic, balanced selection of entries
By 2010, an international team of 150 consultants had
been convened by Nathalie Herschdorfer, each of them
renowned experts in their respective fields. Ranging from
directors of globally renowned cultural institutions to
curators, conservators, critics, gallerists, picture editors
and practising photographers, each consultant was asked
to review the dictionary’s content to ensure that the list
of entries – of which there are over 1,200 in total – was as
balanced in terms of historical and geographical spread
and photographic genre as possible.
2
The Thames & Hudson Dictionary of Photography – Information Pack
A visually rich resource with a fresh,
modern yet classic design
A book should be more than just a vehicle for
information. While, at heart, The Thames & Hudson
Dictionary of Photography is a definitive reference
volume, it is also a celebration of the pleasure of the
book as an object and immersive experience.
Containing over 300 illustrations – many more than
previous reference works on photography – showing
major works, exhibitions and publications, and
diagrams of technical processes, this is a book to savour
visually and to linger over as much as a compendium of
clear and easily accessible information.
Thames & Hudson’s attention to design and
production values is renowned. With its ambitious
scale and high-quality specification, The Thames &
Hudson Dictionary of Photography will therefore be
both a covetable, collectible volume for all those with
a passion for photography and a vital reference for
curators, conservators, researchers and students.
The Thames & Hudson Dictionary of Photography – Information Pack
3
The international panel of consultants
To reach a democratic and global view of photography that is
balanced in terms of chronology, culture, theme and genre, Nathalie
Herschdorfer consulted 150 professional experts and institutions
throughout the dictionary’s planning stages. Each consultant was
chosen for his or her expertise within the full scope of photographic
history, practice, technology, conservation, curatorship, criticism
and collection.
Nathalie Herschdorfer is a curator, writer and art historian
specializing in the history of photography. She is
currently Director of the Museum of Fine Arts, Le Locle,
Switzerland. In her capacity as curator, she is the director
of the Alt. +1000 photography festival in Switzerland and
has produced internationally touring exhibitions for the
Foundation for the Exhibition of Photography, including
Coming into Fashion: A Century of Photography at Condé
Nast. Previously, she was a curator at the Musée de l’Elysée
in Lausanne, where she worked for twelve years on major
exhibitions including Face: The Death of the Portrait,
and retrospectives of Edward Steichen, Leonard Freed,
Ray K. Metzker and Valérie Belin.
Nathalie’s previous books published by Thames
& Hudson include Coming into Fashion (2012) and
Afterwards: Contemporary Photography Confronting the
Past (2011). She was the editor of Le Corbusier and
the Power of Photography (2012) and the co-author,
with William A. Ewing, of reGeneration (2005) and
reGeneration2 (2010).
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The Thames & Hudson Dictionary of Photography – Information Pack
Vince Aletti
Stuart Alexander
Séverine Allimann
Dag Alveng
Bérénice Angremy
Art Gallery of New
South Wales, Sydney
Alexandra Athanassiadou
Irene Attinger
Quentin Bajac
Gordon Baldwin
Els Barents
Martin Barnes
Gabriel Bauret
Vladimir Birgus
Anne Biroleau-Lemagny
Christophe Blaser
Bibliothèque Nationale
de France, Paris
Claudia Bohn-Spector
Michaela Bosáková
Christophe Brandt
Susanna Brown
François Brunet
Gail Buckland
Xavier Canonne
Anne Cartier-Bresson
Centro de la Imagen,
Mexico City
Clément Chéroux
François Cheval
Chung-Ang University,
Seoul
CMAC
A. D. Coleman
Cathie Coleman
Marguy Conzémius
Corcoran Gallery of Art,
Washington, D.C.
Charlotte Cotton
Emmanuel d’Autreppe
Nassim Daghighian
Claudio de Polo
Michael Diers
Nathalie Dietschy
Régis Durand
Okwui Enwezor
William Ewing
Angela M. Ferreira
Marc Feustel
Finnish Museum
of Photography,
Helsinki
Joan Fontcuberta
Fotografie Forum
Frankfurt
Fototeca de Veracruz
Michel Frizot
Fundació Foto
Colectania, Barcelona
Gwenola Furic
Martin Gasser
Thierry Gervais
Frits Gierstberg
Marta Gili
Jean-Louis Godefroid
Vicki Goldberg
Andy Grundberg
André Gunthert
Sophie Hackett
Hasselblad Foundation
Patricia Hayes
Manfred Heiting
Helsinki City Art
Museum
Sylvie Henguely
Pascal Hoël
Hanne Holm-Johnsen
Andréa Holzherr
Graham Howe
Hungarian House
of Photography at
Mai Mano House,
Budapest
Instituto de Artes
Gráficas de Oaxaca
Vangelis Ioakimidis
Mimmo Jodice
Christian Joschke
Joanne Junga Yang
Jean Kempf
Susan Kismaric
Kiyosato Museum of
Photographic Arts
Mika Kobayashi
Fani Konstantinou
Marloes Krijnen
Zuzana Lapitkova
Latvian Museum of
Photography, Riga
Lech Lechowicz
Jiyoon Lee
Anne-Françoise Lesuisse
Ludwig Museum of
Contemporary Art,
Budapest
Olivier Lugon
Lumiere Brothers Center
for Photography,
Moscow
Nathan Lyons
Lesley Martin
Alessandra Mauro
David Mellor
Pedro Meyer
Michael Stevenson
Gallery, Cape Town
Moderna Museet,
Stockholm
Herbert Molderings
Gilles Mora
Musée Carnavalet, Paris
Musée Suisse
de l’Appareil
Photographique,
Vevey
Museo di Storia della
Fotografia Fratelli
Alinari, Florence
Museum Folkwang,
Essen
Museum für
Photographie
Braunschweig
Museet for Fotokunst,
Odense
Carole Naggar
National Gallery of
Australia, Canberra
National Gallery of
Victoria, Melbourne
Simon Njami
Colette Olof
Erin O’Toole
Engin Ozendes
Pascale Pahud
Martin Parr
Nissan N. Perez
Timothy Persons
Peter Pfrunder
Chris Phillips
Ulrich Pohlmann
Michel Poivert
Marta Ponsa
Philip Prodger
Jorge Ribalta
Fred Ritchin
Pamela Glasson Roberts
Brett Rogers
Jeff Rosenheim
Oliva Maria Rubio
Giuliana Scimé
Mark Sealy
Thomas Seelig
Laura Serani
Wim van Sinderen
Carol Squiers
Urs Stahel
Charlie Stainback
State Historical Museum,
Moscow
Stedelijk Museum,
Amsterdam
Radu Stern
Michael Graham Stewart
Olga Sviblova
Mariko Takeuchi
Ann Thomas
Anne Wilkes Tucker
Roberta Valtorta
Ruud Visschedijk
Michèle Walerich
Brian Wallis
Marta Weiss
Steve Yates
The Thames & Hudson Dictionary of Photography – Information Pack
5
The contributors
Seventy-nine researchers and writers from sixteen countries have produced fresh scholarship
for The Thames & Hudson Dictionary of Photography – a truly international undertaking.
Mathilde Arrivé is Associate Professor at Paul-Valéry
University, Montpellier.
Elisa Baitelli is currently working on a PhD in the
history of photography at the University of Paris 1.
Heide Barrenechea is an art historian specializing
in photography. She is currently the recipient of a
scholarship from the German Research Foundation
(DFG) at the Berlin University
of Arts.
Laetitia Barrère holds a PhD in the history
of contemporary art from the University of
Paris 1.
Hélène Beade holds a master’s in English-language
visual arts and culture.
Raphaële Bertho has a PhD in art history and
is a lecturer at the University of Bordeaux.
Muriel Berthou Crestey is a postdoctoral researcher
at the Institute of Modern Texts and Manuscripts
(ITEM) in Paris.
Lindsay Bolanos is a photographer and collections
manager. She lives and works in Canada.
Michaela Bosáková is a curator and project manager
at the Central European House of Photography in
Bratislava.
Clara Bouveresse is currently working on a PhD
on the history of Magnum Photos at the University
of Paris 1.
Adrienne Bovet is a photographer who works in
Switzerland and Germany.
Natasha Bullock is Curator of Contemporary Art and
formerly Assistant Curator of Photography at the Art
Gallery of New South Wales, Sydney.
Alice Carver-Kubik holds a master’s in photographic
preservation and collections management from
Ryerson University, Toronto, and George Eastman
House, Rochester, NY.
Nathalie Casemajor Loustau is a postdoctoral
fellow in the Department of Art History and
Communications Studies at McGill University,
Montreal. She holds a PhD in communication from
the University of Québec and Lille University.
Héloïse Conésa is curator at the Museum of Modern
and Contemporary Art, Strasbourg. She is currently
working on a PhD in contemporary Spanish
photography at the University of Paris 1.
Laure Cuérel holds a master’s in art history from the
University of Lausanne. She lives and teaches
in Switzerland.
Corinne Currat is an associate curator at the Fondation
de l’Hermitage, Lausanne.
Nathalie Dietschy is an art historian specializing in
contemporary art. She holds a PhD in the history of
art from the University of Lausanne.
6
The Thames & Hudson Dictionary of Photography – Information Pack
Lydia Dorner is an assistant curator at the Musée
de l’Elysée, Lausanne.
Helen Ennis is Associate Professor at Australian
National University School of Art, specializing in the
history of Australian photography.
Aurore Fossard teaches photography at the University of
Lyon and is currently working on a PhD in
film studies.
Marie Gautier holds a PhD in the history of
contemporary art from the University of Paris 1. She
currently teaches at the École Nationale Supérieure
de la Photographie, Arles.
Stefanie Gerke is chair of Art and New Media at
Humboldt University, Berlin.
William Green is currently working on a master’s
in photographic preservation and collections
management at Ryerson University, Toronto.
Christine Gückel is working on a PhD on constructed
images and the staging of the everyday in
contemporary photography at the Freie Universität,
Berlin.
Claus Gunti teaches at the University of Art and
Design Lausanne and at the University of
Lausanne . His researches focus on digital
technologies, documentary practices and
photography theory.
Christine Hansen is a Norwegian photographer
and adjunct professor in photography and theory at
the Bergen Academy of Art and Design.
