Logo of ESHPh, used on covers of printed Photohistorica

photohistorica abstracts:  [1993]   [1994]
Index of  [Authors]   [journals]  for 1993 and 1994

photohistorica 54/55

Serial Literature Index
of the European Society for the History of Photography

Abstracts for 1993:  7230 to 7570

Compiler and editor: R. Derek Wood

Published by the European Society for the History of Photography:
July 1995


A total of twenty–seven issues of photohistorica were produced in Belgium from 1978 to 1992. After the first five of those fifteen years the listing of articles relating to the history of photography substantially developed into two double–numbered issues each year. Karel van Deuren (the editor thoughout the entire 1980s), Dr. Laurent Roosens (inaugural President of ESHPh), and Luc Salu (librarian of the museum of photography at Antwerpen) were the compilers of the bibliography and the publication of photohistorica was made possible by annual grants provided by Agfa–Gevaert. Laurent Roosens, who had taken over as editor in 1991, retired in 1993. Thus the last issue of photohistorica, No. 52/53 of December 1992, was dispatched from Antwerpen to members of the society in the summer of 1993. Luc Salu then compiled a detailed Cumulative Index covering all issues of the bibliography for the years 1978 to 1992. From the remaining funds provided by Agfa–Gevaert this valuable Cumulative Index was sent out to members of ESHPh in mid–1994. It could have marked the end of an era.

1993–94 witnessed two years of financial insecurity for the ESHPh in which only one issue (No. 5) of the other journal – Photoresearcher – could be produced in a reduced form. The society, now with an income limited solely to the subscriptions of its members, has never–the–less organised two highly successful symposia: in Spain in June 1993 and Norway at end of August 1994. Special thanks are due to the relevant organising teams headed by Miguel Galmes in Barcelona and Roger Erlandsen in Oslo. There can be little doubt that members who have attended these symposia appreciate that the ESHPh provides in this way an intellectual stimulus and social pleasure in meeting others from a world–wide range of countries. But in addition the production of a bibliography of articles on the history of photography from current serials has been of undoubted value and a justified function of the ESHPh. A total of 7229 items were listed in the issues of photohistorica for the years 1978 to 1992. Apart from the dispatch of the last number in 1993 and the Cumulative Index in 1994 it was not possible, until costs of production could be obtained, for any member of the society to continue to compile current bibliographies. However, very special thanks can now be expressed to Agfa–Gevaert in Belgium for making a grant to ESHPh in February 1995 to cover the printing costs of one issue of a renewed photohistorica.

The last issue of the bibliography covered articles published not later than December 1992. Thus on resuming production the new editor has first a duty to apologise for the fact that this bibliography is unavoidably much less up to date than in the past. This present issue is devoted to articles published during January to December 1993. Without on–going day–to–day compilation during the last two years a hard task is set to close the time gap for the following issue. Hopefully in its turn that issue can be produced after another six months to cover the year of 1994.

An improved coverage of periodical literature can be obtained if members are willing to contribute towards that task. The editor looks forward to hearing from members of the society who would like to pursue that aim. Contributors from Portugal, Spain, Germany, and countries of eastern Europe are especially sought. Thanks are extended to those persons named on the title page who have already for the present issue contributed bibliographic data on articles in periodicals published in their own countries during 1993. In the near future consideration will be given to a radical change in subject classes and arrangement of the listings. In the meanwhile, the classifications and format of the bibliographies for 1993 and 1994 will remain as previously established. The items here listed since those covered by the Cumulative Index for issues 1–53 of the years 1978 to 1992 continues with the same consecutive individual numbering of the previous series and thus the first that follows is item number PH93–7230.

[An update on the short subsequent history of photohistorica after the publication of these two issues of 1993 and 1994 can be found in the brief  [Postscript] at the end of the index page to the present online version]



PH93–7230 The Photogrammetric Society Analogue Instrument Project.
Photogrammetric Record, October 1993, 14 (82), 565–82.
A detailed first report of an on–going project to catalogue analogue photogrammetric equipment manufactured and used between the 1920s and 1980s

PH93–7231 The search for objective communication: Medical photography in the nineteenth–century.
MAEHLE, Andreas–Holger,
in Non–verbal communication in science prior to 1900, edited by Renato G. Mazzolini [Nuncius: Studi e Testi , XI], Firenze: L.S. Olschi 1993, 563–86.
An excellent survey and discussion in English of the history of medical photography

PH93–7232 Close Encounters.
GOULD, Stephen J.
Observer (London), 17 October 1993, Magazine 39–41.
Techniques pioneered by Fritz Goro (1901–1986) still set a standard for Scientific Photography.

PH93–7233 The X–Ray Centennial: Thompsons and Thomsons.
ALMOND, Peter R.
Medical Physics (American Institute of Physics, New York), March/April 1993, 20 (2), 275–281.
When x–rays were discovered by Roentgen in November 1895 the news spread rapidly and many persons became involved in their development. Five prominent participants happened to have the similar names of Thompson or Thomson, which has sometimes caused confusion in the history of x–rays. They are thus considered in turn in this article. In Britain they were William Thompson (Lord Kelvin, 1824–1907), J.J. Thomson (1856–1940), and Silvanus P. Thompson (1851–1916), and in the Unites States it was Elihu Thomson (1853–1937). Lastly the author attempts to bring together a little fragmented information on Edward P Thompson, an American patent attorney who co–authored a book on Roentgen Rays.

PH93–7234 Wolken, Spiegel und Uhren: eine Lektüre meteorologischen Fotografien.
WOLF, Herta
Fotogeschichte, 1993, 13 (48), 3–18.
Discusses photography as one index in the second–half of the ninetenth century in surveying cloud formations. Both the photogrammetric methods and scientific instruments used to survey cloud altitudes, alterations of form and speed of movement can be related to the presentation principles for space and figures in painting valid since the fifteenth century.

PH93–7235 The 1931 Shippee–Johnson Aerial Photography expedition to Peru.
DENEVAN, William
Geographical Review (New York) July 1993, 83 (3), 238–51.
Lt George Johnson served as Photographer and instructor in aerial photography at a Naval Station at Ancón in Peru from June 1928 to January 1930. Pioneering Aerial photography of Peru was then undertaken in 1931 by Johnson (who was killed in 1933) and geologist Shippe (died 1989, aged 79). Thousands of vertical, oblique and ground photographs, as well as cinefilm, were taken of high landscape, land use, settlements, and archaeological features. Main collection of these aerial photographs is at the US Museum of Natural History.

PH93–7236 The Daguerreotype as a Photometer: Spanish technical innovations in photography’s beginnings.
RIEGO, Bernardo.
The Daguerreian Annual 1993, 110–5.
On 18 November 1839 (this date is misprinted on p.110 of this article as 18 October) the first trials in Madrid of the daguerreotype were headed by Dr. Juan M. Pou y Camps (1801–1865). Three translations into Spanish of Daguerre’s manual appeared in which the third had the original text translated by Dr. Joaquim Hysern with additional notes written by Dr. Pou. Not only did Pou discuss his own ideas with regard to the use of the daguerreotype for experiments in photometry, but in addition to Daguerre’s six plates in the manual a seventh signed by Dr. Pou (illustrated in Riego’s article) was added showing his conversion of a daguerreotype camera into a photometer.


PH93–7237 Andreas Ritter von Ettingshausen (1796–1878).
AUER, Anna.
History of Photography, Spring 1993, 17 (1), 117–20.
Anna Auer surveys the distinguished scientific career in Vienna of Ettingshausen. Because of his connections with the Austrian Chanceller, Prince Metternich (who immediately in January 1839 had expressed an interest in Daguerre’s invention), Ettingshausen went to Paris in August 1839 and his part in the way the daguerreotype was introduced to Austria is described. This article is a translation into English of the text of ‘Andreas Ritter von Ettingshausen (1796–1878):der Mann, der die Daguerreotypie nach Österreich Brachte’ in Rückblende, 150 Jahre Photographie in Östereich, Ausstellungskatalog Photographische Gesellschaft in Wien, Technischen Museum: Vienna 1989, 33–43. The original publication in German is to be preferred as the translation into English omits all reference endnotes.

PH93–7238 Fotograf Kristian Hudes “pletskud”.
Journalen:local og kulturhistorisk Tidsskrift (Randers: Danmark), 1993, 3 (1), 7–10.
Photographer Kristian Hude (1864–1929) active around 1900 in Roskilde, Denmark: his “bull’s eye” best pictures.

PH93–7239 Postkortfabrikantens negativer.
FANGEL, Henik.
Journalen (Danmark), 1993, 3 (4), 8–11.
‘Postcard maker’s negatives’ concerns Carl Chr. Biehl (1872–1950), photographer at Gråten, southern Denmark.

PH93–7240 Martin Chambi (1891–1973: Indiaanse Fotograaf uit Peru.
Foto: Universeel Maandblad voor Fotografie (NL), Jan/Feb, 1993, 48 (1/2), 67–71.

PH93–7241 Pieter Oosterhuis: Stereo–en industriefotograaf in de Negentiende Eeuw.
Foto (NL), Oct 1993, 48 (10), 76–81.
On the professional photography of P. Oosterhuis who began his career in Amsterdam in 1855

PH93–7242 Pieter Oosterhuis 1816–1885: van genrestukje tot kunstwerk.
VEEN, Anneke van
Amstelodamum, Sept–Oct 1993, 80 (5), 107–117.
‘From genre to “work of art” ’, discusses two aspects of his photographs: stereoscopic photography and work done on commission by this prominent early professional photographer in the Netherlands. This article was published concurrently with exhibition Stroom Kracht en stilte held in Amsterdam

PH93–7243 The Newtons of Chancery Lane and Fleet Street Revisited. Part 1: A Question of Establishment; Part 2: The Fleet Street Business and Other Genealogy.
GEE, Brian
Bulletin of the Scientific Instrument Society (London), 1992,
(35), 3–6; 1993, (36), 12–14.
Geneological information from early seventeenth century to end of nineteenth century on the Newton family, centred on William Newton (1786–1861) who had a globemaking business in Fleet street, London, and one of several generations of patent agents. [Note by the bibliographer: although it is an aspect not known or considered by the author, this article is of indirected relevance with regard to the early history of the daguerreotype in England as William Newton in the 1830s and 1840s was in partnership with Miles Berry, in whose name the daguerreotype was patented in England, and both men dealt with legal actions involving the transfer of the patent.]

PH93–7244 Take back your mink: Lewis Carroll [1832–1898], child masquerade and the age of consent.
SMITH, Lindsay.
Art History, September 1993, 16 (3), 369–85.
Places Lewis Carroll‘s photography of young girls within a discussion centered on social and legal attitudes towards young girls displayed in the course of the campaign in 1885 by W.T. Stead, editor of the Pall Mall Gazette in London, which led, by a Criminal Law Amendment Act of that year, to the raising of the age of consent for girls from thirteen to sixteen years.

PH93–7245 150th Birthday, Anniversary. Ernst Leitz I (1843–1920).
Leica Fotographie International, 1993, (5), 41.
Ernst Leitz was born in Sulzburg 16 April 1843.. In 1864 he entered into partnership with F. Belthle in the microscope firm founded in 1849 by Karl Kellner.. He had supported the ideas of Oskar Barnack first proposed in 1913 for the development of the Leica using 35 mm film even though it did not go into production until 1925 after Leitz had died.

PH93–7246 Berkeley, overlooked man of photo science,
Photographic Journal, May 1993, 133 [mis–printed as 132] (4), 169–71.
An account of the life of Herbert Berkeley (1851–1890), who advocated the use of sulphites in photographic developers. He became a member of the Platinotype company in London who sold Berkeley’s ‘Sulpho–pyrogallol’ developer. It is an abbreviated version of the author’s earlier paper ‘Herbert B. Berkely and the Sulphited Developer’ in Journal of Photographic Science, Jan/Feb 1986, 34 (1), 34–40.

PH93–7247 John Wheeley Gough Gutch “In search of Health and the Picturesque”.
Image, Spring/Summer 1993,36 (1–2), 2–15.
Born in Bristol, J.W.G.Gutch (1809–1862), began a career as a doctor, then as a Foreign Office “Queen’s messenger” travelling throughout Europe. In the 1850s was receiving a pension from the Foreign Office on medical grounds. Gutch’s album ‘Photographic illustrations of Scotland’, which is the prime subject of this article, consists of 39 views made in Scotland in 1857. It is one of the George Eastman House museum’s earliest travel albums of salt prints made from wet–collodion negatives.

PH93–7248 More about Frederick Whaley.
PhotoHistorian, Spring 1993, (100), 20–22.
The mature part in the 1890s of professional photographic career in the north of England of Whaley (born 1860) was dealt with in 2 issues of the same journal (previously titled RPS Historical Group Quarterly), in December 1987 and March 1988. Mainly from local newspaper advertisements, but also with data about his family from the 1891 census recently released, more information on Whaley’s studios in Lincoln in 1882–88, and later at Worksop, Doncaster and Scarborough, is presented. Apart from such further gleanings and one piece of evidence that he was at Cheltenham in 1905, anything about professional activity or personal fate after that date still remains to be discovered.

PH93–7249 ‘Mysteries of Shade and Shadow’, Discovering Mrs G.A. Barton.
JAMES, Peter.
Photographica, July 1993, 22 (3), 7–9.
Emma Barton née Rayson (1872–1938), amateur photographer of Birmingham, England, whose work (portraiture and allegorical studies) was exhibited with considerable success in the first decade of the 20th century not only in Birmingham and London but also in America in 1904/5. Three illustrations including a self–portrait taken around 1911.

PH93–7250 Edward Linley Sambourne (1844–1910).
History of Photography, Summer 1993, 17 (2), 207–13.
Sambourne worked from 1867 until his death as cartoonist for the London humourist magazine Punch. His photograph archive at Sambourne House in London consists of 30,000 images.

PH93–7251 George Walton and his links with photography.
Photographica World, September 1993, (66), 17–19.
G. Walton (1867–1933) was an architect and gallery designer.

PH93–7252 Alvin Langdon Coburn: The Silent Bard.
History of Photography, Autumn 1993, 17 (3), 299–301.
A very different phase began in the life of A.L. Coburn when he decided in 1918 at the age of 36 to end his successful professional photographic career. He justified this change “on the grounds of ultimate values.Spiritual concerns are more important”. In the 1920s he joined several quasi–mystical organisations. Little has been written before about this part of his life (a little by M. Weaver in a recent book on Coburn) so Schriver concentrates on Coburn as a “Welsh Bard” of the Welsh Gorsedd Society. Concluding sentence: “Coburn’s membership in his chosen organisations seems to have given him clues to a hidden language that was brighter than the luminosity of the photographic image”.

PH93–7253 Clarence H. White, American. 1871–1925 [with portfolio].
Record of The Art Museum, Princeton University, 1992, 51(2), 17–18. with portfolio on pp. 19–30 and a Check List of photographs by White in the Princeton Collection on 101–6.

PH93–7254 Edward Steichen.
History of Photography, Winter 1993, 17 (4), 317–68.
Five articles on Edward Steichen (1879–1973) : PARSONS, Melinda, Edward Steichen’s Socialism (317–33); BOWDITCH, Lucy, Steichen and Maeterlinck: The Symbolist Connection (334–42); TUGGLE, Catherine, Steichen and the Photography–as–Art Debate (343–51); GEDRIM, Ronald J., Edward Steichen’s 1936 exhibition of Delphinium Blooms (352–63); TUGGLE, C., Edward Steichen: War, History and Humanity (364–8).

PH93–7255 Walker Evans.
History of Photography, Summer 1993, 17 (2), 135–71.
An anthology of six articles on American Photographer Walker Evans (1903–1975):
RATHBONE, Belinda, Walker Evans: the rich pastime of window–gazing,135–8; HULICK, Diana Emery, Walker Evans and folk art, 139–46; WARE, Robert, Walker Evans: impersonality and metaphor, 147–51; KELLER, Judith, Walker Evans and Many are called: shooting blind, 152–65; ORVELL, Miles, Walker Evans and James Agee: the legacy (let us now praise famous men), 166–71; HARRISON, Trey, Explication of Walker Evans Bedroom of Floyd Burrough’s Home, 214. Other photographers who figure in these articles include James Agee (1909–1955) and Paul Strand (1890–1976).