Emily Kay Henson is an independent arts writer
currently based in Chicago. She has held fellowships
at the Museum of Contemporary Photography,
Chicago, and the Graham Foundation.
Graham Howe is a curator, writer and artist, and the
CEO of Curatorial Assistance. He lives in Los
Angeles and Sydney.
Takahiro Ito is an assistant curator at the Tokyo
Metropolitan Museum of Photography.
Min-young Jeon is currently working on a PhD in art
history at the University of Arts Berlin.
Samuel de Jesus is a lecturer and researcher at the
School of Communication and Arts at the University
of São Paulo.
Joanne Junga Yang is the director and curator of the
Y&G Art Global Contemporary Project. She lives and
works in Seoul.
Jean Kempf is professor of American civilization at the
University of Lyon.
Masha Kreimerzak holds a master’s in art history at
Geneva University.
Constance Lambiel is a historian of photography
and teaches at the École Cantonale d’Art in
Valais, Switzerland.
Marc Lenot is working on a thesis on contemporary
experimental photography at the University
of Paris 1.
Véra Léon studied history and is currently working
on a PhD thesis on the history of German press
photography.
Athol McCredie is Curator of Photography at the
Museum of New Zealand Te Papa Tongarewa,
Wellington.
Emily McKibbon is a specialist in photography
preservation and collections management. She
was previously the Howard and Carole Tanenbaum
Curatorial Fellow at George Eastman House,
Rochester, NY.
Jonathan Maho is working on a PhD in anglophone
studies at the University of Paris 7.
Pauline Martin is a special projects coordinator
at the Musée de l’Elysée, Lausanne.
Gábor Maté is a lecturer in photography at the
Moholy-Nagy University of Art and Design,
Budapest
Nolwenn Mégard is an assistant lecturer in
contemporary art history at the University of
Geneva.
Laureline Meizel is working on a PhD in the use
of photography in 19th-century French publishing
at the University of Paris 1.
Christelle Michel is studying for a master’s in art
history at the University of Lausanne.
Marine Nédélec is working on a PhD in art history
with a focus on post-war Surrealism.
Nathalie Neumann is a Berlin-based independent
curator specializing in documentary photography.
Clémentine Odier is finishing a master’s in museum
studies at the University of Neuchâtel.
Hélène Orain is completing a PhD in photography
at the University of Paris 1.
Ken Orchard is an artist and photography historian.
He lives in Adelaide.
Maude Oswald is a teaching assistant at the University
of Lausanne and is writing her PhD thesis on the
history of photography.
Allan Phoenix holds a master’s in photographic
preservation and collections management from
Ryerson University, Toronto, and George Eastman
House, Rochester, NY. He works as a photography
preservation specialist at the Chicago Albumen
Works.
Héloïse Pocry works at the Swiss Dance Collection
and is writing a PhD thesis on the teaching of
photography.
Ariane Pollet is an art historian who has contributed
to books including The Bitter Years (Thames &
Hudson, 2012).
Maud Pollien holds a master’s in cinema theory
and practice from the University of Lausanne.
Erika Raberg is studying for a master’s in
photography and visual critical studies at
the School of the Art Institute of Chicago.
Anna-Kaisa Rastenberger is Chief Curator at the
Finnish Museum of Photography, Helsinki.
Caroline Roche is currently working on a PhD on
the photographer Minor White at the University
of Paris 1.
Anaëlle Rod is an archivist at the Fondation Henri
Cartier-Bresson in Paris.
Holly Roussell is Assistant Curator of Photography at
the Musée de l’Elysée, Lausanne.
Elisa Rusca is an art historian, freelance curator
and critic.
Manon Saudan holds a master’s in art history and
museum studies from the Universities of Lausanne
and Neuchâtel.
Johanna Schär teaches at the University of Lausanne,
where she is completing a PhD in photography.
Danielle Shrestha is a photo archives specialist based
in Ontario. She holds a master’s in photographic
preservation and collections management from
Ryerson University, Toronto.
Cécile Simonet is an art historian who works at the
Museum of Modern and Contemporary Art in
Geneva.
Wim van Sinderen is a founding member and senior
curator of the Hague Museum of Photography.
He is also the conservator of the photography
collection of the Gemeentemuseum, The Hague.
Edward Stokes is an Australian photographer and
writer, and the founder of the Photographic
Heritage Foundation, Hong Kong.
Anna Tellgren is the curator of photography at
Moderna Museet in Stockholm.
Veronika Tocha is an assistant lecturer at University
of the Arts, Berlin. She is currently completing her
PhD thesis on the work of Thomas Demand.
Agata Ubysz is a Polish art historian who studied
at the University of Warsaw.
Rachel Verbin holds a master’s in photographic
preservation and collections management from
Ryerson University, Toronto. She is currently the
Images Archivist at The Canadian Press.
Emily Wagner holds a master’s in photographic
preservation and collections management from
Ryerson University, Toronto, and George Eastman
House, Rochester, NY. She works at the Chicago
Albumen Works as a photography conservation
technician.
Anne-Marie Walsh is an independent curator and
photography conservation specialist based in
Washington, D.C.
Alana West is working on a PhD in art history
at Queen’s University, Belfast.
Perin Emel Yavuz is completing a thesis on narrative
art at the École des Hautes Études en Sciences
Sociales in Paris.
Fatma Zrann is a teacher of English and the author
of a thesis on identity issues in the work of AfricanAmerican photographers.
The Thames & Hudson Dictionary of Photography – Information Pack
7
The book
Almeida, Helena
The Thames & Hudson Dictionary of Photography will be
published by Thames & Hudson in autumn 2014. It is a
new, relevant and truly accessible illustrated reference
to the history, art and science of photography.
A
Abbott, Berenice (b. Bernice Abbott) (1898–1991)
The Thames & Hudson
The Thames & Hudson
Dictionary of Photography
A truly comprehensive
reference to the art,
history, and science of
photography worldwide.
More than 1,200 entries.
Over 300 illustrations.
New scholarship and
research throughout.
10 years in the making.
Edited by Nathalie
Herschdorfer
in 1929, Abbott exhibited at the Julien Levy Gallery
and published in Fortune and Life; she received a
large Federal Art Project grant in 1935 for Changing
New York, producing 305 photographs between
1935–39. Abbott was the photography editor of
Science Illustrated (1944–45) and the founder of
House of Photography (1947), a company that
sought to invent new photographic equipment.
The Massachusetts Institute of Technology
hired her as a scientific photographer in 1958 for
pedagogical purposes in the context of the Cold
War.
American documentary, portrait and scientific
photographer. Abbott studied journalism at
Ohio State University before moving to New York
City in 1918, first with the intent of becoming
a writer, then a sculptor. She took part in the
Greenwich Village arts scene of Marcel Duchamp
and Man Ray MAN RAY. Abbott moved to Europe
in 1921 to study sculpture in Paris and Berlin.
As Man Ray’s Paris studio darkroom assistant
(1923–26), she learned portrait photography
and became involved with the Surrealists.
Abbott opened her own studio in Paris in 1926,
photographing writers, including Jean Cocteau
and James Joyce, publishing in Vogue and Vu
and showing in exhibitions, such as Abbott:
Portraits Photographiques (1926), the Salon de
l’escalier (1928) and Film und Foto (Stuttgart, 1928).
Abbott and her contemporaries fought against
Pictorialism, supporting instead a modernist
aesthetic and drawing inspiration from historical
pioneers Eugène Atget and Nadar. Abbott
acquired Atget’s estate in 1928, endorsing his work
alongside her own; she co-managed it with dealer
Julien Levy from 1930 until it was sold to MoMA,
New York in 1968. After moving back to New York
Aberhart, Laurence (b. 1949) New Zealander
photographer. Aberhart is renowned for his
black and white images that evoke the past. His
subject matter – invariably taken with a 10 × 8
inch view camera and presented as contact prints
– has typically consisted of Masonic lodges, old
Maori churches, cemeteries, war memorials, and
historic structures. A major retrospective of his
work was published as Aberhart in 2007.
Adams, Ansel (1902–1984) American photographer
and environmentalist, whose grand landscape
photographs of the American West like Clearing
Adams, Eddie (1933–2004) American photographer.
Albin-Guillot, Laure (b. Laure Maffredi) (1879–1962)
Eddie Adams was a Pulitzer Prize-winning who
documented 13 wars over the course of his
career. Adams’ began covering war first as an
enlisted combat photographer during the Korean
War. Adams did three tours of Vietnam with
the Associated Press; while there, he took his
iconic photograph of General Nguyễn Ngọc Loan
executing a Vietcong prisoner in Saigon, 1968.
French photographer. Born in Paris, Albin-Guillot
studied art before learning photography. AlbinGuillot’s career included experimentation in both
Pictorialism and photographic modernism. An
early contributor to the cutting-edge Vu, work
such as Micrographie décorative (1931) recalls the
surrealist work of Albin-Guillot’s “New Vision”
contemporaries while maintaining an artisanal
feel more closely associated with Pictorialism.
A
A
Additive (processes) Additive color photographic
processes are based on the principles introduced
by James Clerk Maxwell in 1861 in which all
colors are archived by combining, or adding,
the three primary colors of light: red, green,
and blue SUBTRACTIVE COLOUR PROCESS. White
light is obtained when all three colors are mixed
equally. When white light passes through an
additive colored filter, only the color of the filter
is transmitted, the rest of the color spectrum is
absorbed. In color photography systems, such as
the Autochrome and other screen plate processes,
a color image is created by photographing and
viewing an image through a screen of primary
color lines or dots. In assembly processes, such
as Dye Transfer and Carbro, separation negatives
are made through additive color filters and then
printed using subtractive colored pigments
and dyes.
Adams, Robert (b. 1937) American photographer
noted for his photographs of the American West.
Self-taught in photography, he holds a BA from
the University of Redlands, California and a
PhD in English from the University of Southern
California. His first serious work, New West
(1968–70) documents the emerging suburban
development and tract housing on the outskirts
Almeida, Helena (b. 1934) Portuguese artist.
Almeida studied fin art in Lisbon and became
inspired by the Neo-concrete movement in
Brazil. Her performative photographs use
sculpture, painting, and drawing to challenge
the limits of two-dimensional space by
exploring contradictions between the flattening
3
Alveng, Dag
Anthropometry
properties of paint with the illusionary depth of a
photograph, the distance between the art object
and the spectator, and the relationship between
body and space. Almeida represented Portugal at
the Bienal de São Paulo (1979); Venice Biennale
(1982 and 2005); and the Sydney Biennale in 2004.
19th century amateurs were typically serious
photographers dedicated to the advancement
and improvement of the medium. By the
mid-19th century photographic societies and
cameral club with publishes journals began to
be organized throughout the world. The role of
amateurs within these societies and journals
was significant in inventing and promoting
improvements to the medium. Early photographic
processes were technically complicated
and rather expensive. Therefore, many 19th
century amateurs were men of financial means
though there were some significant women
photographers. George Eastman’s invention of
roll film and the Kodak Browniein KODAK 1888
revolutionized photography and changed the
meaning of amateur photographer. With the
slogan “You Push the Button, We Do the Rest”
the Brownie camera was purchased loaded
with a 100-exposure reel of film, required no
technical knowledge, and the whole camera
was sent back to Kodak where the film was
processed, the camera re-loaded and returned
to the owner. The simplicity of the Brownie
democratized photography adding significantly
to the ranks of amateur photographers. Kodak
advertisements particularly targeted women, who
where seen as the largest potential market for
Kodak products. In response to this new class of
amateur photographers emerged the Pictorialist
movement whose members formed societies and
clubs and published journals pushing for the
advancement and acceptance of photography as a
fine art. Also considered amateur photographers,
the Pictorialists were more akin to the amateurs
of the 19th century; many members of the
Pictorialist societies were upper class individuals
working improve the medium.
Alveng, Dag (1953– ) Norwegian photographer.
Alveng studied photography at Trent Polytechnic
in Nottingham (1976–77). He belongs, together
with Tom Sandberg TOM SANDBERG and Per
Berntsen, to the “English generation” in
Norwegian photography, that is, Norwegian
photographers that were trained in the United
Kingdom. Alveng’s show Vegger (Walls, 1979) at
Fotogalleriet in Oslo was an early example of
conceptual photography in Norway. The artist
photographed the walls in the gallery and the
photographs were mounted so that the pictures
perfectly covered up their subjects. The exhibition
occasioned several hostile reviews in Norwegian
newspapers. His book Asylum (1987) is of black
and white photographs from a mental institution
where Alveng worked as a night watch. The series
is quiet but powerful gaze into the rooms and
objects of a psychiatric institution. In Verftet I
Solheimsviken (1991), together with the social
anthologist Hanne Müller and the author Kjartan
Fløgstad, Alveng documented worker life and
process of change on the largest shipyards in
Bergen. In 1994 he was curator for the exhibition
and book Verden er (The World is) in connection
with the Winter Olympic Games in Lillehammer.
His book Summerlight (2001) chronicles the
Norwegian summer through lyrical black and
white photographs of the seashore in Southern
Norway and outdoor family scenes. The book
was accompanied with a text of the American
photographer Robert Adams ROBERT ADAMS, an
artist that Alveng share resemblance with. Alveng
is represented in Metropolitan Museum of Art
and Museum of Modern Art (MoMA), New York;
Stedelijk Museum, Amsterdam; Bibliothèque
nationale, Paris; Museum Folkwang, Essen; The
Hasselblad Center, Göteborg; Spengel Museum,
Hannover, and in numerous private collections.
Andriesse, Emmy (1914–1953) Dutch photographer.
Andriesse is best known for her harrowing,
illicit documentary photographs of the
“Hunger Winter” of 1944 ROBERT ADAMS. Her
image of a small, emaciated boy clutching an
empty saucepan has become an icon of the
suffering inflicted by the Nazi occupation of the
Netherlands. After the war, Andriesse became
a successful portrait, commercial, fashion and
travel photographer. As such, she was one of the
first all-round professional photographers in the
is any person who practices photography
for pleasure and not for commercial means.
4
The Thames & Hudson Dictionary of Photography – Information Pack
of Colorado. Adams initially came to notoriety
through his inclusion in the 1975 exhibition ‘New
Topographics: Documents of a Man-Altered
Landscape’. His career spans over four decades
and focuses on the American West as his subject,
particularly California, Oregon, and his home
state Colorado. Working in black and white,
Adams creates photographs for exhibition and
has worked extensively in the book format, with
over twenty titles to his credit, including critical
essays on photography.
2
Amateur (photographer) An amateur photographer
8
Winter Storm (1940), Moon and Half Dome (1960)
have become iconic. A long time member of the
Sierra Club SIERRA CLUB, his photographs have
become so entwined with the idea of wilderness
in the United Sates of America as to be almost
inseparable. As a young man he had spent a
great deal of time hiking in the wilderness of
California making photographs but in 1927 he
decided to pursue photography as a vocation and
a career with the publication of his first portfolio,
Parmelian Prints of the High Sierras (1927). His
association with Edward Weston EDWARD WESTON
and others drew him from a Pictorialist style into
a more modernist approach that used crisp focus
and a wide depth of field to portray his subjects.
This philosophy culminated in the founding of
the Group f/64 with Weston, Imogen Cunningham
and Willard Van Dyke. Adams along with Fred
Archer, developed a scientific methodology for
the production of black and white prints called
The Zone System. A fastidious and prolific printmaker, Adams frequently compared photography
to music with the negative as the score and the
print, the performance. He continued to make
prints of his most popular images such as Rose
and Driftwood (1932), Moonrise, Hernandez, New
Mexico (1941) and Aspens, Northern New Mexico
(1958) throughout his life. His image The Tetons
and the Snake River (1942) was included on the
Voyager space craft’s Golden Record as one of the
116 images representing humankind.
A
Berenice Abbott, Blossom Restaurant, 103 Bowery, 1935
Netherlands. In 1956, following her early death, a
retrospective of her work was published under the
title Beeldroman. Her negatives archive is now in
the care of Leiden University Library.
a modern metropolis; resulting in the landmark
series of photographs Old Closes and Streets of
Glasgow (1868–77).
Anthropometry Method to measure the human
Annan, Thomas (1829–1887) Scottish photographer.
Apprenticed as a lithographic writer and
engraver (1845) at the Fife Herald newspaper
and later took a position with Joseph Swan’s
lithographic establishment. Annan set up his
business in 1855 and after gaining the patent
rights to the photogravure process, established
his photographic studio in 1857. Annan was
commissioned in 1866 by the Glasgow City
Improvement Trust to photograph and document
the narrow passageways and slums of the old
part of Glasgow before it was to be renewed into
individual, which correlates physical features with
radical or psychological traits. Anthropometry
is used for identification or to describe physical
variations. It is common in positivist contexts
since the 18th century, such as phrenology,
physiognomy or craniometry. Anthropometry is
controversially perceived due to its use in colonial
and national socialist approaches. Since the
invention of photography the anthropometrical
measurements were KODAK documented
by photographs – because of their assumed
connection to reality.
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Bedford, Francis
B
Agency (MTI), Vasárnapi Újsag, and Est, the most
determining and remarkable Hungarian print
media of the time. He was one of the creators
and dominant representative of the so-called
Hungarian style. He mostly captured life in Alföld
(Great Hungarian Plain), portraits and scenes of
villages, but also took emblematic photographs
about life in Budapest. In 1930s, he took part
several exhibitions in Hungary and abroad. In
later years he was head director of the Hungarian
Film Office Laboratory. The most honourable
Hungarian photography award, founded in 1992,
bears the name of Balogh, Rudolf.
photograph. Her work interrogates American and
European affluence. Inspired by Edouard Vuillard
and Pierre Bonard, Barney pioneered large-format
chromogenic portraiture that evokes painting
both in its scale and in its stiff and formal
composition. Recent work included The Europeans
(2005) and Small Towns.
College, earning his BA in 1953 and MA in 1957, as
well as at the Otis Art Institute and Chouinard Art
Institute. Trained as a painter, in the mid-1960s he
began using appropriated photography. His early
photographically based work combined image
and text in juxtaposition. Such projects as Wrong
(1966–67) and Throwing Four Balls in the Air to Get
a Square (1974) found Baldessari making his own
photographs, although he has never considered
himself a photographer. Baldessari utilizes
photomontage, text, painting, Photoshop, color,
and scale to comment on the nature of art and
communication. Based in Los Angeles, Baldessari
has spent the majority of his artistic career as an
art educator, influencing multiple artists through
his teaching.
Balogh, Rudolf (1879–1944) Hungarian
photographer and newspaper editor. Balogh took
part in the First Hungarian Art Photo Exhibition in
1907. He opened studio in Budapest in 1912 and he
worked as war photojournalist during the World
War I. In early years, he worked in a painterly
style but formed his own language, by the end of
the 1920s, based on documentary. Balogh had a
huge influence on the Hungarian National Press
Bain d’arrêt (Stop Bath) A stop bath is a solution,
typically of dilute acetic acid, that is used to
neutralize the further development of the
photographic material being processed.
Baldessari, John (b. 1931) Influential American
conceptual artist. Educated at San Diego State
Baumgarten, Lothar (b. 1944) German conceptual
artist with pioneering influence on the emerging
Düsseldorf photo school in the late 1960s and
early 1970s. Studied at the Art Academy Düsseldorf
from 1969–71 with Joseph Beuys. German
representative at the 1984 Venice Biennale. Uses
photography as a means for his anthropological
art revolving around the antithetic of nature and
culture, the self and the other.
Bayer-Hecht, Irene (1898–1991) American
photographer. Bayer-Hecht was born in Chicago,
Illinois, and raised in Hungary. Influenced by
the experimental Bauhaus exhibition in Weimar
(1923), she studied art in Paris and photography
in Leipzig, Germany. She married Herbert Bayer
and became instrumental in advancing his
photographic career. Her photographs of artists
living at the Bauhaus were included in the Film
und Foto exhibition in Stuttgart, Germany (1929).
Bayer-Hecht returned to the Unites States in 1938
to work as a translator.
Bán, Andrej (b. 1964) Slovak photographer.