PH93–7256 William Eggleston. An Interview.
History of Photography, Spring 1993, 17 (1), 49–53.
William Eggleston, born in 1939 in Memphis, Tennessee, has been photographing the American South, in colour, throughout the 1970s and 1980s. The interview took place early in 1992 on the occasion of an exhibition of Eggleston’s work at the Barbican, London.

PH93–7257 Jacob A. Riis. Reportern vars kamera var en murbräcka.
Gräv–scoop (Göteborg), 1993, 4, 101–116.
On Jacob Riis (1849–1914), photoreporter in slums of New York – “the reporter whose camera demolished masonry ”.

PH93–7258 Horst P Horst
[MISSELBECK, R., et.al]
Mitteilungen der PhGW (Wien), Juni 1993, (2), 2–3.
H.P. Horst wurde 1906 als Horst Baumann in sachsischen Weißenfels geborenm studierte Architektur in Hamburg und Bauhaus in Dessau. In den 30er Jahren verlaßt H.P.Horst Berlin und geht nach Paris. Kurzfristig wird er Assistent bei Le Corbusier, ehe er durch seine Freundschaft zu Hoyningen–Huene zur Modephotographie gelangt. Eine erste Retrospektive seiner Arbeiten konnte in Salzburg gezeigt werden.

PH93–7259 Raymond Depardon, entre cinéma et photographie.
BAURET, Gabriel
Photographies Magazine, 1993, (48), 29–31.
Au cours d’un entretien, Raymond Depardon retrace son itinéraire de photographe et ses rapports avec le cinéma. Il utilise maintenant et parallèlement ses deux modes d’expression. Membre de Magnum, Depardon fut aussi un des fondateurs de l’Agence Gamma.

PH93–7260 L’ascèse radieux d’Emmanuel Sougez.
Photographies Magazine (F), 1993 , (49), 68–77.
En 1919, Emmanuel Sougez (1889–1972) s’installe à Paris comme photographe illustrateur, réalise des portraits et des travaux publicitaires. En 1926, à son arrivée à L’Illustration, il crée le service photo. Il défend par ses écrits la Nouvelle photographie dans des revues telles que Photo–Ciné–Graphie, L’Art vivant ou Le Photographe. Il est co–fondateur du groupe Le Rectangle en 1937 qui deviendra en 1946 le Groupe des XV. Sougez est l’auteur en 1968 de La Photographie, son histoire.

PH93–7261 De la photographie engagée à l’image. John Heartfield, la beauté révolutionnaire.
GAESSLER, Dominique.
Photographies Magazine, 1993, (50), 36–40.
Pratique privilégiée des avant–gardes, le photomontage est né en Allemagne en 1916 d’une rencontre entre Georges Grosz et John Heartfield. Par sa puissance d’évocation et son efficace capacité narrative, le photomontage s’impose comme un langage de propagande au service du militantisme révolutionnaire des années trente. Fondateur du mouvement Dada à Berlin, John Heartfield collabore à des journaux Arbeiter Illustrierte Zeitung, Volks Illustriert. Dénonciateur du nazisme il s'expatrie à Londres où il poursuit ses activités avant de retourner en Allemagne en 1950.

PH93–7262 Peter Knapp.
GOFFAUX, Catherine.
Photographies Magazine (F), 1993 (50), 54–65.
Peter Knapp s’exprime sur sa carrière de photographe de mode. Formé au graphisme et à la peinture à la Kunstgewerbeschule de Zürich, Knapp devient photographe professionnel à la fin des années 60. Il quitte alors le magazine Elle dont il était directeur artistique. “Dans les années 1950–60, Peter Knapp provoqua une véritable révolution esthétique”.

PH93–7263 Serge Vandercam. Entrevue.
GODEFROID, Jean–Louis.
Contretype (B), 1993 (39), 8–9.
Serge Vandercam né 1924. Proche des surréalistes, lié au groupe COBRA à partir de 1949, il pratique une photographie expérimentale et participe activement à Bruxelles aux expositions “Les Développements de l’Oeil” en 1950, et “Images Inventées” en 1957.

PH93–7264 Gilbert De Keyser.
Photographie Ouverte (Charleroi), 1993, (85), 2–4.
Né à Bruxelles en 1925, Gilbert De Keyser réalise ses premières photographies en 1947. Le regard qu’il porte sur Bruxelles est le fil conducteur d’un travail photographique qui oscille entre le documentaire et la subjectivité la plus exacerbée (période non–figurative entre 1955 et 1960). Membre, dans les années 50, du Photo Ciné–Club de Boitsfort et favorable aux nouvelles tendances de la subjektive fotografie, il joue un röle actif dans la promotion de la photographie d’auteur et de son histoire.

PH93–7265 Helmut Gernsheim 80 Jahre.
AUER, Anna
Mitteilungen der PhGW (Wien), Juni 1993, (2), 2
Autor von mehr als 25 Büchern und etwa 300 Artikeln über Photographie, die zumeist auf Englisch erschienen sind. Prof. Dr. Gernsheim wurde am 1 März 1913 in München geboren. Er wurde 1946 englischer Staatsbürger, und lebt heute in Castagnola, Schweiz.

PH93–7266 Fotografen Rune Hassner 65 är
Folket i Bild (Stockholm), 1993, 9, 21–9.
Photographer Rune Hassner at 65.

PH93–7267 Cartier–Bresson: his eye,hand,lens,art and ego.
Independent (London), 8 July 1993, 26.
Interview with Cartier–Bresson, now 84, on his photographic career and recent devotion to drawing.

PH93–7268 Carl Lumholtz som fotograf.
EEK, Ann Christine
in Klausen, Arne M.,and Sørum, A., Under tropenes Himmel, Oslo: 1993, 152–6.
On explorer Carl Lumholtz (1851–1992) as a photographer.

PH93–7269 Anders Molbech Lundh 1851–1938.
Årbok for Gudbrandsdalen, 1993, 89–96.
On A.M. Lundh, a Norwegian amateur photographer.

PH93–7270 C.H. Monkton – the bad guy of NZ photography?
MAIN, Bill.
NZ Journal of Photography, November 1993, (13), 17–8.
Little is known about photographer Charles Henry Monkton who was active in New Zealand from around 1860 to early 1880’s. The designs on the back of three of his cartes de visite of his studios at various places and periods are illustrated. What little can be found concerns debts and bankruptcy, and particular attention is drawn to evidence from a newspaper report of 1882 that court proceedings were taken against Monkton for copying and selling a portrait of the Maori King Tawhiao copyrighted by another photographer. Discussion of the subject of portraits taken of Tawhiao in 1882 is extended by Main on p. 20 and one is illustrated.

PH93–7271 Robert H. Vance: Pioneer of the Daguerreotype in Chile.
The Daguerreian Annual 1993, 11–30.
Robert H. Vance (1825–1876) is well known for his photographic and entrepreneurial activities in California, but the author fills in what has previously been a period of uncertainty by establishing that after sailing from Boston around South America Vance had daguerreotype galleries in Valparaiso and Santiago, Chile from 1847 to 1850. When he left for California in 1850, he stopped off first in Peru, daguerreotyping in the very remote city of Cuzco, which the author considers the most significant work done by Vance while in South America. In this article Abel Alexander of Buenos Aires adds a considerable background of knowledge about photography in Chile in the late 1840s.

PH93–7272 Charles Herbert Tremear “The Patriarch of Twentieth–Century Daguerreotypy in America”.
The Daguerreian Annual 1993, 44–73.
Charles H. Tremear (1865–1943), was a portrait photographer in the 1890s and early 1900s. Although he became an auto–mobile worker for nearly two decades in Michigan, USA, from 1929 until his death in 1943 he had a Tintype Studio in Greenfield village, Michigan, where he made daguerreotypes throughout the 1930s as well as notably in the Kodak building at the 1939 World’s Fair in New York. Extensively illustrated (34 figs.) including many photographs of Tremear engaged in the various steps of producing daguerreotypes.

PH93–7273 Brady’s Four New York City Galleries – Not Three!
GILBERT, George.
The Daguerreian Annual 1993, 74–9.
In an interview, which later gained considerable historiographic influence, given by the renown American photographer Mathew B. Brady (1823–1896) in 1891, he mentioned he had three studios at various times on Broadway, New York. George Gilbert of the American Photographic Historical Society reviews the situation to show that not only was Brady established at various periods at 205,354, and 785 Broadway, New York, but for almost one year from late 1859 to Summer of 1869 had an interim studio at 643 Broadway at the corner of Bleecker Street. Indeed it must have been here that Brady took one of his most famous portraits of Abraham Lincoln, so successful that Lincoln apparently remarked that “Mathew Brady and the Cooper Institute made me President”

PH93–7274 J.F. Ryder’s Ithica Days.
CAMP, William L.
The Daguerreian Annual 1993, 126–30.
James F. Ryder began as a daguerreotypist in 1847. He settled in Cleveland, Ohio, in 1850 where he pursued a vigorous and prominent career in photography almost until he died in 1904. His autobiography Voigtlander and I in Pursuit of Shadow Catching was published in 1902. In this book Ryder dealt with his life and work in the 1840s mainly in Ithica, New York in less detail than his later days, so the author of this article has added more information about the daguerreotyping activities of Ryder, his associates, and other professionals at Ithica obtained by researching the local newspaper of September 1848 to October 1853.

PH93–7275 William Herman Rulofson “The P.T. Barnum of American Photography”.
The Daguerreian Annual 1993, 136–54, 259–71.
Canadian by birth, W.H. Rulofson (1826–1878) worked in Daguerreotype studios for several years in Boston and New Brunswick before sailing to California in 1849 where after practising from a travelling wagon had a portrait studio in Sonera, California, until forming in 1863 an immensely successful ‘Gallery of Photographic Art’ in San Fransiso with H.W. Bradley (1813–1891). A very detailed chronology of his life and work is provided (pp. 139–46, 259–71) and a portfolio of eight daguerreotype images from the early 1850s of Stockton, California.

PH93–7276 “...and Simons.” Montgomery Pike Simons of Philadelphia (1816/7–1877).
BATY, Laurie A.
The Daguerreian Annual 1993, 183–200.
Simons starting daguerreotyping in 1842 becoming a wellknown professional photographer in Philadelphia during the 1850s and 60s. He published more than 25 articles and letters in the photographic press and wrote three manuals on photography. Yet he has been almost entirely ignored in the standard histories. The author writes (endnote 64) that “This disregard for Simons is similar to the twentieth–century phenomenon of, ‘if an individual’s not in Newhall’s history, then they’re not important to the history of photography,’ a sentiment many revisionist photo–historians fight on a daily basis”. Thus, as Simons in contrast was well known in his day, the author researched his life and work from primary sources.

PH93–7277 Miscellaneous Daguerreian Biographies and Chronologies.
The Daguerreian Annual 1993, 255–76.
Compilations of information about American daguerreotypists: James B. Marquis (1817–1907), active in New York, by W.L. Camp, 255–7; Joseph R. Palmer (born c1814), active in Louisiana, Texas and Mexico, by T.R. Kailbourn, 258–9; Andrew B. Tubbs (1801–c1872), active in Pennsylvania and New York,by W.L. Camp, 271–3; Leland H.Wakefield (1823– 1914), active c.1847–1853 in Massachusetts, Wisconsin and Oregon, by J.F. Graf, 273–6.

PH93–7278 The Photographer 1868 and Benjamin Baltzly.
Photographic Canadiana, March–April 1993, 18(5),14
The Photographer was a four–page pamphlet published by B. Baltzly (1835–1883) promoting his studio in Montreal, Canada, in 1868. He had also worked in Ohio, USA, before his stay in Canada and in Boston and Cambridge, Massachusetts, in the 1870s. A letter from I. Reichstein in the Nov/Dec issue of the same journal (Vol.19 (3), 10) points out that Baltzly’s studio before he went to Montreal had been in Wooster, Ohio.

PH93–7279 Benjamin F. Baltzly: an early carte–de–visite.
History of Photography, Summer 1993, 17 (2), 218–9.
Baltzly first worked as a photographer in W. Notman’s studio in Montreal, Canada from 1869 to 1877 and is principally been known as the photographer who accompanied an important Geological Survey of British Columia in 1871. The cdv illustrated is one of his studio portraits of an unidentified man.

PH93–7280 Captain Biggs and Doctor Pigou, photographers of the Bombay Government 1855–1858.
DEWAN, Janet.
Photoresearcher, December 1993, (5), 6–13.
While a previous article by Dewan in History of Photography, Winter 1992 (v16 (4), 302–317), had provided a wider picture of photography carried out by several photographers for the Bombay and Madras governments for a period from 1855 to 1870, the present work, finely researched from primary official sources mainly at the Oriental and Indian Office Library in London, expands on the careers of the Englishmen Thomas Biggs and Dr. William H. Pigou (1817–1858) as official photographers for the Bombay presidency from 1855 to 1858.

PH93–7281 The penetrating power of light:The films of Helmar Lerski.
HORAK, jan–Christopher.
Image, Fall/Winter 1993, 36 (3–4), 41–53.
Lerski (1871–1956), propagandist film maker, was born in Strassbourg in 1871, real name Israel Schmuklerski. He spent his childhood in Switzerland before going to USA in 1893, where he began a career in photography. He returned to Germany in 1915 where he became a cameraman in film industry in Berlin. In the 1830s Horak made Zionist films in Tel Aviv.

PH93–7282 A revolutionary Eye [Tina Modotti]
GOTT, Richard.
Guardian (London), 11 September 1993, Weekend section 46–7, 49.
On the life and photography of Tina Modotti (1896–1942), particularly her political activity in the 1930s.

PH93–7283 Hardwicke Knight. A book, a setting, a cell, a life.
NZ Journal of Photography, August 1993, (12), 4–5.
The writer interviewed Hardwicke Knight at his home near Dunedin, New Zealand. Born in London Hardwicke Knight started to photograph at an early age. He travelled widely in Europe and Central Asia supporting himself by photography and journalism. The second world war in England put him into medical photography which led to work in that profession in Dunedin, where he settled.. A broad ranging life, interested in archeology, antiques, old books and fine printing, Knight has written on local and photographic history in New Zealand. His collection of photographic images and equipment is now in the Museum of New Zealand in Wellington. With photograph c1947 of Hardwicke Knight and his wife Molly.

cameras & optics

PH93–7284 Tsui–shu Cameras in middle 19th century in Japan. Part I.
MIYAGAWA, T., SHIRAI, Y., et al.
J. Soc.Photogr.Sci.Technology Japan, 1993, 56 (3), 205–13.
In Japanese: only an abstract in English seen, according to which the several authors from the Tokyo Polytechnic and the Fukui Municipal Museum state that it is probable that three designs of this camera were produced in the late 1860s although only two have survived. The term Tsui–shu means Wooden, laquered and engraved, being the characteristics of this type of camera. Had a two–element lens, focal length 17 cm, f7 aperture.

PH93–7285 Technical History of Konica Cameras.
Konica Technical Report, 1993, 6, 22–8.
Title only seen – in Japanese.

PH93–7286 Naissance du 35mm.
Cyclope (F), 1993 (12), 12–19.
3e partie d’une étude historique sur le 35mm. Le français René Millaud serait le premier photographe à avoir utilisé un appareil 35mm en décembre 1905. Conçu par le bordelais Henri Bayle (brevet le 11 décembre 1922), le Phototank qui précède le Leica de quelques années, ne sera pas commercialisé. L’appareil de poche Le Furet, fabriqué en France en 1923 est le premier appareil photo européen utilisant du film 35mm perforé avec une image plein format. L’Esco de Otto Seischab, conçu à Nuremberg en 1923, utilise 7,5m de film 35mm perforé pour 400 vues 17x24. Le Cent vues, créé par Etienne Mollier en 1914, est fabriqué à partir de 1924. Son boîtier est vertical et il est muni d’un film de 100 vues sous forme de cassette. Son aspect est alors fort proche du Leica.