Born in Bratislava, Bán was the key reporter
and photographer of the Slovak magazine
Týždeň (Weekly). He is a photographer, curator,
founder and the Chairman of humanitarian
organization People in Peril. His photography
is orientated mainly on world areas in crises
(Kosovo, Pakistan, Afghanistan, Iran, etc.). In
1987 he joined weeklies Mladé rozlety (Young
Flights), Plus 7 dní (Plus 7 days), Mladý svět (Young
World) as a photojournalist PHOTOJOURNALISM.
In 2000 he became the co-founder of the civil
association Slovak Documentary Photography.
He is the winner of several prizes. Bán is also the
author of several documentary films, awarded
by many national and international prizes. His
photographs are meant to capture something
eternal, something that is fading away.
photographer who began his career as a
lithographer and chromolithographer specializing
in architectural subjects. Turned to photography
in the early 1850s photographing English
architecture and views. He had a successful
business selling photographs commercially.
In 1865, he accompanied the Prince of Wales on
B
Black and white A monochromatic image of
neutral or near neutral tonality. Before the
widespread availability of color processes in
the 1950s, the majority of all photographs were
black and white. In the latter part of the 20th
century color photography gradually replaced
black and white photography’s predominance in
commercial and consumer photography. However,
though technology no longer necessitated the use
of black and white film and paper, the use of black
and white photography continues for a number of
reasons; the proven image stability of silver-based
processes, the ease of reproduction in print, and
artistic preferences.
Black Star New York-based photographic agency
established in late 1935 by German émigrés
Kurt Safranski, Ernest Mayer and Kurt Kornfeld.
Supplied press photographs to Life, Look and
The New York Times, among others. Roster of
photojournalists included W. Eugene Smith,
Robert Capa, Ralph Crane, Fritz Goro, Andreas
Feininger, Fritz Henle and Werner Wolff. Exists
today as a corporate and stock photography
agency. Historic print collection (ca. 1914 to 1990s)
held at the Ryerson Gallery and Research Centre,
Toronto.
photographer. Born in Wolfsburg, Germany,
Bialobrzeski studied Politics and Sociology,
before becoming photographer for his local
paper. He left to travel in Asia, and upon returning
officially studied photography at the London
College of Printing (LCP) in London, and the
Folkwangschule in Essen NOIR LIMITE. Working 15
years as a photojournalist, the second half of his
career is defined by work on personal projects –
often exploring the hand of man in the landscape.
Winner of prestigious awards including the World
Press Photo Award, Bialobrzeski is Professor for
photography at the University of the Arts,
in Bremen, Germany.
Blühová, Irena (1904–1991) Slovak photographer
and publicist. Blühová attended Higher School
for Girls and Gymnasium in Trenčín. For some
years she worked as a bank clerk and at that
time started being interested in politics. She
started photography in the middle of the 1920s.
Her main orientation was on social photography
of the Slovak countryside. She took the first
Bichromate (procédé au) The gum bichromate,
also known as gum dichromate and photo
9
Peter Bialobrzeski, Shenzen
reportage and documentary photography in the
Central European context. Her work is significant
by its specific expression of Slovak and Central
European culture at the turn of the 1920s and
1930s.
socially orientated images in 1925. These images
served as a documentation for interpretation
of the Communists in the parliament. In 1931
and 1932, she studied photography, typography
and propaganda at Bauhaus in Dessau. She
returned to Slovakia after the school was closed
by the Nazis. After returning to Slovakia, she
ran a bookshop and also studied at the School
of Applied Arts in Bratislava. In 1933 she formed
a society called Sociofoto, which gathered
leftist intellectuals. Her images of the working
class, touristic images and images from the
countryside were published in magazines
like the Arbeiter Illustrierte Zeitung NEW
PHOTOGRAPHY. John Heartfield used her images
for his photomontages. Blühová has become a
significant representative of socially orientated
12
Blume, Anna and Bernhard (b. 1937, both) German
artist couple mostly working with staged
photography. Both studied Fine Art at the Art
Academy Düsseldorf from 1969–65, Bernhard
also studied philosophy at the University of
Cologne. Their large-sized black-and-white photo
sequences show an unhinged and crazy everyday
life where objects gain magical independence.
Performing as a typical petit bourgeois couple, the
Blumes themselves are the protagonists of these
abstracted and ironical scenes.
13
Berko, Ferenc
Photographies & Co in 1982, an association that
organized exhibitions, talks, and seminars around
photography. In 1986 he cofounded the group
Noir Limite NOIR LIMITE alongside colleagues Yves
Tremorin and Florence Chevallier.
a tour of the middle-east. He is known for his
contributions to photographically illustrated
books.
Bélégou, Jean-Claude (b. 1952) French
photographer. Bélégou studied philosophy and
history of art and archaeology at the Sorbonne
in Paris. Heavily influenced by the Bauhaus,
he completed his master’s dissertation on
photography in 1967 and began his photography
career two years later. Bélégou’s early black and
white BLACK AND WHITE and later color images
typically depict women or isolated scenes,
including periodic explorations of Le Havre. From
1985–88 he was commissioned by the Region of
Upper Normandy to photograph 30 artists that
were living or working in the area. He created
Bellocq, Ernest James (1873–1949) American
commercial photographer. Ernest James (more
commonly E.J.) Bellocq worked mainly in New
Orleans. However, he is largely remembered
for his uncommissioned portraits of prostitutes
and opium addicts in New Orleans’ Storyville and
Chinatown neighbourhoods. These posthumously
discovered photographs BLACK AND WHITE and
negatives NEGATIVES were popularised by Lee
Friedlander through exhibition and publication
in the 1970s.
Bellocq, Ernest James, Untitled, 1912
Benjamin, Walter (1892–1940) German philosopher,
natural light, mainly black and white film,
creating uncropped prints full of fine tone and
form. He generally works for decades on his own
themes. Important photographic albums include:
Acélváros (1996), Szürke fények (2000), Blues
Budapest (2003), Arcok (2003), Utak (2004) and Ikrek
(2009). He received the World Press Photo Award,
gold and silver medal in 1975, gold in 1978. Benkő
also received the Pulitzer Award in 1991, the W.
Eugene Smith scholarship in 1992 and A Magyar
Köztársaság Érdemes művésze in 2004.
literary criticism and translator. Benjamin started
his studies in German philology, art history and
philosophy in Freiburg and changed to Berlin in
1912. In 1915 he became friends with the Jewish
historian Gershom Scholem. In 1920 he did a
doctoral degree in Bern with a work about Der
Begriff der Kunstkritik in der deutschen Romantik.
Back in Berlin Benjamin has been working as a
publicist, a self-employed writer and translator
of Baudelaire poems. He purchased in 1921 a
work by Paul Klee that is called Angelus Novus.
On this he discussed in his latest scripture Über
den Begriff der Geschichte (1939) the core theme
of his historico-philosophical approach: the
angel of history is driven by the wind of progress
while he is looking back on the ruins of the past.
In 1923–24 he went to Frankfurt am Main to do
his habilitation about Ursprung des deutschen
Trauerspiels. Not on the basis of contextual
but unorthodox lifestyle reasons Benjamins
habilitation dissertation was rejected by the
University of Frankfurt am Main. In the years
ahead Benjamin has had stays in Paris, Moscow
and Ibiza. He worked on translations of Marcel
Prousts Auf der Suche nach der verlorenen Zeit,
started with the work about his childhood that
is called Berliner Kindheit um Neunzehnhundert
and did cooperational work with Berthold
Brecht. Forced by the Hitler-Regime he escaped
to Paris in 1933. There he came in contact to
Hannah Ahrendt and worked above all on his
fragmentarily Passagenwerk and Das Kunstwerk im
Zeitalter seiner technischen Reproduzierbarkeit. In
1940 he commited suicide in Portbou (Spain).
photographer. An early photojournalist, Benoliel
first published photographs in sports magazine
O Tiro Civil in 1898 and contributed heavily to
Illustração Portugueza (1903–18). He was the first
Portuguese correspondent for Spanish newspaper
ABC (1904–32) and French magazine L’Illustration;
he collaborated on many other national and
international journals. He was the official
photographer for King Carlos I; he contributed
to album Lisboa artística e industrial (1908). He
covered key events of Portuguese history and
culture, including the assassination of the King of
Portugal in 1908 and the Revolution in 1910 that
implemented a Republic in Portugal. He reported
on Portuguese participation in World War I,
events related to the military coup of Sidónio Pais
NOIR LIMITE (1918) and the military coup of Gomes
da Costa (1926). Benoliel photographed over
60,000 negatives in a 30-year career.
Berggren, Guillaume (1835–1920) Swedish
photographer. Berggren established himself as
a studio photographer in Constantinople in the
1870s. He is famous mainly for his panorama
photographs of townscapes, but also of bazaars
and back alleys. His oeuvre covers all the famous
places of the Bosphorus. Berggren also made a
series of portrayals of Turkish professions.
Benkő studied photojournalism at the Hungarian
Press School (MÚOSZ) MUOSZ. He worked for
Hungarian National Press Agency for 18 years,
then magazines: Képes7 and Európa Magazin. He
was represented by Wostok Press Agency Paris.
He made reportage in over 30 countries. He was
teaching in the Hungarian Academy of Crafts and
Design from 1988 to 2000. Benkő was interested
in presenting people and their environments in
his specific documentary way. He captures images
with deep empathy and attention to the events of
the changing world that surrounds him. Focusing
always on the human, he uses only ambient
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The Thames & Hudson Dictionary of Photography – Information Pack
Castello-Lopes, Gérard
has been the subject of numerous posthumous
studies, books and exhibitions; archive at the
International Center of Photography, New York.
B
C
C-Print The C-Print is a chromogenic color
Service and the Agence Central. Met Gerda Taro,
1934–35, who invented for him the persona of
the famous American photographer, Robert
Capa, in 1936, and began selling his photographs
through Alliance Photo in Europe and Black Star
in America. Capa photographed and filmed the
Spanish Civil War with Taro from 1936 to 1937, first
on assignment for Vu and then for Ce Soir, also
publishing in Regards and Life, among others;
in Spain he captured the renowned image Death
of a Loyalist Militiaman, published in Vu (1936)
and in Life (1937). Following Taro’s death in July
1937, Capa went to New York, leaving Alliance and
Black Star for Pix and signing a contract with Life.
He photographed the end of the Spanish Civil
War, 1938–39, and was named ‘The Greatest WarPhotographer in the World’ by the Picture Post in
1938. On assignment for Life, Capa was one of four
photographers to capture the Allies landing on
the beaches of Normandy on D-Day in 1944. A cofounder of Magnum Photos in 1947, he was killed
in Indochina on assignment for Life on May 25,
1954. He is esteemed for his in-action, 35mm-shot
photographs of war, and for the saying: ‘If your
photographs aren’t good enough, you’re not close
enough’. Published Death in the Making (1938) and
printing process. Introduced in the 1930s,
chromogenic color is the most successful
commercial color photographic process.
Chromogenic color materials consist of three
layers of silver gelatin emulsion with suspended
dye couplers (color forming chemical compounds
sensitive to red, green, and blue light) on a paper
or film support. Through a series of chemical
reactions during development, the silver image is
formed and the couplers react, or couple, with the
developer to release complimentary subtractive
color dye in proportion to the amount of silver
in the image. The silver is bleached out leaving
an image composed of three superimposed dye
layers.
Capa, Robert (b. Endre Ernö Friedmann)
Berko, Ferenc (1916–2000) Hungarian-born
American photographer and filmmaker. Of
Jewish heritage and raised in Germany, Berko
successfully evaded the Nazis by first moving to
London where studied photography with Otto
Emil Hoppé HOPPE, EMIL, and later to Bombay
where he opened a portrait studio and filmed
for the British Army. He remained in Aspen,
11
(1913–1954). American Hungrian-born press
photographer. Born in Budapest, studied
journalism in Berlin, 1931. First assignment
from Dephot was to photograph Leon Trotsky,
Denmark, 1932. Fled Nazi Germany for Paris
in 1933 (name change to André Friedmann);
freelanced for the Agence Hug Block, A.B.C.
Agency, the Anglo-Continental Press-Photo
16
1943. He photographed the liberation of Paris in
1945 and directed the film Le Retour. ‘Photographs
by Henri Cartier-Bresson’ held at the MoMA,
New York in 1947. By the end of the 1940s he was
publishing in Harper’s Bazaar, Life, Paris Match,
The New York Times, The New York Times Magazine,
The Saturday Evening Post and Illustrated. CartierBresson was a co-founder of Magnum Photos
in 1947 (he was with the agency until 1966). He
published The Decisive Moment in 1952 (which
included the image Behind Saint-Lazare Station,
Paris, France, 1932) and The Europeans in 1955.
‘Henri Cartier-Bresson: Photographies, 1930–1955’
was held at the Musée des Arts Décoratifs, Louvre
in 1955. He photographed in China, Mexico, Cuba,
Japan and India in the late 1950s and 1960s, and
in the USSR and France in the early 1970s. He
created la Fondation Henri Cartier-Bresson in
Paris in 2003, Is known for his dynamic humanist,
surrealist-inspired reportage photographs and for
his steadfast use of the Leica.
Caponigro, Paul (b. 1932) American photographer.
A native of Boston, Caponigro began
photographing at the age of 13. In the late 1950s,
following a stint of military service, he studied
the medium under photographer Minor White in
Rochester, New York. During this period, White
introduced Caponigro to philosophy, which
inspired him to begin creating the mystical,
spiritually driven work he is now known for.
Overall, his photographs are characterized by
their rigorous formality and technical excellence.
Throughout the 1960s, Caponigro made multiple
trips to photograph in Europe. There, he made
many well-known images, particularly of subjects
throughout the United Kingdom commonly
associated with Celtic mythology. Additionally,
Caponigro also photographed a vast range of
landscape throughout his career, ranging from
Japan to New England.
Benoliel, Joshua (1873–1932) Portuguese
Benkő, Imre (b. 1943) Hungarian photographer.
10
aquatint, process is characterized as a pigment
process and is based on the light sensitivity of
dichromated colloids. A mixture of gum arabic,
pigment (usually water color pigment) and
potassium bichromate is brushed onto a piece
of paper. The gum hardens in proportion to the
amount of light received and the unhardened
areas are dissolved in water. Though the process
was invented in the 1850s, it reached popularity
with Pictorialist photographers at the turn of the
20th century owing to its soft, painterly qualities
and the ease with which the developing image can
be manipulated.
Bialobrzeski, Peter (b. 1961) German
Bedford, Francis (1816–1894) British commercial
Bélégou, Jean-Claude
B
B
Blume, Anna and Bernhard
Colorado, after photographing the 1949 Goethe
Bicentennial; he became the official photographer
for the Aspen Institute. Early advocator for
color photography; Berko frequently travelled
throughout the United States for commercial and
portraiture work.
Berssenbrugge, Henri (1873–1959) Dutch
photographer. Berssenbrugge’s oeuvre is a
supreme example of the often difficult transition
from Pictorialism to New Photography NEW
PHOTOGRAPHY. Many of his early photographs of
everyday urban life in Rotterdam (c. 1906–16) are
unmatched in their romanticism. Yet his fame
is due to his portraits, mainly of academics,
politicians, artists, musicians and theatre makers.
Clients could visit his modernist portrait studio
in The Hague (designed in 1921 by De Stijl artists
Jan Wils and Vilmos Huszár) either for a soft,
painterly portrait made by the gum or bromoil
process or for a more experimental and graphic
depiction in, for example, “Erwinodruk” – a
technique that produced a more abstract and twodimensional image. In the 1930s, Berssenbrugge
embraced the ideas of the New Photography
movement and produced experimental nudes,
still lifes and photograms. By that time, however,
his innovatory ambitions had been overtaken by
those of younger photographers like Piet Zwart
and Paul Schuitema, who aimed to transform
Dutch photography once and for all.
photographic papers, consist of a paper base,
coated with a light-sensitive emulsion of gelatin,
bromide and/or chloride, and silver nitrate. There
is also a baryta (or barium hydroxide layer) as well
as a protective gelatin layer. Fibre-based papers
were developed in the second half of the 1870s,
although it was not until 1880 that baryta coatings
became standard for gelatin silver photographs.
photographer, theorist, writer, and teacher
associated with the New Topography movement.
Lewis Baltz studied at the San Francisco Art
Institute where he received his BFA (1969) and the
Claremont Graduate School where he received his
MFA (1971). His work was included in the seminal
1975 exhibition, ‘New Topographics: Documents
of a Man-Altered Landscape’ NATURE PHOTOGRAPHY
with The New Industrial Parks near Irvine,
California. His work has consistently dealt with
architecture and relationships of power, through
the photographic image. In the late 1980s he
moved to Europe and continues to live and work
there, exploring color and digital photography,
while teaching photographic theory and practice.
8
B
Baryté (papier) Fiber-based, or baryta
Baltz, Lewis (b. 1945) American born
Bae, Bien-U (b. ~1950) Korean photographer.
Bae has contributed much to promoting Korea’s
natural beauty through the graceful artistry of
his photographic works. He graduated from
Hongik University with an applied arts degree
and from its graduate school with a craft design
degree. At the invitation of Bielefeld College,
Germany, he studied photo design for a year at
the College. He lives in Seoul and is well known
for his meditative landscape photographs with
an almost calligraphic quality. Bae is known as
“the pine tree photographer” internationally. In
2006, for the first time as an Asian photographer,
he had his solo exhibition at Prado Museum in
Spain. And also was awarded a commission by the
Spanish government to photograph the Alhambra
and Generalife Gardens, which were designated
a World Heritage Site in 1984.
Berssenbrugge, Henri
Barney, Tina (b. 1945) American fine-art
C
Casebere, James (b. 1953) American artist.
Graduated from the Minneapolis College of Art
and Design, Casebere attended the Whitney
Independent Study Program in New York and
studied with John Baldessari and Doug Huebler
in Los Angeles. Together with artists like David
Levinthal and Laurie Simmons, Casebere belongs
to a first generation of American post-war
artists working with constructed photography.
Since the middle of the 1970s, he has forged
and photographed complex tabletop scenarios
referring to a variety of historical, cultural and
social topics from the contemporary incarceration
and conditions of imprisonment to the Atlantic
slave trade of from 18th century American to 16th
century Ottoman Architecture.
Carbro Photographic printing process dues in the
1930s to create color images for advertising and
fashion. The multi-step process requires three
separation negatives, each shot through either a
red, green, or blue filter. The negatives are then
exposed onto silver bromide prints, which then
come into contact with bichromated gelatin
tissues pigmented with their complimentary
color. The tissues, when layered in registration on
a piece of paper, create the final full-color print.
Cartier-Bresson, Henri (1908–2004) French
photojournalist born in Chanteloup, Seine-etMarne. Educated at the Lycée Condorcet, CartierBresson had an early interest in surrealism;
studied painting with André Lhote (1927–28).