PH93–7287 The Dysfunctional Leica. Instrument of the German Avant–garde.
History of Photography, Autumn 1993, 17 (3), 301–4.
Anomalies in the functionalism of the Leica are discussed as important factors in the aesthetics of this “undisciplined” camera in Germany in the late 1920s.

PH93–7288 Visoflex – The story of the Leica Reflex Attachment.
MEYER, Peter
Leica Fotographie International, 1993, (4), 39–43.
On the 60 year anniversary, an examination of the development of the accessory reflex mirror for the rangefinder Leicas.

PH93–7289 The Leica from 1946 to 1951.
Leica Fotographie International, 1993, (8), 19.

PH93–7290 Early Focal Plane Shutters and the development of the box form Goerz Anschutz Camera.
Photographica World, March 1993, (64), 14–16.

PH93–7291 Ultimates 2: West German 35 mm folders of the fifties
REES, Mike
Photographica World, March 1993, (64), 23–5.
On Zeiss Ikon, Agfa Karat and Voigtländer Vitessa

PH93–7292 Ultimates 4: The 1935 Zeiss Contaflex.
REES, Mike
Photographica World, September 1993, (66), 38–9.

PH93–7293 The Vito III and other curious Voigtländer matters.
REES, Mike
Photographica World, December 1993, (67), 33–5.

PH93–7294 Carl Zeiss Magnar 4x and 2x.
SHEEHY, Terence
Photographica World, September 1993, (66), 26.

PH93–7295 Following a hard act: The Agfa Silette.
Photographica World, September 1993, (66), 27–32.

PH93–7296 The Scovill Panoramic Camera [mid–1890s].
The Photographist, Winter 1992/93, 96, 6–11.

PH93–7297 The Retina I Camera. The proper identification of pre–war and immediate post–war models.
JENTZ, David L.
Photographica World, December 1993, (67), 25–7.

PH93–7298 The Wrayflex [1948].
Photographica World, March 1993, (64), 35–7.

PH93–7299 What a give away! Kodak Premium Cameras
Photographica World, March 1993, (64),19–21.
On the Hawkette and Hawkeye from 1923 to 1932.

PH93–7300 A look into the No. 2 Kodak Brownie.
Photographica World, September 1993, (66), 16.

PH93–7301 Kodak Roll Holders.
BERRY, Reed P.
The Photographist, Winter 1992/93, 96, 16–20.
An account of new series of Kodak Roll Film Holders used from 1898 for the cartridge system of celluloid roll films with paper backing purchased by Eastman from the Blair Camera Company. Data on five versions of the holders is provided from Kodak catalogues of 1898 to 1905. These Cartridge Roll Film Holders were later offered for many years in Graflex catalogues for use on those cameras. Graflex was originally an Eastman company but because of anti–trust law became independent in 1926,and similar holders were sold by Graflex up to 1973.

PH93–7302 All about shutters.
The Photographist, Spring 1993, 97, 1–23.
A special well produced 23 page issue devoted entirely to reproductions of illustrated advertisements for camera shutters from Photographic journals and catalogues of the 1880s and 1890s.

PH93–7303 Die Legende lebt. 60 Jahre Contax.
Photographie, 1993, 17(1), 18–22.
Neben Leitz steht zweifellos der Name Contax als Synonym für höchst erfolgreiche deutsche Wertarbeit. So genossen denn Kameras dieser Marke stets einen ausgezichneten Ruf, der sich trotz japanisher übernahme des Namens bis heute gehalten hat. In einem Streifzug beleuchten wir die sechs Jahrzehnte und stellen die Highlights vor.

PH93–7304 Le Verascope.
Bulletin Mensuel du Stéréo Club Français, Novembre 1993, (773), 16–19.
Looking back one hundred years to stereoscopy in the early 1890s this article describes the stereocameras and viewers produced in Paris by Jules Richard (1848–1930). The Verascope Enregistreur 45x107 camera appearing in 1894 had a newly created format of 4 x 4.5 cm on a single glass plate and could also be used as a steroscope viewer. In the early years of the 20th century the Richard company sold a very wide range of positive stereo views on glass and employed up to 250 people. Later products of the company are also discussed, particularly in relation to their unique formats, and the failure of the Verascope 40 of 1939. Production ceased in 1967.

PH93–7305 Xray of Hasselblad and Kiev 88.
GREENE, Arnold.
New England Journal of Photographic History, 1993, 138/9, 16. X–ray images comparing the internal construction of two similar SLR cameras in the Jack Naylor Collection: an original Hasselblad 500CM and Kiev 88, made in Russia, modelled on the former. Shows that the Hasselblad had a lens with two components with all the shutter mechanism in the lens, while the Kiev lens has three component optics with a complicated shutter mechanism operated from the advance knob so that repair would be more difficult if required. Suggests that radiography is a useful tool for examination before servicing cameras.

PH93–7306 Polaroid and Other Pocket Cameras for Spies.
New England Journal of Photographic History,1993,138/9, 20–2. N.K.Cherrill’s 1907 design for a flat–folding camera is compared with the renown Polaroid SX–70 of the 1970s. Also describes and illustrates some short–lived productions: the Pocket Kozy, a pocket detective camera made in Boston in 1898, the Swiss Vega Book camera of 1900, and the small German Lopa detective camera place on sale in 1902 which in England was called Pocket Cyko.

PH93–7307 Book Cameras, New and Old.
New England J. Photographic History, 1993, 138/9, 44–5.
Thirty–three ‘Notebook Cameras’ are said to have been made in Poland for the Soviet KGB in the 1980 some of which have arrived into the Collectors market. After also describing a modern ‘Webster’s Dictionary’ 110 camera made in China, other books disguised cameras of the late ninteenth century are discussed concluding that “None of the book detective camers sold very well. They were expensive novelties”.

PH93–7308 ‘Secret Matters’.
Leica Fotographie International (Frankfurt), 1993, (6), 36.
A short account of the “detective” camera, the Argus first made by Nettel at Southeim, Germany in 1911, continued later under the name of Ergo (illustrated). Contessa Nettel combined with other companies in 1926 to form Zeiss Ikon AG and the Leitz Winko camera sold throughout the 1930s is described.

PH93–7309 L’attache–case espion de la “Stasi”.
BELLON, Claude
Cyclope (F), 1993, (12), 36–40.
Description du fonctionnement du matériel utilisé dans les années 70 par les agents secrets de la STASI d’Allemagne de l’Est. La mallette est équipée d’un appareil Robot Star 25 ou 50 chargé de film infrarouge et doté d’un déclencheur automatique.

PH93–7310 Le Kine Exakta.
DALBERA, Jacques
Cyclope (F), 1993, (12), 28–33.
Historique de l’appareil mis au point par Karl Nüchterlein, mécanicien de Ihagee. Le Kine Exacta, présenté pour la première fois à la foire de Dresde en 1936, sera le modèle de référence (jusqu’à la fin de sa fabrication en 1972) en matière de réflex 24x36, par sa diffusion et sa supériorité initiale sur tous les suivants.

PH93–7311 Ensignette Chronology.
PhotoHistorian, Spring 1993, (100), 8–10.
Completing a description of Ensignette cameras presented in the same journal six months earlier (1992, (98), 65–72; see PH93–7056), summary data is provided on the eight groups of Ensignette cameras, with their lenses and shutters produced between 1909 and 1928, and on the two sizes of Ensignette films listing code numbers and manufacturers.

PH93–7312 Sachse, Della Porta, and the Rosicrucians: An Introduction to The Genesis of the Camera.
WOOD, Carol L.
The Daguerreian Annual 1993, 121–120
An article ‘The Genesis of the Camera’ published by Julius S. Sachse in 1889 in the American Journal of Photography of October 1889 is reprinted in this issue of the Daguerreian Annual on pp119–125, and C.L. Wood provides an introduction and critical context to “Sachse’s very romantic but highly flawed essay”.

PH93–7313 The English TIT–BIT.
New England J. Photographic History, 1993/4, 140/1, 26.
Three different cameras with the name of Tit–Bit were prod–uced in the mid–1890s by William T.Tyler of Birmingham, England. The third model, a stereoscopic detective camera made to look like a leather lunch box, is illustrated.

PH93–7314 The Alpha Electric Motor Drive and 100ft Magazine Back.
Photographica World, March 1993, (64), 31–2
PH93–7315 Olympus Chronology.
Photographic Canadiana, Jan–Feb 1993, 18 (4), 10.
Illustrations of twenty–one Olympus cameras from 1936 to 1991


PH93–7316 Film History: An International Journal, March 1993, 5 (1).
This issue of Film History, now published by John Libby Co., in London, and Montrouge, France, contains the following wide–ranging articles:
SMEDLEY, Nick, ‘Fritz Lang’s trilogy: the rise and fall of a European social commentator’, 1–21; JUNG, Uli, and SCHATZBERG, W., ‘The Invisible man behind Caligari: The Life of Robert Wiene’, 22–35; PALMER, Allen W., ‘Cecil B. DeMille writes America’s History for the 1939 World Fair’, 36–48; HORAK, J–C, ‘ Rin–Tin–Tin in Berlin or American cinema in Weimar’,49–62; ENGBERG, M.,‘The erotic melo–drama in Danish silent films 1910–1918’, 63–7; BARBER, X.T., ‘The roots of travel cinema: John L. Stoddard, E Burton Holmes and the nineteenth–century illustrated travel lecture’ 68–84; GRINDON, L., ‘Witness to Hollywood: oral testimony and historical interpretation in Warren Beatty’s Reds’, 85–95; SOPOCY, M., ‘Showmen and tycoons: J.J. Murdock and the Intenational Projecting and Producing Company’, 196–114; KATTELLE, A.,‘The Missing reel: The untold story of the last inventor of moving pictures’ [review of book on Le Prince by C. Rawlence] , 115.

PH93–7317 Special issue on Animation:
Film History, June 1993, 5 (2).
LANGER, Mark, ‘Animatophilia, cultural production and corporate interests: the case of “Ren & Stimpy” ’, 125–141; FRIERSON, Michael, ‘The invention of plasticine and the use of clay in early motion picures’, 142–58; KAUFMAN, J.B., ‘Before Snow White’ , 158–75; LESKOSKY, Richard J., ‘Phenakistoscope: 19th century science turned to animation’ 176–89; COHEN, Karl, ‘Toontown’s reds: HUAC’s investigation of alleged communists in the animation industry’,190–203; CRAFTON, Donald, ‘The view from termite terrace: caricature and parody in Warner Bros animation’, 204–30; OHMER, Susan, ‘ “That Rags to Riches Stuff”: Disney’s Cinderella and the Cultural Space of Animation’ , 231–49.

PH93–7318 Special issue on Film Technology and the Public.
Film History, Sept 1993, 5 (3).
BELTON, John, ‘Film technology and the public’, 260–1; GITT, Robert, ‘Bringing Vitaphone back to life’, 262–74; WURTZLER, Steve, ‘The space between the object and the label: exhibiting restored Vitaphone films and technology’ 275–88; WALLER, Fred, ‘The archeology of Cinerama’, 289–97; HUNTLEY, Stephen, ‘Sponable’s CinemaScope: an inti–mate chronology of the invention of the CinemaScope optical system’, 298–320; PAUL, William, ‘The aesthetics of emergence’ , 321–55.

PH93–7319 Special issue on Institutional Histories.
Film History, December 1993, 5 (4).
THOMPSON, Kristin, ‘Institutional histories’, 360–2; ABEL, Richard, ‘In the belly of the beast: the early years of Pathé–Frères’, 363–85; THOMPSON, Kristin, ‘Early alternatives to the Hollywood mode of production:implications for Europe's avant–gardes’, 386–404; JACOBS, Lea, ‘Belasco, DeMille and the development of Lasky Lighting’, 405–18; MUSSER, C., ‘Passions and the passion play: theatre, film and religion in America, 1880–1900’, 419–56; FULLERTON, John, ‘Intimate theatres and imaginary scenes: film exhibition in Sweden before 1920’, 457–71; KEIL, Charlie, ‘Advertising independence’, 472–88; SINGER, Ben, ‘Fiction tie–ins and narrative intelligibility 1911–18’, 489–505.

PH93–7320 Le Prince’s early film Cameras.
Photographica World, September 1993, (66), 38–9.
On the two Le Prince cameras at the National Museum of Photography, Film and Television, Bradford, England.

PH93–7321  The Lumiére Brothers: Part 1 –The Cinema.
Photographica World, December 1993, (67), 11–14.

PH93–7322  Edward Hill Amet, Inventor.
By Daylight (Chicago Photographic Collectors Society),Winter 1993, 1–9.
An account of the pioneering work of neglected engineer E.H. Amet (1860–1948). He designed a cine projector in 1894, forming an enterprise with George K. Spoor to manufacture this ‘magniscope’ from 1895 to about 1899. For a few years at the turn of the century his Magniscope Exhibition Company at Waukegan, Illinois, made movie shorts. Amet and Spoor parted company and the article gives considerable attention to Spoor’s activities after forming an influential Chicago movie production company Essanay in 1907. In 1912 Amet secured a patent for synchronous sound film projection, just one of 58 wide–ranging patents obtained during his life.  N.B. In the Chicago journal the author’s name is misspelt as "Ketatos".

PH93–7323 Visions of light: the art of cinematography.
COMER, Brooke.
American Cinematographer, February 1993, 74, 59–64
Subjects covered history of motion picture photography, Arnold Glassman, Nancy Schreiber


PH93–7324 Rom, Ägypten, Paris in alten Fotografien 1850–1900, Sammlung Herzog.
Du: Zeitschrift der Kultur,Juli/Aug 1992,(7/9),17–21,30–129.
A beautifully printed portfolio of photographs from second half of the ninteenth–century of Rome (30–69), Egypt (70–90), and Paris (91–129) from the collection of Ruth and Peter Herzog of Basle. With an editorial on pp.17–21, and inserted between 80–81 is a 56–page pamphlet of contemporary writings describing the same scenes, put together and introduced by Barbara BASTING (Vor ort Notiert. Ziet–genossen berichten aus Paris, Rom und Ägypten 1850–1900. Ein Leseheft zusammen–gestellt von Barbara Basting).

PH93–7325 Fotografiske museer i Europa og USA.
GREVE, Solveig.
Fotografi Medium–Middel–Mål: Rapport fra nordisk konferanse om fotobevaring, Sandefjord (Oslo: NKKM,SFFR, 1992), 125–33. This paper in Norwegian appears in the published proceedings of a Conference held the previous year at Sandefjord, Norway. A survey of museums devoted to photography: six in USA ( ie. IMP; MoMA; Getty; CMP (Riverside); MPA (San Diego); CCP (Tucson) ) and five in Europe in Helsinki, Stockholm, Odense, Essen and Bradford. On pp.131–3 is a useful table of summarised data about these museums. Photograph Collections in Norway are not considered by Greve, but a separate paper ‘Moment til ein nasjonal verneplan for norske fotosamlingar’ by R. Erlandsen on that subject appears in the same Conference Report,41–54.

PH93–7326 Botsfengslets fotosamling.
Arkivmagasinet (Oslo), 1992, 1, .
The old photographic collection c 1855 to 1947 of the Oslo Penitentiary.

PH93–7327 Fra museets billedalbum – 177.000 glimt av en bys historie.
Mindre Alv, Fredrikstad Museum Yearbook 1992–93, 146–52.
Photographs in the Fredrikstad Museum Collection, Norway.

PH93–7328 Fotografier i havnedirektoratets arkiv.
Arkivmagasinet (Oslo), 1992, 1, 24–7.
Photographs from c1880 to c 1960 in the archive of Norway’s State Harbour Authority.

PH93–7329 Sjöhistoriska fotografier.
Sjöhistorisk ärsbok (Stockholm), 1993, 9–215.
Historical Maritime photographs at Stockholm Maritime museum –Sjöhistoriska Museet

PH93–7330 Luftfotografiet: Det kongelige Biblioteks samlinger.
Magasin fra Det Kongelige Bibliotek (Copenhagen), 1993, 8 (2), 37–55.
On the Sylvest Jensen Collection of Aerial Photographs at the Royal Library in Copenhagen.