Spent a year photographing the Ivory Coast in
1931, followed by travels to Italy, Spain, Mexico
and New York. First exhibition, ‘Photographs
by Henri Cartier-Bresson: Anti-Graphic
Photography’, at the Julien Levy Gallery, New
York, 1933. Cartier-Bresson returned to Paris
in 1937; he published in Regards and Verve and
worked as a staff photographer at Ce Soir until he
was called to serve with the French Army in 1939
– was held capture by the Germans from 1940 to
Castello-Lopes, Gérard (1925–2011) Portuguese
photographer. Self-taught photographer who
studied economics in Lisbon, Castello-Lopes
joined the Diplomatic Corps of the Permanent
Mission of Portugal to the Council of Europe,
and later settled in Paris. Influenced by Henri
Cartier-Bresson, his photographic work gained
recognition after an exhibition held at the Ether
Gallery in Lisbon in 1982. An avid contributor
to Portuguese cinema, he inherited his father’s
company Movies Castello-Lopes. He was assistant
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The Thames & Hudson Dictionary of Photography – Information Pack
11
Over 1,200 clear, accessible and authoritative entries
Dictionary of Photography Index 291 (gallery) • Abbas • Abbe, James Edward • Abbott, Berenice • Aberhart, Laurence •
Ackerman, Michael • Adams, Ansel • Adams, Eddie • Adams, Robert • Additive processes • Advertising photography • Aerial
photography • AES+F • Agata, Antoine d’ • Agency • Aigner, Lucien • AIZ (Die Arbeiter Illustrierte Zeitung) • Albin-Guillot, Laure
905 entries on Artists and Photographers from 46 countries
• Album • Albumen print • Alinari Brothers (Giuseppe, Leopoldo and Romualdo) • Almásy, Paul • Almeida, Helena • Alpert, Max
162 entries on Technical Terms, including Materials and Processes
• Ambrotype
68 entries on Genres, Styles, Schools and Movements
Vladimirovich • Álvarez-Bravo, Lola • Álvarez-Bravo, Manuel • Alveng, Dag • Amateur Photographer, The • Amateur photography
• Andriesse, Emmy • Andujar, Claudia • Annan, James Craig • Annan, Thomas • Anschütz, Ottomar •
Anthropometry • Aperture • Appelt, Dieter • Arago, Dominique François Jean • Araki, Nobuyoshi • Arbus, Diane • Archer,
Frederick Scott • Architectural photography • Archive • Arke, Pia • Arnatt, Keith • Arnold, Eve • Arnoux, Hippolyte • Art
29 entries on Groups, Collectives and Organizations
photography • Arts et Métiers graphiques • Atget, Eugène • Atkins, Anna • Atwood, Jane Evelyn • Auerbach, Ellen • Autochrome
24 entries on Critics, Writers, Historians and Collectors
David • Baldessari, John • Baldus, Edouard Denis • Ballen, Roger • Balogh, Rudolf • Baltermants, Dmitri • Baltz, Lewis • Bán,
16 entries on Exhibitions and Publications
Yto • Barros, Geraldo de • Barthes, Roland • Baryta paper • Basilico, Gabriele • Battaglia, Letizia • Baudrillard, Jean • Bauhaus
• Avedon, Richard • Azaglo, Cornelius Augustt • Aziz & Cucher • Backhaus, Jessica • Backlighting • Bae, Bien-U • Bailey,
Andrej • Banka, Pavel • Barbey, Bruno • Barbieri, Gian Paolo • Barbieri, Olivo • Barnard, George N. • Barney, Tina • Barrada,
• Baumgarten, Lothar • Bayard, Hippolyte • Bayer, Herbert • Bayer-Hecht, Irene • Beard, Peter • Beato, Felice • Beaton, Cecil
• Becher, Bernd and Hilla • Bedford, Francis • Bélégou, Jean-Claude • Belin, Valérie • Bellmer, Hans
• Belloc, Auguste •
Bellocq, Ernest James • Benchallal, Nadia • Benjamin, Walter • Benkő, Imre • Benoliel, Joshua • Berengo Gardin, Gianni
• Bergemann, Sibylle • Berger, John • Berges, Laurenz • Berggren, Guillaume • Bergström, Johan Wilhelm • Berko, Ferenc •
Berssenbrugge, Henri • Bertillon, Alphonse • Bertsch, Auguste Nicolas • Besnyö, Eva • Beyer, Karol • Bialobrzeski, Peter •
Biasiucci, Antonio • Billingham, Richard • Bing, Ilse • Bischof, Werner • Bisilliat, Sheila Maureen • Bisson Brothers (LouisAuguste and Auguste-Rosalie) • Black-and-white photography • Black Star • Blanquart-Evrard, Louis Désiré • Blommers &
Schumm • Blossfeldt, Karl • Blühová, Irena • Blume, Anna and Bernhard • Blumenfeld, Erwin • Blur
• Bohm, Dorothy •
Boiffard, Jacques-André • Boissonnas, Fred • Boltanski, Christian • Bonfils, Félix • Boston School • Bouali, Hamideddine •
Boubat, Edouard • Boulat, Pierre • Boulton, Alfredo • Bourdieu, Pierre • Bourdin, Guy • Bourke-White, Margaret • Bourne,
Samuel • Boutros, Nabil • Brady, Mathew B. • Braekman, Dirk • Bragaglia, Anton Giulio and Arturo • Brake, Brian • Brancusi,
Constantin • Brandt, Bill • Brassaï • Braun, Adolphe • Brébisson, Louis Alphonse de • Brehme, Hugo • Breitner, George Hendrik
• Bremer, Caj • Breslauer, Marianne • Breukel, Koos • Brewster, Sir David • British Journal of Photography • Brodovitch, Alexey
• Brohm, Joachim
• Bromoil
• Brotherus, Elina • Bruehl, Anton • Bruguière, Francis Joseph • Buchloh, Benjamin H. D. •
Bucklow, Christopher • Bulhak, Jan • Bullock, Wynn • Bunnell, Peter C. • Burgin, Victor • Burkhard, Balthasar • Burri, René •
Burrows, Larry • Burton Brothers • Burtynsky, Edward • Bustamante, Jean-Marc • Butor, Michel • C-print • Cahun, Claude •
Callahan, Harry • Calle, Sophie • Calotype • Camera • Camera • Camera obscura • Camera Work • Cameron, Julia Margaret
• Caneva, Giacomo • Capa, Cornell • Capa, Robert • Caponigro, Paul • Carbon process • Carbro • Carjat, Etienne • Caron,
Gilles • Carroll, Lewis • Carte de visite • Cartier-Bresson, Henri • Casasola, Augustín Victor • Casebere, James • Casset, Mama
• Castello-Lopes, Gérard • Català i Pic, Pere • Català-Roca, Francesc • Cazneaux, Harold • Censorship • Centelles, Agustí •
Chadwick, Helen • Chambi, Martín Jiménez • Chappell, Walter • Charbonnier, Jean-Philippe • Charnay, Désiré • Chemigram •
Chessex, Luc • Chevalier, Charles • Chevrier, Jean-François • Choquer, Luc • Chronophotography • Cibachrome • Cinema and
photography • Claass, Arnaud • Clarence White School of Photography, New York • Clark, Larry • Claudet, Antoine François Jean
• Clement, Krass • Clercq, Louis de • Clergue, Lucien • Cliché-verre • Clifford, Charles • Close, Chuck • Close-up • Clubs
and societies • Coburn, Alvin Langdon • Cohen, Lynne • Coleman, Allan Douglass • Collage • Collard, Auguste Hippolyte •
Collodion • Collotype • Colom, Joan • Colour photography • Colvin, Calum • Combination printing • Commercial photography
• Composite portrait • Comte, Michel • Conceptual art • Concerned photography • Concrete photography • Conservation •
Contact print
• Contact sheet • Contemporary art and photography (photographie plasticienne) • Coplans, John • Coppola,
Horacio • Copyright • Corbijn, Anton • Corrales Forno, Raúl • Coulommier, Julien • Courrèges, Christian • Couturier, Stéphane
• Cravo Neto, Mario • Crewdson, Gregory • Cromer, Gabriel • Cualladó, Gabriel • Cudlín, Karel • Cumming, Donigan •
Cumming, Robert H. • Cunningham, Imogen • Curtis, Edward Sheriff • Cuvelier, Eugène • Cyanotype
• Daguerre, Louis
• Daguerreotype • Dahl-Wolfe, Louise • D’Alessandri, Antonio and Paolo Francesco • D’Amico, Alicia • Darkroom • DATAR •
Davanne, Alphonse • Davidson, Bruce • Davies, John • Davison, George • Day, Corinne • Day, Fred Holland • De Biasi, Mario
• Deal, Joe • Deakin, John • Dean, Tacita • DeCarava, Roy • Decisive moment • Delahaye, Luc • Delamotte, Philip Henry •
Delano, Jack • Delius, Karl Ferdinand • Delpire, Robert • Demachy, Robert • Demand, Thomas • Denderen, Ad van • Depardon,
Raymond • Derges, Susan • Developing • Developer • Diamond, Hugh Welch • Diaphragm • Dibbets, Jan • DiCorcia, PhilipLorca • Didi-Huberman, Georges • Dieulefils, Pierre • Dieuzade, Jean • Digital photography • Dijkstra, Rineke • Disdéri, André
Adolphe Eugène • Disfarmer, Mike • Dlubak, Zbigniew • Documentary photography • Dohnány, Miloš • Doisneau, Robert •
Domon, Ken • Dondero, Mario • Donovan, Terence • Douglas, Stan • DPI and PPI • Drahos, Tom • Draper, John William •
Drégely, Imre • Drtikol, František • Dry-plate process • Du • Du Camp, Maxime • Duchenne de Boulogne, Guillaume-Benjamin
• Ducos du Hauron, Louis Arthur • Dührkoop, Rudolph • Duncan, David Douglas • Dupain, Max • Duplicate • Durand, Régis •
Durandelle, Louis-Emile • Duroy, Stéphane • Düsseldorf School • Dye transfer • Eakins, Thomas • Eastlake, Elizabeth