PH93–7331 Museo di Storia Fotographia Fratelli Alinari. New Acquistions.
Fotologia (Firenze), 1992, 14/15, 1.
Additions to the Alinari collection of photographs have been prints from the archive of the Duke of Bourbon Parma; negatives dating from 1860 to c 1890 of the Rome Photographer Ludovico Tuminello; over 112000 negatives of the firm Foto Pozzar & Figlio which was active until 1989 from 1918 in Trieste. Not only a list of the new aquisitions but some information about the photographers, as well as on Luigi Betti (1881–1941) of the photographic firm of Bettie Borra of Livorno whose documentary archives, cameras and negatives covering 50 years now form an important part of the museum. [in Italian and English]

PH93–7332 Das Trierer Stadtbild um die Jahrhundertwende: die Photosammlungen des Stadtarchives Trier.
Kurtrierisches Jahrbuch (Trier), 1992, 52, 261–74.

PH93–7333 Theaterfotografie in Österreich.
EIKON: International Z. für Phot. und Medienkunst (A),1993, (6), 70–1.
Bericht über die erste umfassende Ausstellung von Theater fotografie in Österreich die im neu eröffneten Wiener Theater–Museum April 1993 gezeigt wurde –140 Bilder. Das gesamte Bildmaterial stammte aus dem Privat–besitz von H. und M. Schreiber und deckte den Zeitraum von 1860–1970 ab

PH93–7334 Das audiovisuell Musum in Graz
Der Photograph (A), 1993, (1), 36.
Im Jahre 1960 wurde in Graz das Bild–und Tonarchiv gegründet und später dem Landesmuseum Joanneum angegliedert. Gesammelt und archiviert wird das audio–visuelle Material, vorwiegend über die Steierische Landeskunde. Der Bestand umfaßt etwa 450000 Bild–und Tondekumente in Form von Negativen, Positiven un Tonträgern. Daneben
existiert noch eine umfangreiche photohistorische Sammlung.

PH93–7335 The Art of Pictorial Photography, 1890–1925.
[BUNNELL, Peter; NICKEL, Douglas R.]
Record of The Art Museum, Princeton University, 1992, 51 (2), 7–115.
A special issue on “one of the major holdings of the Art Museum at Princeton University – the collection of photographs and documents relating to the pictorialist movement ...from about 1890 to world war I. The main focus being on Clarence White and others in his circle”. Peter Bunnell writes an Introduction (7–9) as well as articles on Pictorial Photography (11–15) and on Clarence White, American, 1871–1925 (17–8); Checklist (101–6) and Portfolio (19–30) of photographs by Clarence H. White; Douglas R. Nickel writes on Autochromes by Clarence H. White, with four illustrations (31–3, 34–7); Checklist (107–14) and Portfolio (39–78) of Other Artists in the Clarence H. White Collection; Other Pictorialist Collections in the Art Museum (79–99) contains the work of P.L. Anderson (1880–1958), J.G. Bullock (1854–1939), W.B. Dyer (1860–1931), Gertrude Käsebier (1852–1934), and R.S. Redfield (1849–1923).

PH93–7336 Acquisitions of the Art Museum [Princeton Univ.] 1992 –Photographs.
Record of The Art Museum, Princeton University,1993, 52 (1), 50–64.
The acquisitions in 1992 included many photographs by Ansel Adams, Samuel Bourne, and Clarence White.

PH93–7337 1839 Daguerreotype Found in New England.
New England Journal of Photographic History,1992, 137(4), 3.
Five daguerreotypes have come to light at the Historical Society of Old Newbury, Massachusetts, USA. A gift to the Society made,probably in the early 1960s, by a Mrs Skinner in memory of her sister, Harriet Perkins, are of Newbury scenes by Dr. Henry C. Perkins (1804–1873). The importance of this small collection lies in the fact that two whole plates are clearly dated as early as October 1839. One is illustrated along with its written inscription “View of part of High & State Street from Dr. Dana’s Church Oct.30, 1839”.

PH93–7338 Once in a Lifetime. The True Story of the Plumbe Daguerreotypes.
The Photographist, Fall 1993, (99), 10–19,22.
In the 1840s John Plumbe took several daguerreotypes of buildings in Washington including the US Capitol Building and the White House. Mike Kessler provides an collector’s tale of the way he obtained seven of the then unidentified daguerreotypes in 1971 from a collector’s “swap meet” in California. Within two years he sold six to the Library of Congress where they are now preserved, and illustrated in his article. “Over the years”, he says, “the story has often been exaggerated and improperly reported”, and indeed his personal account of such collecting activity is of considerable interest.

PH93–7339 Biological Photographic Collections: Truman Blocker, Jr. History of Medicine Collections.
STOOL, Sylvan E.
Journal of Biological Photography, April 1993, 6(2), 50–1.
Under the guidance of Dr. T. Blocker, expansion began in 1967 of the collection of photographs at the Moody Medical Library (University of Texas Medical Branch) at Galveston, Texas, USA. About 5000 prints, engravings and photographs particularly rich in carte–de–visite portraits of 19th century scientists.

PH93–7340 Studying Photography in Memphis.
PARSONS, Melinda Boyd.
History of Photography, Spring 1993, 17 (1), 62–3.
Includes information and contact addresses of photographic collections in Memphis, Tennessee, USA, at Memphis Brooks Museum of Art; Autozone Corporation; The Center for Southern Folklore; Memphis Music and Blues Museum; Memphis Valley Collection at the State University; Memphis Public Library; and some private collections including one at the Elvis Presley Graceland Mansion.

PH93–7341 Fay S. Lincoln Collection.
History of Photography, Spring 1993, 17 (1), 127–8.
A brief account is given of the life and work of New York Architectural photographer Fay S. Lincoln (1894–1976). When Lincoln died in 1976 approximately 10000 of his own prints and negatives, logs and financial records from the 1930s to early 1960s were donated to the Pennsylvania State University, USA.

PH93–7342 Grace Marks of Salem: Back Road Buildings in Indiana.
MUNRO, Heather R.
History of Photography, Autumn 1993, 17 (3), 296–9.
From 1930–1950 Marks took photographs of roads and buildings of southern Indiana, now in a collection at the Lilly Library of Indiana University, Bloomington, Indiana, USA. The author discusses the importance of photographs as historical records: “there will come a day when not just some but all of the structures Grace Marks made the effort to photograph in the 1930s–1950s will no longer be there. They will exist only as images pasted on to a card”.

PH93–7343 Capturing post–war Britain.
ELWALL, Robert
RIBA Journal (London), February 1993, 100, 20–2.
40000 negatives covering British architecture from the late 1950s to 1980 of the photographer Henk Snoek have been donated to the Royal Institute of British Architects. Born in the Netherlands, Snoek died aged 65 in 1980.

PH93–7344 Roger Parry.
BERTHOUD, Christophe
Photographies Magazine (F), 1993, (52), 56–65.
La Mission du Patrimoine photographique vient de recevoir une onzième donation, celle de Roger Parry (1905–1977) qui, dès l’entre–deux–guerres, fit aussi bien du reportage et de l’illustration que du portrait, de la photographie publicitaire et des recherches plastiques.

PH93–7345 Furie photographie. Collection Bonnemaison II.
LARMINIE, Philippe
Photographies Magazine (F), 1993 (50), 66–77.
Le Kunst–und Ausstellungshalle de Bonn expose 110 oeuvres historiques de la collection Bonnemaison II. Cet important ensemble propose des témoignages des premières expérimentations photographiques, notamment des vues panoramiques.

PH93–7346 Time to catch up on his paper work.
Independent (London), 1 July 1993, 15 (with a portrait).
An interview with American paper magnate Howard Gilman, whose collection of nineteenth–century photographs was exhibited for the first time as ‘The waking dream’ at the Metropolitan Museum of Art in New York and at the Edinburgh International Festival during 1993. The exhibition was also reviewed by Andrew GRAHAM–DIXON (Out of the shadows, into the light) in the same newspaper, 31 August 1993, 10; and STAMETS, B., (The Waking dream: photography’s first century) in New Art Examiner (Chicago), Summer 1993, 20, 38.

PH93–7347 Fabled Lands freshly observed: early travel photographs.
KEYES, Norman
Magazine Antiques (New York), April 1993, 143 (4), 584–95.
Fourteen illustrations of work by European travel photographers from c.1850 to 1880 in the Gilman Paper company Collection, New York.

PH93–7348 Le rêve éveillé au Metropolitan Museum of Art.
BORHAN, Pierre.
Photographies Magazine (F), 1993 (49), 15.
Article écrit à l’occasion de l’exposition ‘The waking dream’ au Metropolitan Museum of Art de New York qui présente un choix de photographies provenant de la collection de la Gilman Paper Company. Les grands maîtres de l’histoire de la photographie sont représentés dans cette collection riche de plus de cinq mille pièces.
PH93–7349 Glimpses of a golden age [Treasures of the Country Life Library].
HALL, Michael.
Country Life, 4 March 1993, 187 (9), 60–3, illus.
On the rebirth of the Country Life Picture Library, Stamford Street, London, since it transferred all its glass negative images on to film and made prints of each. This article was followed later (7 October 1993, 187 (40), 68–71; 25 November 1993, 187 (47), 84–7) by a selection of early twentieth–century photographs with text by M. Hall on ‘Treasures of the Country Life Library – I. Early Photographs of Children’ (twelve photographs, including seven of boys at English Public Schools in the 1930s), and ‘II. Early Photographs of French Châteaux’ taken by F.H. Evans (1853–1943) between 1907 and 1914.

PH93–7350 [New Zealand] Fine Arts Copyright Act 1877 – A Register search for NZ’s last cache of historic photographs.
MAIN, Bill.
NZ Journal of Photography, August 1993, (12), 14–7.
The author made a preliminary search through the Fine Arts Copyright records at the New Zealand National Archives in Wellington and found that 280 Photographs were registered for copyright in New Zealand from 1886 to 1946. Information on subject and photographer has been gathered: “The list of names encountered in these files reads like a Who’s Who in New Zealand Photography”. However access to the photographs deposited with the registrations forms is time consuming and in this first search the author saw only a sample of forty photographs. William Main gives his opinion on the best policy for preserving this collection.

PH93–7351 A Curate’s Egg? The Hardwicke Knight Photography Collection at MoNZ–TPT [Museum of New Zealand, Wellington].
MAIN, Bill.
NZ Journal of Photography, August 1993, (12), 6.
The collection (photographs, books, cameras and other equipment) of Hardwicke Knight, a historian of New Zealand photography, has been purchased by the Museum of N.Z at Wellington. It will be a long time before the collection is completely catalogued,and much put on display to the public, but Bill Main gained an opportunity to briefly view some of it. With regard to the cameras (almost entirely 19th century), the writer was perplexed by a large number of replicas. Realising it might be a long time before anyone else might have a chance to survey the collection, yet being in a vulnerable situation because of problems of assessing the collection in the present circumstances, the writer felt bound to “sadly conclude that the Hardwicke Knight camera collection is very second rate”.

PH93–7352 B B Turner.
British Journal of Photography, 16 December 1993, (6953), 21.
An album of sixty photographs by Benjamin Turner (1815– 94) was purchased by the Victorian and Albert Museum in 1982. Before he began photography in 1849 Turner manufactured wax in Haymarket, London. The V & A curator of Photographs illustrates from the album one image on albumen paper, printed from waxed paper negative, of the empty interior of the Crystal Palace,Hyde Park, London, taken by Turner in the spring of 1852.

PH93–7353 ‘Images of Man’ strength in the RPS Collection.
Royal Photographic Society Collection Staff.
Photographic Journal, December 1993, 133 (10), 436–9.
On the diversity of portraits of men in the Permanent Collection of Royal Photographic Society.

PH93–7354 Unpublished P.H. Emerson’s Photographs: George Eastman House.
WEAVER, M and HAMMOND, A [The Editors]
History of Photography, Summer 1993, 17 (2), 218.
A short note by the editors of the journal on some of the photographs of P.H. Emerson (1856–1936) held at GEH, Rochester, NY. In particular draws attention to the use of the same sky incorporated into at least four different images and to a group of four images of fisherfolk “interiors” which seem to have been produced on an outside set, thus being genre pictorialist constructs rather than documentary naturalist photographs.

PH93–7355 Beaumont Newhall [1908–1993] and Stefan Lorant archives acquired by Getty Center [California].
History of Photography, Summer 1993, 17 (2), 221–2
The influential picture editor Sefan Lorant was born in Budapest in 1901, working between 1926 and 1933 with Münchener Illustrierte, then Lilliput in London and for a short time as founding editor of Picture Post in the late 1930s before moving to USA in 1940.

PH93–7356 Recent Acquisitions [of GEH].
Image, Fall/Winter 1993, 36 (3–4), 55
Report with illustrations of acquisition by George Eastman House of 5 photographs taken between 1938 and 1945 by Helen Levitt, New York photographer born 1918.

PH93–7357 A symbiotic relationship: Collecting and the History of Italian photography.
Aperture, Summer 1993, (132), 70–1.

PH93–7358 Harvard Quarrel Closes [Semitic] Museum.
New England Journal of Photographic History, 1993/4, 140/1, 31.
The Harvard Semitic Museum in USA holds an extensive collection of photographs taken in the 19th century in Palestine, Egypt, Syria and Greece, including work by F. Bonfils, Frith, and Zangaki. A dispute between the Harvard administrators and staff led to the closure of the Museum to the public on 17 December 1993. It is reported that the ethnographic and photographic collections will probably be split amongst several other museums and libraries.

PH93–7359 Crisis at the SFP
Recherche Photographique (Paris), Spring 1993, (14), 93.
General meeting held on January 1993 of the Société Française de Photographie was dominated by the financial crisis of the Society placing it and the collection into receivership

PH93–7360 Hilfe für das Film–Museum Potsdam,
Fernseh–und Kino Technik, 1993, 47 (3), 1.

PH93–7361 Pentax Camera Museum relocates.
Japan Camera Trade News (Tokyo), Sept 1993, 44 (9), 6; Dec 1993, 44 (12), 8.
Two brief reports that the Pentax Camera Musum which opened in Tokyo in 1967 has moved to the premises of the Masiko plant of Ashi Optical , about200 Km north East of Tokyo, reopening in November 1993.

PH93–7362 Nara City Museum of Photography.
The Japan Architect (Tokyo), Spring 1993, 9 (1), 72–5.
Museum of Photography built at Nara, Japan, on site developed for World Architecture Exposition in 1998. Short note in Japanese and in English with plan and photograph. All gallery functions are below ground with only the entrance hall above. See also Photographs and plans of Kisho Kurakawa’s recently completed Museum at Nara with brief report in Italian and English by GAZZANIGA, L, in ‘Museo della fotografia, Nara City’, Domus (Rozzano, Italy), October 1993, (753), 34–9.

PH93–7363 Review of Diane Vogt O’Connor’s Guide to Photographic Collections at the Smithsonian Institution.
BANTA, Mellissa
Visual Resources, 1993, 9 (2), 155–7.
“We are just beginning to recognise and explore our photographic treasures. The monumental task of producing a comprehensive guide to one of the world’s largest photographic collections stands as a testament to the dedication of the Smithsonian staff to bring this extraordinary resource to light”. Out of 9000 Collections about 3000 had photographic significance. Three volumes have been published, two more to come.
PH93–7364 Notable Russian and Soviet Illustrated Books and Photographs at the New York Public Library: A Selective List of Material preserved with funds for the Department of Education’s Title II–c Program.
Visual Resources, 1993, 9 (1), 1–28.

PH93–7365 Beyond the PhotoArchive: Imaging the History of Psychology.
SHERMAN, Claire R.
Visual Resources, 1993, 9 (1), 39–52.
Concentrates on engravings rather than photographs but is “A case study of a type of cross disciplinary research that reveals the inadequacy of the present Vasarian order of the slide library or photo archive”. Considers the general role that historical images play in exhibitions, in the light of the author’s experience of an exhibition ‘Mindworks’ held at the Ontario Science Centre.

PH93–7366 Questioning Representation: When Art History becomes Visual Culture.
BUNTING, Christine
Visual Resources, 1993, 9 (1), 59–71.
Discusses of cataloguing visual images of anthropological material having stereotyped images of women and gender issues with regard to Post Vasarian Cataloguing

PH93–7367 Subject access to Pictures: Considerations in the Surrogation and Indexing of Visual Documents for Storage and Retrieval.
Visual Resources, 1993, 9 (3), 241–71.

PH93–7368 The Visual Resources Association MARC Mapping Project.
BOWER, James M.
Visual Resources, 1993, 9 (3), 291–327.
Detailed report of the MARC Format committee of the Visual Resource Association on MAchine Readable Cataloguing (MARC) of visual material especially with regard to problems of exchange of data. Contains Table 1, Matrix of MARC Tag Usage (294–6); Table 2, Description of MARC Tag Usage (296–311); Table 3, Patterns of MARC Field Usage by Category (311–15); and (compiled by McRAE, Linda) Appendix of ART/MARC User List (318–27)

PH93–7369 Editorial Commentary: the Need for a Photographers’ Authority Database.
Visual Resources, 1993, 9 (2), 143–9
Proposal that Visual Resources could act as a forum to attain a Database that is needed for identification of Photographers. Provides a short list of twelve published Directories.

PH93–7370 Elektronisk arkivering af fotografisk billedsamling.
BACH, Michael.
B70 (Bibliotekarforbundet, Danmark), 1993, (21), 697–8.
Computer cataloguing of a local history archive and digitisation of photograph collection.

colour photography

PH93–7371 Il Dagherrotipo a Colori [Colour and the Daguerreotype].
JACOB, Michael G.
Fotologia (Firenze), 1992, (14–15), 8–21.
Not only in Italian but also (as befits an article concerned predominately with history of the subject in America) the text is in English on pp.3–10 of the journal’s English translation supplement. Before the true colour processes of the 1880s it is a fact that coloured images existed from 1841 onwards after J.B. Isenring in Switzerland found a way to apply transparent colours by hand to the fragile daguerreotype plate. Mike Jacob provides a good account of the way Isenring’s method, and later developments of applying colour, were patented in England and USA. American Patents for chemical colour methods are also considered and substantial attention is paid to the neglected history in America of Levi Hill’s ‘Heliochromes’ of the early 1850s.

PH93–7372 Harvesting the rainbow, Early Colour Processes.
The Photographic Journal, May 1993, 133 [misprinted as 132] (4), 154–6.
A talk to the Royal Photographic Society Colour Group giving an outline of the most important early colour processes.

PH93–7373 Les débuts de la photographie couleurs.
BERGER, Jean–Louis
Recherche Photographique (Paris), Spring 1993, (14), 88–92.
“Colour photography was invented simultaneously by Charles Cros (1842–1888) and Louis Ducos du Hauron (1837–1920) in 1869...” [In French with International edition in English].

PH93–7374 The Manufacture of the Lumiere Autochrome Plates.
The PhotoHistorian, Summer 1993, (101), 2, 24–9.
Technical procedures, formulae and machines used in preparing, dying, milling and rolling the starch grains, varnishing and emulsion coating the glass plates.

PH93–7375 Colour in the Gum–Bichromate Process.
History of Photography, Winter 1993, 17 (4), 369–76.

PH93–7376 Doppeljubiläum bei Ilford: Cibachrome. Wie alles begann.
Color Foto (Stuttgart), 1993, 23 (8), 68–9.

PH93–7377 50 Jahre Farbfilme aus Ferrania: Von Ferraniacolor zu Scotch Color.
Inpho, 1993, (2), 16–18.

PH93–7378 American Dreamscape.
LEE, David.
British Journal of Photography, 25 Nov., 1993, (6950), 22–3.
Review of Ansel Adams in Colour: “For someone who had scant regard for colour photography Ansel Adams [1903–1975] produced some staggeringly beautiful images.”


PH93–7379 Pristine Prints.
British Journal of Photography, 21 January 1993, 140 (6903), 10–11.
Darkroom techniques for making archivally permanent prints.

PH93–7380 Whats in Store?; For the record.
LESTER, Peter.
British Journal of Photography, 13 May 1993, 140 (6922), 12, 14; 20 May 1993, 140 (6923), 27,29.
Two part review of archival materials, storage products and suppliers.

PH93–7381 Battling the elements...
HUGHES, George.
British Journal of Photography, 23/30 December 1993,
(6954), 13–5.
The author discussed problems of archival preservation of photographs through interviews with Pam Roberts at the Royal Photographic Society Collection, Mark Haworth–Booth at the Victoria and Albert Museum, London, K. Langman of Fuji’s technical department, and A and I Moore at their Centre for Photographic Conservation in South East London. With tabulated information on p.15 on currently available plastic materials for storage of negatives, prints and transparencies.

PH93–7382 Photographic Conservation in the Public Record Office.
HARWOOD, Stephen.
PhotoHistorian, Autumn 1993, (102), 25–33.
An account of the methods and materials used to preserve photographs scattered through many classes of records at the Public Record Office at Kew, London. Step by step account of the techniques and materials used in the PRO Conservation department for cleaning, repair, mounting, encapsulation and archival storage of photographs as well as a small section on cleaning and four–flap enclosure of glass and film negatives. A second part (pp.30–3) provides an example of these techniques as used in the department for almost 3000 photographs making up the photographic collection of the British Prime Minster, J. Ramsey Macdonald (1866–1937).

PH93–7383 Investigation on the Bleaching Behavour and the Reconstruction of Faded Colour Prints.
Journal of Photographic Science, 1993, 41 (3), 76–7.
By studying the thermodynamics and photochemical reaction of fading of dyes in photographic material, the rates can be determined. Images that have degraded can be reconstructed digitally by applying algorithms, derived from the fading rates, to the degraded image.. By doing this it is possible to restore image colours close to that of the original but printed on a new material.

PH93–7384 Les Documents graphiques et photographiques. Analyse et Conservation, Paris: Archives Nationales 1993.
Contenu: LAVEDRINE, B., ‘Les Autochromes. Approche historique et technologique du procédé: Etude des problèmes liés à se conservation’ , 29–130; NIELSEN, U. et LAVEDRINE, B., ‘Etude du miroir d’argent sur le photographies’, 131–44; LECLERC, F. et FLIEDER, F., ‘Influence des azurants optiques sur la permanence des papiers’, 207–22; LECLERC, F., DUHAMEL M. et VALETTE, N., ‘Etudes sur la stabilité des photocopies [xerographic], 223–46.

PH93–7385 Storage, Preservation and Restoration of Photographs.
Zhurnal Nauchnoi i Prikladnoi Fotografi, 1993, 38 (3), 41–8.
Reviews the mechanisms of the deterioration with age of various types of images and materials and the methods that have been successfully used for image restoration and preservation. Recommendations are made for optimum storage conditions. In Russian


PH93–7386 Watching the birdie for 126 years [in Scotland].
Scots Magazine, May 1993, 138 (5), 470–6.
An account of Scotland’s oldest photographic business which began trading in 1867 as R. Clapperton of Selkirk.

PH93–7387 A Brief History of Bronica.
Photographica World, September 1993, (66), 7–9.
The company was founded by Zenzaburo Yoshino (1911–1988) in Tokyo in the 1930s

PH93–7388 Nikonsaga.
Cyclope (F), 1993 (12), 57–66.
Historique de Nippon Kogaku (Japan Optical Co–Ltd.), la plus ancienne des compagnies d’optique du Japon fondée en 1917 et qui produit à partir de mars 1948 le Nikon I, appareil 35mm à télémètre et à objectifs interchangeables.

PH93–7389 Who Owns Praktica?
Photographica World, March 1993, (64), 17–18.
A brief history of the Practica company.

PH93–7390 The Wallace Heaton Story.
Photographica World, Septmber 1993, (66), 12–15.
A history of the company from 1877–1957, with a chronology from 1926 to 1970 on p. 15.

PH93–7391 J.J. Griffin & Sons, London.
DUNN, Mike
Photographica World, September 1993, (66), 22–3

PH93–7392 The History of Kodak in Britain: Part 1 – The first ten years; Part 2– Expansion and a Limited Company 1893–1898.
Photographica World, June 1993, (65), 10–14; December 1993, (67), 19–24.

PH93–7393 Konica: Verkannte Grösse.
Color Foto, 1993, 23 (9), 84–5.
Gleich drei Jubiläen feiert Konica 1993: Vor 120 Jahren begann die Geschichte der heutigen Konica Cooperation. Vor 20 Jahren wurde die Konica–Niederlassung für Europa in Hamburg eröffnet.

PH93–7394 Optische Werke G. Rosenstock.
MFM Fototechnik, 1993, 41 (9), 14–16.
Ein kleines Optikergeschäft mit angeschlossener feinmechanischer Werkstatt, 1877 von Josef Rodenstock in Würzburg gegründet – das war der Beginn eines Unternehmens, das heute der größte deutsche Optikhersteller ist und als Optische Werke G. Rodenstock weltweit einen hervorragenden Ruf genießt. Schon bald nach der Gründung wurde eine Filiale in München eröffnet und 1885 die Fertigung dorthin verlegt.

PH93–7395 Die Geschichte der Optischen Werkstätte Carl Zeiss in Jena von 1875 bis 1891.
Z. Unternehmensgeschichte, 1993, 38 (1), 4–25.
Between 1875 and 1890 the so far small workshop of Carl Zeiss in Jena developed into a modern factory. This change was due to Ernst Abbe’s theoretical work in the field of microscopic image formation on which he had worked since the late 1860s and so allowed microscopes to be manufactured according to scientific principles. However this new approach only came to fruition with the development by Otto Schott of special optical glasses in the Jena glass factory since 1884. Carl Zeiss and Abbe used these innovations with prudence and in the interests of the commercial development of the company.

PH93–7396 [Part I.] A Brief History of Photographic Distribution or Retailing Stories About Retailing. [Part II] New York: What a Wonderful Camera Town!
New England Journal of Photographic History, 1993, (138/9), 12–14; 1993/1994, (140/1), 10–11.
On changes in retail trading of camera shops and mail order for amateur photographers in America in the 1930s to 1970s, and in part II especially with regard to New York retail firms Willoughby’s, Olden Camera, Camera Barn and Minifilm Camera.

PH93–7397 Whatever Happened to [Whittaker Corp.]...The Maker of the Micro 16 and Pixie Cameras?
New England Journal of Photographic History,1993 (138/9), 34.
William R. Whittaker Corporation, a defence aerospace and electronics manufacturer diversified into civilian markets in the 1950s to produce a tiny metallic Micro 16 cameras followed by a plastic minature ‘Pixie’. Sales of both cameras failed to reached expected sales. Inspite of new financial challenge of current defence cutbacks the corporation does still exists as a defence industry.

PH93–7398 Artists & Daguerreotypists from the United States. Census of 1850.
[Daguerreian Annual Editors].
The Daguerreian Annual 1993, 116.
Numerical data from the Census of 1850 being the first in USA to name each person’s occupation. Because “artists” were often active as daguerreotypists the number of persons in each state are listed for those two classifications showing a total in America in 1850 of 2,093 artists and 938 Daguerreotypists.


PH93–7399 Visual Resources Bibliography for 1990
KEATS, Patricia L.
Visual Resources, 1993, 9 (1), 169–216.
Publications listed alphabetically by author, with a subject category index in which the names of the authors writing on photography and photographic history are indexed on p. 213. Compiled at Towson State University, USA, the serials represented are listed on pp. 171–3 with an concentration on American publications.

PH93–7400 Visual Resources Bibliography for 1991.
KEATS, Patricia L.
Visual Resources, 1994,10 (2), 165–206.
Thirty–six articles relating to photography collections and the history of photography are listed in this bibliography for 1991 with the names of the authors of those specific articles indexed on p. 204.

PH93–7401 Nineteenth–century American Photographic Journals.
A Chronological List.
MARDER, William and Estelle.
History of Photography, Spring 1993, 17 (1), 95–100.
A most useful annotated bibliography of seventy–four American journals devoted entirely to photography beginning with The Daguerreotype (Boston) (it started publication in 1847, but might almost not be counted as the first as it was primarily a literary journal being photographic in name only), upto Stieglitz’s Camera Work which flourished from 1903– 1917. This List is preceded by an authoritative digest of the publication of the earliest articles on photography in American newspapers and in literary and scientific periodicals in 1839.

PH93–7402 Pour une histoire de la photographie en Belgique.
Ed. Musée de la Photographie: Charleroi 1993.
JOSEPH, Steven, et SCHWILDEN, Tristan, ‘Les pionniers de la photographie’, 13–23; JOSEPH, Steven, et SCHWILDEN, Tristan, ‘La photographie professionelle au XIXème siècle’, 25–32; SALU, Luc, ‘Les périodiques consacrés à la photographie’, 35–41; DE NAEYER, Christine, ‘Patrimoine et missions photographiques’, 43–54; MÉLON, Marc–Emmanuel, ‘L’espace social du pictorialisme’, 57–69; GYSEGEM, Marc van, ‘Photographie sociale et photojournalisme’, 71–87; ANDRIES, Pool, ‘Entre tradition et modernité, la photographie dans l’entre–deux–guerre’, 89–94; MEURIS, Jacques, ‘La photographie sera surréaliste ou ne sera pas (?), 97–103; SWINNEN, Johan, ‘L’héritage des années 50, chronique d’un périple à travers la Belgique, en quête de “la photographie des années cinquante” ’, 105–114; SARLET, Jean–Michel, ‘Des années 50 aux années 70. De l’individuel au collectif,de la marginalité,à une relative légitimité ’, 117–29; MAYEUR, Catherine,‘À l’image du temps’, 131–4; D’HOOGE, Alain, ‘Images fabriquées et fragments du réel, quelques aspects de la photographie depuis les années 1980, 137–46; WAUTERS, Anne, ‘La photographie comme medium dans le champ des arts plastiques’, 149–153.

PH93–7403 Bildet Lever! Bidrag til norsk fotohistorie 6
(Oslo: Norsk Fotohistorisk Forening 1992).
Bildet Lever, the publication of the Norwegian Photohistory Society did not appear in 1993, but the 1992 issue contained the following seven articles: MORGENSTERN, Neil, ‘Axel Lindahl (1841–1906) En biografisk presentasjon ved 150–års–jubileet for hans fødsel’ (biographical presentation on the 150th anniversary of photographer Alex Lindahl), 9–33; REIAKVAM,O, ’Familielivet fotografisk sett’ (an ethnological discussion of amateur photography in families, from study of old photographs in Bergen University Library collection), 35–49; TOBIASSEN, Anna, ‘Privatefotosamlinger som etnologisk kilde’ (private photographic collections as sources in ethnological research), 51–64; GRINDLAND, Kari, ‘Post mortem–fotografier’ (postmortem photography between 1864 and 1925 with examples from Smaalenene area of Norway), 65–80; BARR, Susan, ‘ “Turistfotografier” fra Svalbard’ (photography by visitors to the arctic archipelago of Svalbard c.1880–1920s), 81–90; HØIMYR, Nils K., ‘Fotografering på misjonsmarken i forrige århundre’ (Photography by Norwegian Missionaries in the 19th century, with examples from archive of Norwegian Missionary Society), 91–100; GULLVÅG, Else W., ‘Krigen i bilder’ (Wartime photography of Brynjulf Mugås 1940–45 in Finnmark, Norway), 101–9.

PH93–7404 Fra kuriositet til etablert håndverk. Fotografiets historie i Stavanger 1880–årene.
Stavanger Museum Yearbook, 1992, 85–158, 159–68.
Daguerreotypists and Photographers in Stavanger until 1885. ‘From Curiosity to established profession’ a photographic history of Stavanger, Norway, until the 1880s, accompanied on pp.159–68 by ‘Daguerreotypister og fotografer i Stavanger inntil 1885’ being the daguerreotypists and photographers in Stavanger until 1885.

PH93–7405 Fotologia (Firenze), 1992, 14/15.
Folologia has not been published in 1993 or 1994, the most recent being this double issue 14/15 of 1992, the contents as follows: JACOB, Michael G.,‘Il Dagherrotipo a colori’, 8–21; KIRKPATRICK, Diane,‘La Fotografia e la nuova technologia’, 22–9; COLEMAN, A.D.,‘La Lente, appunti di storia culturale’, 30–9; RETEUNA, Dario, ‘Prima della Fotografia: I Tagliatori di teste’ [silhouettes by Livizzani of Bologna], 40–5; CAVANNA, Pierangelo, ‘Il Fondo Fotografico della Bibioteca Civica di Casale Monteferrato ed una Mostra’, 46–53; SALBITANI, Roberto,‘Il Punto di Vista del Topo’, 54–63; BERSELLI, Silvia, ‘La Fragilita dell’Immagine’, 68–71; GASPARINI, Laura, ‘La Fotografia Italiana nelle Collezioni Fotografiche Statunitensi’, 72–5.