• Eastman, George • École Nationale Supérieure de la Photographie, Arles • Eder, Josef Maria • Edinger, Claudio • Edgerton,
Harold Eugene • Eggleston, William • Eisenstaedt, Alfred • Eliasson, Olafur • Elk, Ger van • Elsken, Ed van der • Emerson,
Peter Henry • Emulsion • Engström, J. H. • Eperjesi, Ágnes • Erfurth, Hugo • Errazuriz, Paz • Erwitt, Elliott • Escher, Károly
• Espino Barros y Rebouche, Eugenio • Esser, Elger • Ethnology and photography • Eugene, Frank • Evans, Frederick H. •
Evans, Walker • Experimental photography • Exposure • f.64 Group • Faas, Horst • Facio, Sara • Faigenbaum, Patrick • Family
of Man, The • Farkas Jama, Antal • Farm Security Administration • Fashion photography • Fastenaekens, Gilbert • Faucon,
Bernard • Faults • Faurer, Louis • Fehr, Gertrude • Fei, Sha • Feininger, Andreas • Feldmann, Hans-Peter • Felizardo, Luiz
Carlos • Fekete, Alexandra Kinga • Fenoyl, Pierre de • Fenton, Roger • Ferrez, Marc • Ferrotype • Festival • Fieret, Gerard
12
The Thames & Hudson Dictionary of Photography – Information Pack
Petrus • Film • Film und Foto • Filter • Fink, Larry • Finsler, Hans • Fischer, Arno • Fischli & Weiss • Fisheye lens • Fizeau,
Armand Hippolyte Louis • Flash • Fleischer, Alain • Fleischmann, Trude • Florence, Hercule • Florschütz, Thomas • Flusser,
Helmut
Vilém • Focal length • Fontana, Franco • Fontcuberta, Joan • Format • Fortune • Fosso, Samuel • Fraga, Voltaire •
Nilsson, Lennart • Nixon, Nicholas • Noble, Anne • Noise • Nojima, Yasuzō • Norfolk, Simon • Nori, Claude • Notman, William
• Niedermayr, Walter • Niépce, Joseph Nicéphore
• Niépce de Saint-Victor, Claude Félix Abel
• Nieweg, Simone •
Franck, Martine • Frank, Robert • Franklin, Stuart • Freed, Leonard • Fresson process • Freund, Gisèle • Friedlander, Lee
• Nudes • Nueva Lente • Oil pigment print • Ojeikere, J. D. ‘Okhai • Olaf, Erwin • Olson, Lennart • Onodera, Yuki • Orive,
• Frima, Toto • Frith, Francis • Frizot, Michel • Fujiwara, Shinya • Fukase, Masahisa • Fulton, Hamish • Funke, Jaromír •
María Cristina • Orozco, Gabriel • Ortiz-Echagüe, José • O’Sullivan, Timothy • Outerbridge, Paul • Overexposure • Page, Tim
Furuya, Seiichi • Fuss, Adam • Futurism • Galella, Ron • Galton, Francis • Gamma • Garanger, Marc • García, Romualdo •
• Paillet, Fernando • Painlevé, Jean • Palladium print (palladiotype) • Palma, Luis González • Pam, Max • Panoramic photography
Garcia-Alix, Alberto • García Rodero, Cristina • Gardner, Alexander • Garduño, Yanez Flor • Garnell, Jean-Louis • Gasparian,
• Paparazzo • Paper, photographic • Pardington, Fiona • Parke, Trent • Parkinson, Norman • Parks, Gordon • Parr, Martin •
Gaspar • Gasparini, Paolo • Gaumy, Jean • Geddes, Anne • Gee, Helen • Gelatin • Gelatin silver bromide • Gelatin silver
Parry, Roger • Patellani, Federico • Pécsi, József • Peirce, Charles Sanders • Pellegrin, Paolo • Penn, Irving • Peress, Gilles
P.O.P. • General Idea • Genthe, Arnold • Gernsheim, Helmut • Gerz, Jochen • Ghirri, Luigi • Ghisoland, Norbert • Giacomelli,
• Pérez Bravo, Marta María
Mario • Gibson, Ralph • Gidal, Tim Nachum • Gilbert & George • Gilden, Bruce • Gimpel, Léon • Gioli, Paolo • Glanville,
Petersen, Anders • Petit, Pierre
Toby • Gloeden, Baron Wilhelm von • Godwin, Fay • Goldberg, Jim • Goldberg, Vicky • Goldblatt, David • Goldin, Nan •
• Photogenic drawing • Photogram • Photographer • Photographic essay • Photographic industry • Photographic News •
Goldsworthy, Andy • Golestan, Kaveh • Gomes, Alair • Gomis, Joaquim • Gonnord, Pierre • Goodwin, Henry B. • Gosani, Bob
Photographic survey
• Gossage, John R. • Gowin, Emmet • Graeff, Werner F. • Graham, Dan • Graham, Paul • Graham, Rodney • Greene, John
• Photomechanical processes
Beasley • Greenfield, Lauren • Griffin, Brian • Groebli, René • Grossman, Sid • Gruber, Leo Fritz • Gruyaert, Harry • Guerra,
Photoshop
•
• Perez Siquier, Carlos • Performance and photography • Peryer, Peter • Peterhans, Walter •
• Petrusov, Georgy Grigorievich
Photography books
• Phototype
•
• Photomontage
Photogravure
• Photomural
• Pictorialism • Pierre & Gilles
• Petschow, Robert • Petzvál, József Miksa • Photo booth
•
Photolithography
•
Photojournalism
• Photosculpture • Photo-Secession
•
Photo League
• Photosensitivity
•
• Pigment processes • Pinhole camera • Pinkhassov, Gueorgui
Jorge • Guibert, Hervé • Guidi, Guido • Güler, Ara • Gulyás, Miklós • Gum bichromate • Gum platinum • Gundlach, F. C. •
• Pixel • Plachy, Sylvia • Platinum print (platinotype) • Plicka, Karol • Plossu, Bernard • Poitevin, Louis Alphonse • Polaroid •
Gursky, Andreas • Gutmann, John • Haas, Ernst • Hagemeyer, Johan • Hajek-Halke, Heinz • Halawani, Rula • Halsman, Philippe
Police photography • Polidori, Robert
• Hamaya, Hiroshi • Hamilton, David • Hamilton, Richard • Hannon, Edouard • Hanzlová, Jitka • Hardy, Bert • Harper’s Bazaar
photography
• Hasselblad
Propaganda • Pruszkowski, Krzysztof • Punctum • Puranen, Jorma • Puyo, Commandant • Radiography • Rainer, Arnulf •
• Hartwig, Edward • Hatekeyama, Naoya • Hausmann, Raoul
• Hausswolff, Annika von • Hawarden, Lady
• Politics and photography • Polke, Sigmar • Ponting, Herbert George
• Post-production • Post Wolcott, Marion • Prince, Richard
Clementina • Hayashi, Tadahiko • Heartfield, John • Heinecken, Robert • Heinrich, Annemarie • Heliography • Henderson,
Rangel, Ricardo
Nigel • Henle, Fritz • Henneberg, Hugo • Henri, Florence • Henson, Bill • Hers, François • Herschel, Sir John • Hervé, Lucien
• Reflex camera • Regnault, Henri Victor • Rejlander, Oscar Gustave • René-Jacques • Renger-Patzsch, Albert • Reportage •
• Hido, Todd • Hill & Adamson • Hilliard, John • Hine, Lewis Wickes • Hiro • Höch, Hannah • Hockney, David • Hoepker,
Thomas • Höfer, Candida • Hofer, Evelyn • Hoffmann, Heinrich • Hofmeister, Theodor and Oskar • Holdt, Jacob • Hollyer,
Frederick • Hologram • Homma, Takashi • Hoppé, E. O. • Hopper, Dennis • Horsfield, Craigie • Horst, Horst P. • Horvat, Frank
• Hosoe, Eikoh • Howlett, Robert • Hoyningen-Huene, George • Hubmann, Franz • Hugo, Pieter • Huguier, Françoise • Hujar,
Peter • Humanist photography • Humbert de Molard, Louis Adolphe • Hunter, Tom • Hurley, Frank • Hütte, Axel • Hyperrealism
• Ignatovich, Boris Vsevolodovich • Illustrated press • Infrared • Inkjet printing • Instant photography • Invisible • Ishimoto,
Yasuhiro • Ishiuchi, Miyako • Itier, Alphonse Eugène Jules • Iturbide, Graciela • Izis • Jaar, Alfredo • Jackson, William Henry
• Jacobi, Lotte • Jäger, Gottfried • Jammes, André • Japonisme • Jiang, Jian • Jiménez, Augustín • Jodice, Mimmo • Johnston,
Frances Benjamin • Jokisalo, Ulla • Jones, Sarah • Jones Griffiths, Philip • Jonsson, Sune • Josephson, Kenneth • Jouve, Valérie
• JPG • Kállay, Karol • Kálmán, Kata • Kannisto, Sanna • Karsh, Yousuf • Käsebier, Gertrude • Kawada, Kikuji • Kawauchi,
Rinko • Keetmann, Peter • Keiley, Joseph Turner • Keïta, Seydou • Kerekes, Gábor • Kertész, André • Kessels, Willy • Keuken,
Johan van der • Khaldei, Yvegeny • Al-Kharrat, Ayman • Killip, Chris • Kimura, Ihee • Kitajima, Keizo • Kivijärvi, Kåre • Klauke,
Jürgen • Klein, Steven • Klein, William • Klemm, Barbara • Klutsis, Gustav • Knapp, Peter • Knight, Nick • Knorr, Karen
• Knudsen, Knud • Kodachrome • Kodak • Kolehmainen, Ola • Kollar, François • Konopka, Bogdan • Koo, Bohn-Chang •
Kopek, Gábor • Korda, Alberto • Koriss, Péter • Koudelka, Josef • Kouyaté, Adama • Kracauer, Siegfried • Kratsman, Miki •
Krauss, Rosalind E. • Krims, Les • Kruger, Barbara • Krull, Germaine • Krzywoblocki, Aleksander • Kudoyarov, Boris • Kühn,
Heinrich • Lacan, Ernest • LaChapelle, David • Lake Price, William Frederick • Land art • Land, Edwin Herbert • Landscape
photography • Lange, Dorothea • Larrain, Sergio • Lartigue, Jacques Henri • Latent image • Laughlin, Clarence John • Le Gac,
Jean • Le Gray, Gustave • Lebeck, Robert • Lee, Russell • Leele, Ouka • Lehnert & Landrock • Leibovitz, Annie • Leica •
Leipzig School • Leiris, Michel • Leiter, Saul • Lekegian, Gabriel • Lekuona, Nicolás de • Lemagny, Jean-Claude • Lemos,
Fernando • Lendvai-Dircksen, Erna • Lens • Leonard, Zoe • Lerner, Nathan • Lerski, Helmar • Le Secq, Henri • Lessing,