PH93–7406 Die Revolution der Fotografie.
FAVROD, Charles–Henri.
Du: die Zeitschrift der Kultur, Juli/Aug 1992, (7/8), 130–2.
In addition to the full text in German, a condensed version in English of this article on the impact of photography in the mid–nineteenth century appears on pp.i–ii.

PH93–7407 The Photograph as artistic expression.
HARKER, Margaret.
Photographic Journal, Dec 1992/Jan 1993, 132 (11), 508–10.
Discusses the place of photography in the visual arts especially with regard to the potential and limitations imposed by the characteristics of the photographic materials available at different periods of the nineteenth–century.
PH93–7408 An expressive language: Photography as an art form.
Antique Collector, Dec 1992/Jan 1993, 64(1), 54–7.
The curator of photographs at the Victoria and Albert Museum in London discusses photographs as art, mainly with reference to photographs of the 1850s in that collection, including work by Lady Hawarden (d.1864) and Robert Howlett.

PH93–7409 Pictorialism,history and photographic progress [in Britain].
BOWMAN, Edward.
Photographic Journal, November 1992, 132 (10), 440–2.
Particularly with regard to an interview with Helmut Gernsheim who sets out his antagonistic views of the Pictorialism associated with the Royal Photographic Society and London Salon in the 1930s and 40s and Gernsheim’s account of his own conflict with J. Dudley Johnston with regard to the latter’s influence in the late 1940s on the type of work chosen for the Royal Photographic Society Collection.

PH93–7410 The “eye of history”.
New Statesman and Society (London), 18 Dec 1992/1 Jan 1993, 38–41.
Discusses how in the late 1960s there was an upsurge of interest in old photographs in providing an eyewitness to events of the nineteenth century. But “Photographs, if we are to use them as historical illustration, or as empirical evidence about the past, need historical criticism”.

PH93–7411 Fotografiet som historisk kilde.
HELLE, Knut.
Fotografi Medium–Middel–Mål: Rapport fra nordisk konfer–anse om fotobevaring, Sandefjord (Oslo:NKKM,SFFR,1992), 79–88.
Concerns the photograph as an historical source (in Norwegian).

PH93–7412 Fotografier og nostalgi: en viktig side ved vårt forhold fortiden.
TOBIASSEN, Anna Helene.
Dugnad (Oslo), 1992, (1), 27–34.
‘Photographs and nostalgia: an important aspect of our relationship to the past’. [in Norwegian].

PH93–7413 Sports History – a Sense of Time and History.
Camera Austria International (Graz), 1993, (42), 80–1.
Die New York Sportfotografin von Daily News, Susan Grayson, hat in 10–jähriger Arbeit eine umfassende Ausstellung über Sportfotografie zusammengestellt, angefangen von E. Muybridges ‘Hitting the Baseball’ aus 1887 und E.J. Mareys Serienfotografien über die Bilder der 20er Jahre von A.Rodtschenko, L.M. Nagy und W. Baumeister bis hin zum berühmten Olympia–Film von Leni Riefenstahl (1938 in den Kinos), enthielt diese Ausstellung auch ein Bild aus 1956 über das Schnachspiel: Marcel Duchamp im Turnier mit Morris Kramer.

PH93–7414 Media Technology Futures? Lessons from the Past.
BARUCH, J.E.F., GREEN,R.J., BUDGE, A., et al.
Journal of Photographic Science, 1993, 41 (3), 123.
Synopsis of a paper read at symposium ‘Imaging the Future’ at Cambridge in September 1992. Points out that the media industry is not entirely technology driven, for it also depends on which product will be taken up by consumers. Two examples from the past history of silver halide photography are considered. There was a greater demand for the daguerreotype in the 1840s although the negative positive process finally became successful. A parallel can be drawn between the public response to the easy–to–use Kodak system introduced by Eastman in the late 1880s with the marketing of DX coded film, self–loading and auto focus cameras in the late 1980s.

PH93–7415 Catching the light.
Archives of American Art Journal (Washington), 1992, 32 (4), 25–9.
Window transparency portraits and late nineteenth century correspondence of Charles and Julia Kurtz.

PH93–7416 Amatør–fotgrafen 1839–1971. Temanummer
Objektiv (Dansk Fotohistorisk Selslab), 1993, (62), 12–135.
Special themed issue on Amateur photography in Denmark covering a wide period.

PH93–7417 Kvinnovetenskaplig tidskrift (Umeå, S), 1993, 3/4.
This Swedish Woman Studies journal contains several articles on the history of women in photography mainly but not entirely with regard to Sweden:
BECKER, Karin, ‘Det skarpa perspektivet och könsproblematiken inom dokumentärfotografin’ (Sharp Perspective and the gender problem, appraises the documentary photography of three women, Dorothea Lange, Margaret Bourke–White and Anna Riwkin), 17–29; DAHLMAN, Eva, ‘Kvinnliga pionjärer osynliga i fotohistorien’ (Female pioneers invisible in photohistory, concerns photographers Bertha Valerius, Rosalie Sjöman and Lotten von Düben in Sweden), 45–54; TELLGREN, Anna,‘Förnyelse av formen i femtiotalets fotografi’ (Renewal of form in the photography of the fifties relates to work of Kerstin Bernhard, Astrid Bergman and Anna Riwkin), 55–67; WERKMÄSTER, Barbro, ‘Familjealbumet avslöjar dolda relationer’ (Family album reveals hidden relations), 68–82; BERGGREN, Iréne, ‘Kvinnliga fotografer intar scenen’ (Female photographers enter the stage), 85–94;

PH93–7418 Kvinnorna var dominerande i fotografins barndom.
Helsingborgs Dagblad (Helsingborg), 28 Feb 1993.
In Swedish – ‘The women dominating in the childhood of photography’.

PH93–7419 Fotografer i Thy.
POULSEN, Orla, and MATHIESEN, Hanna.
Historisk årbog for Thy og Vester Hanherred (Thisted: Danmark), 1993, 41–56.
Photographers in Thy area of northern Jutland.

PH93–7420 Sju decennier genom Märtas kameraögon.
Statsjänstemannen (Stockholm), 1993, (8), 26–30.
In Swedish – ‘Seven decades through Märtas camera eyes’.

PH93–7421 En svunnen generation möter oss i Karl Lärkas bilder.
Uppsala Nya Tidning, (Uppsala), 7 Jan 1993.
In Swedish – ‘A long past generation meets us in the pictures of Karl Lärka’.

PH93–7422 Founding of the Photographic Association of Canada 1884.
Photographic Canadiana, Jan–Feb 1993, 18(4), 11–13.
This Society later successively became the Ontario Society of Photographers, the Professional Society of Ontario, finally merging in 1970 with the Commercial and Press Photographers Association.. The author discusses more generally the problems in setting up professional societies in Canada and north America in the late 19th century.

PH93–7423 Fotographie in India 1860–1890.
Foto: Universeel Maandblad voor Fotografie (NL), Sept 1993 48 (9), 82–3.
Article based on exhibition at Amsterdam Tropenmuseum.

PH93–7424 Photography in Africa: a bibliography.
ROBERTS, Andrew D.
PhotoHistorian Supplement No.100 (Royal Photographic Society Historical Group: Spring 1993), 8 pp.

PH93–7425 Selected Bibliography of Early Australian Photography.
GASKINS, William
PhotoHistorian Supplement No. 102 (Autumn 1993), 27 pp.
In a short introduction (3–5) the author points out that when compiling this
material “it became apparent that, unlike America, there was a dearth of written material on the development of early photography in the new colonies of Australia”. Has a list of Public Archives in Australia holding photographic source material (5–6), and a list of nineteenth century Australian Newspapers and Periodicals (25–7). Concentrates on the nineteenth century.

PH93–7426 The Diorama in Great Britain in the 1820s.
WOOD, R. Derek.
History of Photography, Autumn 1993, 17 (3), 284–95.
This article shows that Dioramas were built not only in London but also in Liverpool, Manchester, Dublin and Edinburgh. It was an entirely independent enterprise, with Daguerre being involved only to the slight extent that the British proprietors contracted with him to buy his original tableaux. As well as establishing when and where dioramas painted by Daguerre and Bouton were displayed in Great Britain, the author opens the article by first discussing brief rival ventures in Edinburgh and in Bristol in 1825 to present unauthentic dioramas to the public.

PH93–7427 Daguerre’s Demonstrations in 1839 at the Palais d’Orsay.
WOOD, R. Derek and HARMANT, Pierre G.
History of Photography, Winter 1992, 16 (4), 400–1.
The place where Daguerre gave his first public demonstration of his technique in September 1839 has in the past been referred to by historians in varying ways. On the left bank of the Seine opposite the Louvre, the building had only recently been built in the late 1830s with its function not yet established. This short note suggests that in future writings the situation would be clarified if the building is named as the Palais d’Orsay.

PH93–7428 Ste Croix in London.
WOOD, R. Derek.
History of Photography, Spring 1993, 17 (1), 101–7.
An account of the first demonstrations of the Daguerreotype in London between 13 September and the end of the third week of October 1839. Also considers the earlier release of information in Paris about Daguerre’s technique. Sets the scene for the following companion article by P. James, linked by an editorial title of ‘The Enigma of Monsieur de Sainte–Croix’.

PH93–7429 Ste Croix and the Daguerreotype in Birmingham.
JAMES, Peter.
History of Photography, Spring 1993, 17 (1), 107–13, 13–4.
Important revelation that the shadowy Ste Croix did not entirely disappear from history after demonstrating the daguerreotype in public in London but went northward to do the same in Birmingham during the last week of October 1839. The author goes on to reassess the first years of photography in Birmingham with particular attention to a discussion of daguerreotype plate makers in the city, to Dr. John Percy (1817–1889, George Shaw (1818–1904), and Dr. J.B. Melsom (1811–1898). A postscript to this article quotes a letter written in 1877 by a J. Smith of Kew looking back to a visit of Dr. J. Percy to Kew in 1839 with regard to the existence there of Niepce’s heliographs.

PH93–7430 Reports on the Daguerreotype From Naples, 1839.
JACOB, Mike.
History of Photography, Autumn 1993, 17 (3), 312–3.
Quotes in Italian,with a translation into English, from a report in an Italian periodical Il Lucifero of 16 October 1839 of Daguerre’s public demonstration of his technique in Paris on 7 September 1839.

PH93–7431 Monsieur de Sainte Croix.
JACOB, Mike.
History of Photography, Winter 1993, 17 (4), 397–8.
Correspondence from Mike Jacob following on an article by Wood (PH93–7428) in regard not so much to Sainte Croix’s public demonstrations of the daguerreotype process in London in September 1839, but to a report ( quoted in full from the London weekly Mirror of Literature of 19 October 1839) of a later rival event carried out by J.T. Cooper (Jnr) at the Polytechnic Institution in Regent Street, London. [The correspondant does also briefly question a standardization of the name of Ste Croix which the present abstractor is aware was an editorial style decision by the journal: there is no way of judging which of the various forms of the name used in press reports in 1839 was correct.]

PH93–7432 A Daguerreotypist in Dover.
The PhotoHistorian, Summer 1993, (101), 10–11.
A translation into English of Daguerre’s Manual was published in November 1839 by a Dr. J. P. Simon described on the title page as “a native of France”. It comes as a surprise to learn from a search by Keith Adamson through the Dover Chronicle newspaper for the period 1839 to 1844 that Dr Simon was a medical practitioner resident in that city port for five years until the end of 1844. He gave lectures in Dover on scientific subjects including one on the Daguerreotype on 21 November 1839 and during the following two years.

PH93–7433 Daguerreotype Studio Practice: [Part 1] The first Studios; [Part 2] Professional Studios 1841–1846; Part 3 Expansion and consolidation 1846–1851; Part 4.
Photographica World, March 1993, (64), 28–30; June 1993, (65), 19–21; Dec 1993, (67), 16–18, 28; March 1994, (68), 17–19.

PH93–7434 Silver salts and blueprints.
Times Literary Supplement(London), 19 March 1993, 13
Extended review of Larry Schaaf'’s 1992 book Out of the Shadows: Herschel, Talbot, and the invention of Photography. The reviewer concludes that the book “demonstrates that to credit Talbot as sole inventor of photographic negative–positive process is to present the history of photography from a very limited perspective”. However, the “insistence that Talbot was not only creating the medium, but also the art of photography...is undercut by much of the evidence offered by the text. Here one sees Talbot as being much more interested in the commercial aspects... the entrepreneur with his eye on uses and markets”.

PH93–7435 Tom Wedgwood and Humphrey Davy: an account of a method.
BATCHEN, Geoffrey.
History of Photography, Summer 1993, 17 (2), 172–83.

PH93–7436 Jose Ramos Zapetti.
BATCHEN, Geoffrey
History of Photography, Summer 1993, 17 (2), 215
Review of previous attention paid to a somewhat insubstantial claim made in 1903 that a Spanish artist Ramon Zapetti had preserved an image on copper plate in camera obscura about two years before Daguerre’s invention became public.

PH93–7437 The Naming of Photography, ‘A Mass of Metaphor’.
BATCHEN, Geoffrey.
History of Photography, Spring 1993, 17 (1), 22–32.

PH93–7438 Photographers in Devon [England] 1842–1939
PhotoHistorian Supplement No.101 (Royal Photographic Society Historical Group: Summer 1993),
List of Photographers compiled from local Directories.

PH93–7439 Professional Photographers in North Staffordshire [England] 1850–1940.
JONES, Gillian A.
PhotoHistorian Supplement No.103 (Winter 1993),

PH93–7440 Polyfoto: The new portrait photography.
STOKES, Charles
Photographica World, March 1993, (64), 9–13.
An account of the Polyfoto company and the use of the polyfoto system from its beginning in England in 1933.

PH93–7441 A Forced perspective: Aerial photography and Fascist propaganda [in the 1930s].
FROME, Karen.
Aperture, Summer 1993, 132, 76–7.

PH93–7442 Was there a New York look?
Times Literary Supplement (London), 19 March 1993, (4694), 9.
The writer’s own answer to his rhetorical question is – No. The concept of a book The New York School Photographs 1936–1963 by J. Livingston is considered by Papageorge as not defensible because the sixteen photographers included are too loosely defined to constitute a clearly compatible group. The particular issue of TLS in which this and the previous entry [PH93–7434] appears largely features Photography on pp.7–13. Other reviews are of books on Atget (Atget’s Seven Albums), E–J. Marey, W. Eugene Smith, and erotic photography of Robert Mapplethorpe and Sally Mann.

PH93–7443 Seeing straight: the Bay Area’s Group f64.
HEYMAN, Therese
Art of California, Jan 1993, 6 (1), 22–5.
On the origins and activities of the f64 group initiated in 1932 by Willard Van Dyke. Amongst the group were Ansel Adams, Edward Weston and Imogen Cunningham.

PH93–7444 PHSNE Celebrates Twenty Years.
New England Journal of Photographic History, 1993, 20th Anniversary issue, 138/139, pp.1, 4–7, 9–11, 24–32, 36–41, 46, 49–51, 54.
The Journal looks back over its twenty years since 1973 of the Photographic Historical Society of New England. With many photographs, concentrates on the members involved with the Society. A report of ‘The 20th Anniversary Celebration’ held on 17 October 1993 appeared in the following issue of the Journal 1993/4, 140/1, 8–9.

PH93–7445 The Word [Barthes’ 1969 essay The Scandal of horror photography].
Creative Camera, Oct/Nov 1993, (324), 34–41.
Centred on a reprinting on p.35 of an article on The Scandal of Horror Photography by Roland Barthes originally published in Creative Camera in July 1968, Durden discusses previous views of the subject triggered by the well known photo–journalistic execution of a Vietnamese man in the 1960s.

PH93–7446 Platinum Print (Photo–Graphic Art) 1913–17. Index of Writings and Photographs.
JUROVICS, Toby A [compiler]
History of Photography, Summer 1993, 17 (2), 204–6.
This index listing of the journal is accompanied by a reprinting on pp. 202–3 of an article by Karl Struss on ‘Multiple Platinum Printing’ from the first issue of Platinum Print in October 1913.

PH93–7447 Crowned with thorns: Creative Camera 1965–1978.
Creative Camera, April/May 1993, (321), 24–31.
An acount of the years of this British art–photography magazine Creative Camera from 1965 to 1978 throughout the editionship of Bill Jay and Peter Turner.

PH93–7448 Bill Jay’s little magazine: Album (London) 1970.
JAY, Bill.
History of Photography, Spring 1993, 17 (1), 1–21.
Edited in London by Bill Jay (b.1940), Album was a magazine of Photography surviving for 12 monthly issues starting in February 1970. This short life is celebrated in History of Photography with an anthology of four items. ‘Album: A memoir’ (pp.i, 1–9) by Bill Jay, is an account of the funding (and lack of funds) and running of the magazine throughout its twelve issues, and his life at the time. Contains a portrait of Jay at work at his typewriter in 1970 and several other photographs taken by Jay himself of associates and contributing photographers such as Brandt and Ray–Jones; ‘Two Editorials’ (pp.10–12) are reprinted from Album No.s 1 and 7; ‘Some Thoughts on Photography’s Future, A Letter to Bill Jay, 8 April 1970’ (pp. 13–4); and ‘Album 1–12 (1970) Lists of Contents’ (15–21) provides the contents pages with reproductions of the illustrated front covers of each issue.

PH93–7449 Magazine of the century [Life magazine].
Print (New York), May/June 1993, 42 ( ? ), 21–31.

PH93–7450 The Way We Live Now: Late Victorian Studios and the Popular Press.
LAMB, Joseph
Visual Resources, 1993, 9 (2), 107–25.
This article mainly concerns portraits of artists in England in the second half of the nineteenth century but does also point out that photography was not of significance in publications concerning artists until 1884 with photography of artists and their ateliers by J.P. Mayall appearing in E.G. Stephen’s Artists at Home and in R.W. Robinson’s Members of the Royal Acedemy of Arts of 1891, although a considerable number of photographs of artists have survived from this period, witness 2000 photographs of artists in a collection of London Art dealer, Jeremy Maas, some of which appeared in the catalogue The Victorian Art World in Photography of an exhibition held at National Portrait Gallery in London.

PH93–7451 Felix Who?
TAYLOR, Roger.
British Journal of Photography, 14 Jan.,1993, 140 (6905), 25.
Review by Roger Taylor of Felix Teynard: Calotypes of Egypt published by Kraus Inc, New York, with an essay by K. Howe: the book discussed sumptiously reproduces the work of Félix Teynard (1817–1892), a French engineer in Egypt in 1852 and 1853, published by Goupil by 1858 as a portfolio of 160 prints. [This short review is recorded for its debatable assumption that the name and work of Teynard remains unknown].

PH93–7452 A singular history.
TAYLOR, Roger.
British Journal of Photography, 20 May 1993, 140 (6923), 30.
A review of Mark Haworth–Booth's book, Camille Silvy: River Scene, France (J.Paul Getty Museum, 1992), in which Taylor reflects that “There are many ways in which the history of photography has been considered ... surveys, biographies, monographs, bibliographies and critical texts. By starting with a single photograph and subjecting it to art–historical analysis, much in the manner one would a painting, this book establishes a distinctive approach to the writing of photographic history...expanding its horizons”.

PH93–7453 Estonian Photography: Between the East and West.
TOOMING, Peeter.
Photoresearcher, December 1993, (5), 14–19.
The 19th century is dealt with briefly: the first studio in Tallin was opened by daguerreotypist Carl Borchardt in 1844. Political changes suffered in this area of the Baltic make it difficult to know who was the first photographer of Estonian nationality. The most noteworthy fact is that the world’s best known miniature camera, the Minox, was designed in Tallin in 1936 by Walter Zapp, although it was put into production in Riga, Latvia. Tooming discusses in particular the situation after 1945, highlighting the importance of camera clubs for survival of Estonian creativity.

PH93–7454 Photography in the [Nineteen–] Fifties: a personal viewpoint.
RUMSEY, Steve; WOODS, Barry.
NZ Journal of Photography, August 1993, (12), 9–13.
Two reminiscences of the Wellington and Auckland Camera Clubs in New Zealand in the early 1950s by Steve Rumsey (b. 1828) on pp.9–12, and B. Woods (p.13), who both started careers as professional photographers at the time. One of Rumsey’s photographs ‘Design No. 20’ from that period is illustrated with a comment by the photographer. An introduction about the status of that photograph in the 1950s is provided by the editor of the journal on p.8.

PH93–7455 Ausser Kurs: zu den Reisefotografien von Marianne Breslauer, Annemarie Schwarzenbach und Ella Maillart.
SYKORA, Katharina
Fotogeschichte, 1993, 13 (48), 27–43.
How these three women, a photographer, a writer, and an ethnologist, undertook a travel expedition journey together in the 1930s, producing photoreportage. Discusses common themes in their work which included cars and technical equipment, metaphors of nature and flight from civilisation, leading to their nomadic life..

PH93–7456 The Invention of Southernness: Photographic Travels and the Discovery of the other half of Italy.
RUSSO, Antonella; with research by MORMORIO, Diego.
Aperture, Summer 1993, (132), 58–69.
Photography in Italy in the 1950s and 60s.

PH93–7457 C.G. Mannerheim, tutkimusmatkailija, vakooja, valokuvaaja.
Musta Taide [Photomagazine, Helsinki], 1993, (2), 27–34.
‘C.G.Mannerheim, explorer, spy, photographer’. Mannerheim serving as an officer in the Russian Army obtained more than 1000 photographs in China in 1906–8. Military and topographic 9 x 12 cm negatives remained in St Petersburg,but those with ethnographic themes came later with him to Finland.

PH93–7458 The German Envoy’s Vision of China. Mumm von Schwarzenstein’s photographic Album, 1900–1902.
Visual Resources, 1993, 9 (3), 273–89
Schwarzenstein was German representative in China from 1900 to 1906. Ein Tagebuch in Bildern (A Diary in Pictures) was published privately by him c. 1902, contained photographs mostly of Beijing and north China. Some were taken by his valet Anton Goebel, who did the developing and printing.

PH93–7459 The earliest generation of missionary photographers in West Africa and the portrayal of indigenous people and culture.
History in Africa (Atlanta, USA), 1993, 20, 89–118.
Discusses the part photographs could have in the study of African history. Centres on the Basel Missionary Society’s photograph holdings (and to a lesser extent of the North German Mission in Bremen). After first outlining the earliest known photographic work of the British methodist Daniel West in 1856 and Wilhelm Locher of the Basel Mission in Ghana between 1857 and 1867, the author points out that in the 1850s missionaries in training at Basel could take instruction in photography and concentrates on the work of Christian Hornberger who photographed in the Ewe area of now SE Ghana in the 1860s. Looks at the use of illustrations in the missionary publication Monatsblatt der Norddeutschen Mission from 1863 to 1888 and perception of the social environment in which the missionaries worked. Has 43 detailed reference notes (112–6) and concludes with a valuable Bibiography (116–80).

PH93–7460 The Disappearance of Uchida, Kyuici and the discovery of nineteenth–century Asian photography.
Image, Spring/Summer 1993, 36 (1–2), 16–31.
Discusses the difficulty of constructing a history of photography of Japan in the 19th century. Notes scarcity of images and data for the period 1860–75 when Japan opened to the west. Reconstructs the work of Uchida, a significant photographer of the period in Japan who photographed the Emperor in 1872 and produced a group of cartes de visite surviving in an album in a private collection. Also attributes to Uchida a series of photographs of Japanese festivals and a set of commercial views of the Tokyo area.

PH93–7461 Early Photography and the decline of traditional Japanese art.
Arts of Asia (Hong Kong), Jan/Feb 1993, 23, 102–8.

PH93–7462 A Camera for the Shogun.
New England Journal of Photographic History,1993/4, 140/1, pp.2, 4–7.
An American account of the visit of American warships led by Commodore Perry to Tokyo bay in 1853 and 1854 when not only was a famous treaty signed between the Japanese and the Americans, but some surviving daguerreotypes were taken by Eliphalet Brown of New York. Amongst gifts presented to the Shogun in 1854 was a daguerreotype camera. No contemporary description of the camera is known or its fate, but “it is believed to have been a handsome rosewood veneer,quarter––plate chamfered sliding–box camera made in New York” and Naylor illustrates (cover,p.1) this type of camera from his own collection.

PH93–7463 Foto Hermanos Mayo. A Mexican Collective.
MRAZ, John.
History of Photography, Spring 1993, 17 (1), 81–89.
Having its roots in the civil war of the 1930s in Spain, the Hermanos Mayo group since 1939 “can be considered as the first ‘democratizing’ photojournalists in Mexican mass publications”. The pseudonym “Mayo”, which the five members (Francisco (Paco), Faustino, Julio, Cándido, and Pablo)established, reflects their commitment to photographic documentation of working class political and social struggle in Mexico. Draws attention to Fondos Hermanos Mayo, an archive of about five million negatives, now at Archivio General de la Nación, Mexico

PH93–7464 Hill and Adamson: Artists of the calotype.
Image, Spring/Summer 1993, 36 (1–2), 54–62.
Report on an exhibition organised in 1993 by W.F. Stapp at George Eastman House. 8 illustrations.

PH93–7465 From picturalist roots to modernist ambitions.
MAIN, William (Bill).
The Photographic Journal, June 1993, 133(5), 195–7.
The delicate growth and status of Art Photography in New Zealand in the 20th century particularly with regard to the establishment by Brian Brake and others in 1985 of the NZ Centre of Photography.

PH93–7466 Metropolis: The City as a Machine–age spectacle.
Creative Camera, August/September 1993, (323), 22–5.
Discussion of the ethos of the early 1920s avant–garde.

PH93–7467 The London Salon celebrates 100 years.
FRY, H. S.
The Photographic Journal, July/August 1993, 133(6), 240–2.
Seven images from the current exhibition of the London Salon with a short note drawing attention to its being a centenary in the sense that the London Salon grew as an off–shoot from the 1908 Salon des Refuses when splitting from the original Linked Ring Brotherhood of 1882.

PH93–7468 Photography Advertisements in the Macleod Gazette 1882–1895.
MAURICE, Philippe.
Photographic Canadiana, Nov–Dec.,1993, 19(3),14–16.
An account of professional photography in Alberta, Canada, from 1882 to 1895 as seen through advertisements (with thirteen reproductions as examples) in the local newspaper of the time.

PH93–7469 Posed as Rogues:The crisis of photographic realism in John Thomson’s Street Life in London.
ROSEN, Jeff.
Image, Fall/Winter 1993, 36(3–4), 9–39.
“Thomson’s notion of photographic realism was built upon a weak foundation... By attempting to avoid anything remotely resembling the wilful manipulations of Barnardo, Thomson was criticized for producing static images and the project devalued as somehow ‘not artistic enough’.”

PH93–7470 The punctum in the paintings of Pierre Bonnard
DUFFY, Jean.
French Cultural Studies, June 1993, 4(2),145–65.
Discusses Barthes’s concepts of punctum in photography to Bonnard’s photographs and paintings.

PH93–7471 The Farm Security Administration File: In and Out of Focus.
History of Photography, Autumn 1993, 17 (3), 244–52.
A discussion not only essential reading for those who are interested in the photographers who worked for the US govenment’s Farm Security Administration in the 1930s, but for the problems that can arise if future generations judge the past in the light of its own prejudices. Because the photographers of the FSA are still able to respond from personal exerience to any such reinterpretation, this article and two letters from J.C. Curtis and Sally Stein (Winter issue, 17 (4), 398–9, 399–400) will provide an important historiographic case study.

PH93–7472 A Master piece: Heinrich Schwarz’s book on David Octavius Hill.
GASSER, Martin.
Image, Spring/Summer 1993, 36 (1–2), 32–53
The first book on D.O. Hill (1802–1870), Der Meister der Photographie by Heinrich Schwarz (1894–1974), published in 1931 is accorded great historiographic importance by Gasser: it marked “an essential turning point for the historiography of photography, namely the change from histories of techniques to exploring the histories of the image”.

PH93–7473 The memory of pictures: Roland Barthes and Augustine on photography.
Comparative Literature, Summer 1993, 45 (3), 258–79.
On memory, the photograph and pictorial imagination.

PH93–7474 Der Zeichenstift der Geschichte.
Fotogeschichte, 1993, 13 (49),
The author points to a statement by Roland Barthes that the same century saw both the discovery of photography and of history. Authenticity and authentication are part of the desideratum of nineteenth century historical discourse. What does ‘testimony’ mean in photography.

PH93–7475 Photography, modernism’s stepchild.
HULICK, Diana Emery
Journal of Aesthetic Education (University of Illinois),1992, 26 (1),75–81.
Believes there is a lack of structure in the art historical study of photography.

PH93–7476 Fotogeschichte aus en neuen Bundesländern.
MFM Fototechnik, 1993, 41 (9), 10–11.
Bericht von Treffen von Fotohistorikern in Dybin/ Oberlausitz, Juni 1993.
G. Koshofer eröffnete das Vortragsprogramme mit einem Beitrag über die Entwicklung von Agfa–West in Leverkusen und Agfa–Ost in Wolfen seit 1945 unter dem Titel ‘doppelte Rhombus’.

PH93–7477 [Reprints of articles from old periodicals].
The Daguerreian Annual 1993, 37–40, 91–105, 117–8, 155–7, 158–9.
Compared with equivalent European journals, some American editors tend to put into their publications a greater proportion of material reprinted from the past. The 1993 Daguerreian Annual has the following: ‘Woman was Houston’s [Texas] First Photographer’ an unsigned article giving an overview of early photography in that locality first published in the Houston Chronicle of 16 July 1939 (37–40); ‘The Daguerreotype in America’ by Mrs D.T. Davis from McClure’s Magazine, Nov 1896 (91–102); contemporary comments about Mrs Davis’s article by Julius Sachse with an important 1883 letter from Professor Charles West, reprinted from American Journal of Photography, Dec 1896 (103–5); ‘Fifteen years experience of a Daguerreotyper’ by A. Beckers reprinted from St. Louis and Canadian Photographer of April 1889 (117–8); ‘Humphrey's Daguerreian Artists Register’, two lists of Daguerreotypists throughout America in 1850 and 1851 originally provided in Humphrey’s Daguerreian Journal on 15 Nov 1850 and 1 Nov 1851 (155–7); ‘American Photography’, reprinted from Liverpool Photographic Journal, 12 Jan 1856 (158–9).

PH93–7478 AFT: Rivista di Storia e Fotografia, Giugno 1993, 16. [Archivio Fotografico Toscano: Prato 1993]
Articles in this issue include PELIZZARI, Maria A., ‘Parole e fatti sulla conservazione delle immagini fotografiche, Intervista con Grant ROMER’, 4–8; PANERAI, Marco, ‘Colloquio con Jean–Claude Lemagny’, 9–10; LEONARDI, Nicoletta, ‘Gaetano Ponte vulcanologo e fotografo’, 11–14; NAPOLEONE, G.,‘Gaetano Ponte testimone dell’attività vulcanica all’Etna e allo Stromboli’, 15; e Gaetano Ponte, fotografie, 16–35; FABI, Lucio, ‘Foto di guerra, per una ricerca sulla guerra’, 36–49; GRECO, Andrea, ‘Firenze e sua immagine’, 50–9; CHITI, G, ‘La fotografia cubana dell’ultima generazione’, 60–8.