Erich • Levine, Sherrie • Levinstein, Leon • Levinthal, David • Levitt, Helen • Levy, Julien • Lewczynski, Jerzy • Liberman,
Alexander • Life • Light meter • Lindbergh, Peter • Lindström, Tuija • Lindt, John William • Linked Ring, Brotherhood of the •
Lippmann, Gabriel • Lissitzky, El • List, Herbert • Liu, Zheng • Lomography • Londe, Albert • Long, Chin-san • Long, Richard
• López, Nacho • Lorant, Stefan • Lorca, German • Lotar, Eli • Lum, Ken • La Lumière
Luminosity • Lüthi, Urs
• Lutter, Vera • Lux, Loretta
• McAlinden, Mikkel • McCartney, Linda
• Lumière, Auguste and Louis •
• Lynes, Georges Platt • Lyon, Danny • Lyons, Nathan • Maar, Dora
• McCausland, Elizabeth
• McCullin, Don
• McDean, Craig
• Macdonald, Ian •
Macijauskas, Aleksandras • Macrophotography • Madoz, Chema • Magnum Photos • Mahr, Mari • Man, Felix H. • Man Ray
• Manen, Bertien van • Männikkö, Esko • Mann, Sally • Mapplethorpe, Robert • Marey, Etienne-Jules • Marissiaux, Gustave •
Mark, Mary Ellen • Marker, Chris • Market for photographs • Markov-Grinberg, Mark • Martin, Paul • Marucha • Marville, Charles
• Masats, Ramón • Masclet, Daniel • Matiz, Leo • Matter, Herbert • Mayall, John Jabez Edwin • Mayer & Pierson • Mayito •
Mayne, Roger • Meatyard, Ralph Eugene
• Messager, Annette
• Metadata
• Medicine • Meene, Hellen van
• Méhédin, Léon-Eugène • Meisel, Steven
• Metzker, Ray K. • Meyer, Adolph Gayne Baron de • Meyer, Elisabeth • Meyer, Pedro •
Meyerowitz, Joel • Michals, Duane • Micrography • Migliori, Nino • Mikhailov, Boris • Mili, Gjon • Miller, Garry Fabian • Miller,
Lee • Min, Byeong-Heon • Minkkinen, Arno Rafael • Miot, Paul-Emile • Mise en scène • Miserachs, Xavier • Misrach, Richard
• Misonne, Léonard • Mission Héliographique • Mission photographique • Miyamoto, Ryūji • Modotti, Tina • Model, Lisette •
Moffatt, Tracey • Mofokeng, Santu • Moholy, Lucia • Moholy-Nagy, László • Moï Ver • Molder, Jorge • Molinier, Pierre • Monti,
Paolo • Moon, Sarah • Moore, David • Moore, Raymond • Mora, Gilles • Moral, Jean Arsène Gaston Jacques • Morath, Inge •
Morgan, Barbara • Morimura, Yasumasa • Moriyama, Daido • Morris, Wright • Morrison, Hedda • Moulène, Jean-Luc
•
Resolution
• Ranney, Edward
• Portrait
• Print • Printing-out processes • Projector •
• Rauschenberg, Robert • Rawlings, John • Ray-Jones, Tony • Rayograph • Reflector
• Retouching • Rey, Guido • RGB
• Rheims, Bettina • Riboud, Marc • Richards, Eugene • Richardson, Terry
• Richter, Gerhard • Riefenstahl, Leni • Riis, Jacob A. • Rio Branco, Miguel • Ristelhueber, Sophie • Ritts, Herb • Rivas Ribeiro,
Humberto Luis • Riwkin-Brick, Anna • Robakowski, Józef • Robertson, James • Robinson, Henry Peach
• Roche, Denis
•
Rodchenko, Alexander Mikhailovich • Rodger, George • Rolleiflex • Rondepierre, Eric • RongRong • Ronis, Willy • Röntgen,
Wilhelm Conrad • Rosenblum, Walter • Rosenthal, Hildegard • Rosenthal, Joe • Rosler, Martha • Ross, Henryk • Rössler, Jaroslav
• Rostain, Pascal • Rothstein, Arthur • Rouillé, André • Al-Roumi, Mohamed • Rousse, Georges • Rovner, Michal • Royal
Photographic Society • Ruff, Thomas • Ruka, Inta • Ruscha, Edward • Rydet, Zofia • Saanio, Matti • Sabatier effect • Salas
Freire, Osvaldo • Salgado, Sebastião • Salomon, Erich • Salt print • Salzmann, Auguste • Samaras, Lucas • Sammallahti,
Pentti • Sandberg, Tom • Sander, August • Sasse, Jörg • Sassen, Viviane • Saturation • Saudek, Jan • Schad, Christian •
Schadeberg, Jürgen
• Schaeffer, Jean-Marie
• Scianna, Ferdinando
• Schall, Roger
• Schatzberg, Jerry
• Scientific photography • Seawright, Paul
• Schmidt, Michael • Schuh, Gotthard
• Sebah, Pascal and Jean-Pascal
• Secchiaroli, Tazio
•
Seeley, George Henry • Sekula, Allan • Self-portraits • Sella, Vittorio • Sellerio, Enzo • Semiotics • Senn, Paul • Sensitive
plate • Sensitivity • Sequence • Series • Serrano, Andres • Sewcz, Maria • Seymour, David (Chim) • Shadbolt, George •
Shafran, Nigel • Shahbazi, Shirana • Shahn, Ben • Shaikhet, Arkady Samoylovich • Sheeler, Charles • Sherman, Cindy •
Shibata, Toshio • Shiihara, Osamu • Shinoyama, Kishin • Shore, Stephen • Shterenberg, Abram Petrovich • Shulman, Julius
• Shutter • Sidibé, Malick • Sieff, Jeanloup • Siegel, Arthur • Sieverding, Katharina • Silva, António Sena da • Silva Meinel,
Javier • Silver processes • Silvy, Camille de • Simmons, Laurie • Simpson, Lorna • Siskind, Aaron • Slide film • Smith, Graham
• Smith, William Eugene • Smithson, Robert • Snowdon, Earl of • Société Française de Photographie • Société Héliographique
• Solarization
• Sommer, Frederick • Sommer, Giorgio
• Søndergaard, Trine • Sontag, Susan
• Soth, Alec
• Sougez,
Emmanuel • Southworth & Hawes • Spirit photography • Sports photography • Staged photography • Stankowski, Anton •
Steele-Perkins, Chris • Steichen, Edward • Steidl, Gerhard • Steiner, Ralph • Steinert, Otto • Stern, Bert • Stern, Grete •
Sternfeld, Joel • Stereoscopic image (stereogram) • Stettner, Louis • Stieglitz, Alfred • Still-life • Stock, Dennis • Stoller, Ezra
• Stone, Sir John Benjamin • Stone, Sasha • Stop bath • Straight photography • Strand, Paul • Štrba, Annelies • Street
photography • Streuli, Beat • Strömholm, Christer • Struss, Karl • Struth, Thomas • Stryker, Roy Emerson • Studio • Štyrský,
Jindřich • Subtractive processes • Suda, Issei • Sudek, Joseph • Sugimoto, Hiroshi • Sultan, Larry • Sundsbø, Sølve •
Surrealism • Sutcliffe, Frank Meadow • Sutkus, Antanas • Szarkowski, John • Szatmári, Gergely • Szilágyi, Lenke • Tabard,
Maurice • Tableau photography • Talbot, William Henry Fox • Tandberg, Vibeke • Taro, Gerda • Taylor-Wood, Sam • Teige, Karel
• Teller, Jürgen • Testino, Mario • Thurston Hopkins, Godfrey • Tichý, Miroslav • TIFF • Tillim, Guy • Tillmans, Wolfgang •
Tomatsu, Shome • Toning • Tosani, Patrick • Toscani, Oliviero • Tournachon, Adrien • Travel photography • Tress, Arthur
• Tripe, Linnaeus • Trivier, Marc • Tronvoll, Mette • Tschichold, Jan • Tsuchida, Hiromi • Tuggener, Jakob • Tunbjörk, Lars •
Turbeville, Deborah • Turner, Benjamin Brecknell • Ubac, Raoul • Udo, Nils • Ueda, Shoji • Uelsmann, Jerry N. • Umbo
• Unwerth, Ellen von • Uzzle, Burk • Vaccari, Franco • Vachon, John • Van Der Zee, James • Van Dyke, Willard Ames • Van
Lamsweerde, Inez & Matadin, Vinoodh • Van Leo • Vancouver School • Varda, Agnès • Ventura, Paolo • Veress, Ferenc • Verger,
Pierre • Vintage print • Virtual image • Vishniac, Roman • Vitali, Massimo • Vogel, Lucien • Vogt, Christian • Vogue • Vorticism
• Vroman, Adam Clark
• Vu
• Walker, Tim
• Wall, Jeff • Wallace, Ian Hugh • Wang, Qingsong • Waplington,
Nick • War photography • Wardrope Brigman, Anne • Warhol, Andy • Washington Wilson, George • Watkins, Carleton Eugene
• Watson, Albert • Waxed paper process • Wearing, Gillian • Webb, Boyd • Weber, Bruce • Wedgwood, Thomas • Weegee
• Wegman, William • Welling, James • Wessel, Ellisif • Wessel, Henry • Wessing, Koen • Weston, Brett
• Weston,
Edward • Wet-plate process (wet-collodion prints) • Wey, Francis • Wheatstone, Sir Charles • White, Clarence Hudson • White,
Minor • Wilmer, Valerie Sybil • Wilson, George Washington • Winogrand, Garry • Winther, Hans Thøger • Witkacy • Witkin,
Mthethwa, Zwelethu • Mudford, Grant • Muholi, Zanele • Mulas, Ugo • Muller, Nicolas • Müller-Pohle, Andreas • Muniz, Vik
Joel-Peter • Wolf, Michael • Wolff, Paul • Wols • Workshop • Wunderlich, Petra • Wurm, Erwin • Yalenti, José • Yampolsky,
• Munkácsi, Martin • Muñoz, Isabel • Muray, Nickolas • Museum of Modern Art, New York • Muybridge, Eadweard • Mydans,
Mariana
Carl • Nachtwey, James • Nadar • Nagano, Shigeichi • Nakahira, Takuma • Nakayama, Iwata • Namuth, Hans • Nappelbaum,
Anatolevich
Moisei Solomonovich • Narahara, Ikkō • Narrative Art • Nash, Paul • Natalia LL • National Geographic • Negative • Nègre,
Charles • Neshat, Shirin • Neusüss, Floris • New Bauhaus • New Color Photography • New Documents • New Objectivity
(Neue Sachlichkeit) • New Topographics • New Vision (Neues Sehen) • Newhall, Beaumont
• Newman, Arnold
• Newton,
• Yanagi, Miwa • Yasui, Nakaji • Yevonde, Madame • Yva • Zangaki, Adelphoi and Constantin
•
Zhukov, Pavel Semyonovich
•
Zola, Emile
•
Zoom lens
•
Zuber, René
• Zelma, Georgi
•
Zwart, Piet