PH93–7479 AFT: Rivista di Storia e Fotografia, Dicembre 1993, 18.
CELENTANO, Fabrizio,‘Conservazione, restauro e ricerca’, 4–10; CONTINI, Giovanni,‘Le fotografie di [Paul] Scheuermeier a Carmignano’, 11–20; e Paul Scheuermeier, Fotografie, 21–41; SALVATICI, Silvia, ‘Modelli femminili e immagine della donna attraverso le fotografie della stampa fascista’, 46–66.
[A complete ‘List of Contents’ of AFT issues 1 to 19 covering 1985 to 1994 is due to be published in a special issue edited by Antonella Pelizzari on Early Italian Photography of the quarterly History of Photography (Taylor & Francis: London) during 1996]


PH93–7480 Paul Scheuermeier e il Friuli.
RIBEZZI, Tiziani
Sot la nape (Societa Filologica Friulana: Udine, Italy), Dec 1992, 44 (2), 19–32.
Scheuermeier’s photographs of county life in Friuli during the 1920s.

PH93–7481 Talbot and Botany: The Bertoloni Album.
SMITH, Graham.
History of Photography, Spring 1993, 17 (1), 33–48.
Includes on pp.44–8 a detailed annotated Check List of the thirty–six photogenic drawings of 1839 and 1840 in the album now in Metropolitan Museum, New York. Antonio Bertoloni (1775–1869) was professor of Botany at Bologna until 1837. Talbot sent him these photogenic drawings between June 1839 and June 1840.

PH93–7482 Talbot’s The Pencil of Nature: A Revised Census of original copies.
SCHAAF, Larry.
History of Photography, Winter 1993, 17 (4), 388–96.

PH93–7483 Cundall’s and Howlett’s Crimean Heroes.
History of Photography, Spring 1993, 17 (1), 120–1.
Although Joseph Cundall (1818–1895) and Robert Howlett (1831–1858) were professional associates commissioned by Queen Victoria in 1856 to photograph soldiers newly returned from war in the Crimea, the author believes that combined attribution should not be given to their work which is indeed clearly separated by style and circumstance. The depth and complexity of Howlett’s visual imagination is emphasized.

PH93–7484 “Let Glasgow Flourish”, Thomas Annan and the Glasgow Corporation Waterworks.
Image, Fall/Winter 1992, 35 (3/4), 38–51.
The starting point for this article is an 1877 book Glasgow Corporation Waterworks:Photographic Views of Loch Katrine and Some of the Principal Works constructed for Introducing the Water of Loch Katrine into the City of Glasgow. The photographer was Thomas Annan (1829–1887) of Glasgow. Discussing the civic context of this particular work, with illustrations from Annan’s albumen prints, this article widens into a more general account of his photography in Scotland with the principal sources used for his life being previous studies by Margaret Harker in 1973 and 1984 and a book by Sara Stevenson published by the National gallery of Scotland in 1990. Eight illustrations including two photographs of Loch Katrine by George.W. Wilson (1823–1893).

PH93–7485 Carte de Visite Mounts used by John Moffat.
HOOPER, David.
PhotoHistorian, Winter [1993–]1994, (103), pp. 2, 16–22.
Provides a descriptive chronological Checklist of the c–d–v mounts used by the Moffat portrait studio in Edinburgh between 1861 and 1881 and a Key used to identify the various types. Nine styles are illustrated on p. 2 (inside front cover). The Checklist is preceded by a brief introduction to John Moffat (1819–1894) who began his photographic business in Edinburgh in 1853. His son Frank (1854–1914) joined the firm around 1873, by 1887 they employed twenty assistants.

PH93–7486 Thomas F. Goodall.
WEAVER, M and HAMMOND, A [The Editors]
History of Photography, Summer 1993, 17 (2), 218
The rustic genre and landscape painter T.F. Goodall (1856/7–1944) shared with P.H. Emerson the authorship of two–thirds of the photographs in Life and Landscape on the Norfolk Broads (1886)) and collaborated with Emerson on Idylls of the Norfolk Broads (1887). This short note by the two editors of History of Photography lists the paintings Goodall exhibited at the Society of British Artists between 1875 and 1884.

PH93–7487 Duchenne de Boulogne Le Méchanisme de la Physionomie Humaine.
History of Photography, Winter 1992, 16 (4), 395–6.
In the late 1850s Photography played an important part in G. B. Duchenne’s attempts to validate his theory of facial expression. Having produced a photograph of the whole face, Duchenne then reproduced strategically masked copies to demonstrate that an expression resulted from a localised movement. Photographs used in Le Méchanisme (1862) were done in collaboration with Adrien Tournachon, brother of Félix Nadar. The author suggests the art world was not receptive to Duchenne’s ideas about a relevance of his work to traditional forms of representation. Rather than Photography providing an absolute fidelity to nature, a view frequently expressed at the time was that it lacked the analytical and selective capacity of traditional art media.

PH93–7488 A type of prière d’insérer: André Breton’s Le Verre d’eau dans la tempête.
Art History, June 1993, 16 (2), 313–35.
Discusses photography of expression and psychiatric photography in relation to the work and ideas of Surrealist André Breton in the 1930s. On pp.322–3 looks back to photography of psychiatric patients by Dr Hugh Diamond in the 1850s and to Bourneville and Reynard’s Iconographie Photographique de la Saltpêtre of 1876.

PH93–7489 Jules–Alexis Muenier [1863–1942] and photo–realist painting.
WEISBERG, Gabriell P.
Gazette des Beaux–Arts, Fev.1993, 121 (1489), 101–14.
A la suite d’un voyage en Algérie en Dec 1887 avec son ami Pascal Dagnan–Bouvert (1852–1929), Jules–Alexis Muenier utilisa la photographie dans l’elaboration de ses peintures à l’ huile. La première composition à personnages qui en témoigne fut La Conversation de 1887. En prenant des séries de photos de ses modèles, Muenier devint un photographie réaliste, qui utilisait des photos pour structurer ses scènes à personnages. [article is in English].

PH93–7490 Photography and the colonial vision.
BATE, David
Third Text (Kala Press: London), Spring 1993, (22), 81–91.
Portraits by Hill and Adamson of European men in Eastern costume are examined for their contradictory status as colonial fantasies. The author questions why the history of photography as a “discipline” has addressed the colonial past in a way that perpetuates a colonial ethos.

PH93–7491 Facing Julia Margaret Cameron.
BELOFF, Halla.
History of Photography, Spring 1993, 17 (1), 115–7.
A discussion of the social psychology of the taking of portraits with reference to three portraits of Mrs Cameron (illustrated with this short essay) by Lewis Carroll, by Lord Somers (her brother–in–law), by her son, and a fourth portrait by Mrs Cameron of her daughter, which the author suggests might be the way she saw herself.

PH93–7492 Det tredie øje: omkring Richard Avedons portrætter af Karen Blixen.
Magasin fra Det kongelige Bibliotek (Copenhagen), 1993, 8 (1), 38–48.
This article , ‘The third eye’, considers Richard Avedon’s portraits of
Karen Blixen’.

PH93–7493 Alfred Stieglitz’s Paula (1889). A Study in Equivalence.
HULICK, Diana Emery.
History of Photography, Spring 1993, 17 (1), 90–94.
The photograph entitled Paula or Sun Rays was probably taken by Stieglitz (1864–1946) in Berlin during 1889 in his own room. Hulick compares the image to Dutch seventeenth–century genre paintings.

PH93–7494 Le portrait de la photographie –Portrait de femme.
GRIVEL, Charles
Recherche Photographique (Paris), printemps 1993, (14), 24–7.
Compares portraits of Sarah Bernhard by Nadar taken in the 1860s with others taken by Nadar’s son in the following decades and by Etienne Carjat’s 1872 photograph of the actress in a role of the Queen in Hugo’s play Ruy Blas. The earlier portraits are more personal, while the later ones highlight a role. Discusses the extent to which one is able to see Sarah Bernhardt or rather a product of the photographic act of representation. [In French with an International edition in English]

PH93–7495 Baudelaire et Nadar: l’un des premiers portraits de Charles Baudelaire par Félix Nadar.
Revue du Louvre et Musées de France, Dec. 1992,42, 63–75.

PH93–7496 Eine Mappe mit Photographien Hugo Erfurths aus dem Besitz Josef Hegenbarths.
LEHMANN, Hans–Ulrich
Dresdener Kunstblätter, 1993, 37 (1), 22–7.
Discusses a portfolio of twenty–nine photographs by H. Erfurth 1914 to 1920 (Dresden Kapferstichkabinett) obtained by artist J. Hegenbarth in exchange for a selection of his own drawings. Amongst the photographs are portraits of actors and artists with three portraits of Hegenbarth .

PH93–7497 Visage de la Mélancholié. Edvard Munch :Autoportraits photographiques, Ekely 1930–1932.
CHÉROUX, Clément
Recherche Photographique, Spring 1993, (14), 14–17.
L’activité photographique d’Edvard Munch, est presqu’essentiellement centrée sur le thème de l’autoportrait: “succédané de répétition, la photographie convient au mélancolique”/ On the photographic self portraits taken by the Norwegian artist Edvard Munch (1863–1944) in the period 1930–32.

PH93–7498 Par ces choses, la photographie se trouvera.
MARBOT, Bernard
Recherche Photographique , Automne 1993, (15), 10–15.
‘Through these things Photography shall find itself’ is a discussion of the change in iconography brought about through photography. In particular Marbot uses examples from photography in France in the 1840s and 1850s in respect of “Things as Signs of a New Iconographic Order”.

PH93–7499 La convulsion des choses.
Recherche Photographique, Automne 1993, (15), 16–21.
In a special issue of this journal on ‘Les choses’, this author writes on ‘Things in convulsion: Fantasms and Modernism’ concerning surrealist photography in the 1920s and 1930s, relating to work of Man Ray, Maurice Talbard and Hans Bellmer.

PH93–7500 L’objet du divertissement: des choses dans la nouvelle photographie allemande.
WERMESTER, Catherine
Recherche Photographique, Automne 1993, (15), 22–4.
Discusses the the German Photographers Albert Renger–Patzsch,Aenne Biermann, Hans Finsler and Karl Blossfeldt in the 1920s.

PH93–7501 L’identité sans issue
CARRAUD, Christophe
Recherche Photographique, Automne 1993, (15), 25–9.
Réflexion sur la photographie à l’epoque du Bauhaus et de la Neue Sachlichkeit.

PH93–7502 Irving Penn ou la sublimation des choses.
Recherche Photographique, Automne 1993, (15), 30–33.

PH93–7503 Eli Lotar.
LIONEL–MARIE, Annick et SAYAG, Alain.
Photographies Magazine (F), 1993, (54), 62–69.
L’oeuvre du photographe d’origine roumaine install‚ à Paris couvre une période très courte: 1927–1937. Initié à la photographie par Germaine Krull, il s’est attaché au Paris populaire, à son quotidien, à ses atmosphères.

PH93–7504 Hans Finsler. Nouvelles voies pour la photographie.
Photographie Ouverte (Charleroi), 1993, (86), 2–3.
Les photographies réalisées par Hans Finsler (1891–1972) à titre personnel ont radicalement modifié l’approche traditionnelle de la photographie d’objets et d’architecture. Après Halle, il poursuit sa carrière d’enseignant à la Kunstgewerbeschule à Zürich, de 1932 à 1957.

PH93–7505 Julien Coulommier ou les visions d’un scarabée photographe.
LEMAGNY, Jean–Claude
Contretype (B), 1993, (37), 9–10.
Les activités de photographe et de critique d’art de Julien Coulommier (né 1922) se développement depuis plus de quarante ans dans le domaine de la photographie expérimentale. L’auteur interprète le travail du photographe à travers la pensée de Martin Heidegger et de Maurice Blanchot.

PH93–7506 Claude Cahun and Marcel Moore: Surrealist Sisters.
History of Photography, Summer 1993, 17 (2), 217.
Report of an exhibition held on the island of Jersey during 1993 of the photography of Surrealist writer and photographer Claude Cahun (born Lucy Schwob, 1894–1954) who lived on Jersey during the German occupation though the second world war and of the work of her step–sister and life partner, the illustrator Marcel Moore (Suzanne Malherbe, 1892–1972).

PH93–7507 Edouard–Denis Baldus and the Chemin de Fer du Nord Albums.
DANIEL, Malcolm R.
Image, Fall/Winter 1992, 35 (3/4), 2–37 [19 illustrations]..
On pages 33–35 is Appendix A: ‘Concordance of Nord Albums’ listing a total of 81 images obtained from the album of fifty photographs presented to Queen Victoria in 1855, the Emperor’s Album (thirty–two images) now at Compiègne, and in several surviving known copies of a edition of twenty five albums (each of fifty prints) commissioned at the time by Baron Rothschild. Evidence is also presented that three small–format publications were produced as part of a single project not unrelated to the Queen’s album, but subsequent to it, was carried out by Furne fils and H. Tournieras in 1860–61. Appendix B (pp.36–7) lists stereo cards issued by Furne and Tournieras.

PH93–7508 Knud Knudsen – “ljosskrivar” i Jotunheimen.
REIAKVAM, Oddlaug.
Norveg (Oslo), 1993, 35–52.
This article in Norweg, the journal of Norwegian ethnology and folklore studies, discusses the landscape photography of Jotunheimen mountain (now designated a National Park) by Knud Knudsen (1832–1915) “the writer in Light”. Discusses landscape photography as an element in the process of national construction, and how the photographer took part in the re–creation and taming of wild topography, transforming it into a national monument and landscape of experience. As a specific photographic project, the “landscaping” of the Jotunheimen can be seen as a continual process of visual selection, determining pictorial conventions for a perception of nature in national and touristic terms.

PH93–7509 The Spring at Jericho from early photographs.
Palestine Exploration Quarterly (London), July/August 1993, 125, 95–114.

PH93–7510 “S.D. Allis, Vera Cruz, 1847”.
The Daguerreian Annual 1993, 84–90.
Investigates a sixth–plate daguerreotype to establish the identity both of the man portrayed and of the daguerreotypist. It preserves the likeness in 1847 of a Sebastian D. Allis, born in Connecticut around 1821, who served in the US Mexican war as postmaster for his brigade at Vera Cruz. Only two daguerreotypists are known to have been there in 1847, Charles Betts only for about two weeks in April 1847, and George Noessel (born c1813 in Germany). It is likely to have been in Noessel’s studio that the portrait of Allis was taken and his short career as a daguerreoypist in New Orleans the previous year and in Vera Cruz in 1847 is studied. He is unlikely to have continued with photography after leaving Vera Cruz in December 1847.

PH93–7511 The Navajo Photography of Edward S. Curtis [1868–1952].
FARIS, James C.
History of Photography, Winter 1993, 17 (4), 377–87.

PH93–7512 The Present past (The Vision at the end of the trail, a history of Oregon photography)
DUCKLER, Garrick
Artweek, 21 January 1993, 24, 5– .
On an exhibition at Portland Art Museum, Oregon.

PH93–7513 Children of the mills: re–reading Lewis Hine’s Child–Labour Photographs.
DIMOCK, George.
Oxford Art Journal, 1993, 16 (2), 37–54.
Within the ethos of the Progressive Reform Movement current in the United States in the first decade of the 20th century, Lewis W. Hine (who himself when younger had worked long hours in a factory) photographed for the National Child Labor Committee between 1906 and 1918 which led to the passing of a law against exploitation of children. Yet, “Rather than Hine’s child–labour photographs as being manifestations of a shared social consciousness between the photographer and his subjects”, the author puts forward a notion that they depict working children and their
parents as “aberrant to a valorized middle–class norm”.

PH93–7514 Class Eye. The Camera as weapon: Worker Photography between the Wars.
JOHNSTON, Patricia and DABAKIS, Melissa,
Afterimage, March 1993, 20 (8),11–12.
Review of travelling exhibition (organised by the Museum of Photographic Arts, Santiego) at Photographic Resource Center, Boston, USA, on the worker photographers movement in Germany (Vereinignung der Arbeiterfotografen deutsch–lands) and elsewhere in Europe in the late 1920s and 30s represented later in 1930s and 40s in the United States by the Photo League.

PH93–7515 Stilled Lives [photographs of the dead].
Artforum, Summer 1993, 31, 75–9.

PH93–7516 Photographic folk art: nineteenth and twentieth century hand–coloured photographs.
Folk Art [formerly Clarion,New York)], Summer 1993, 18, 40–9.

PH93–7517 James Van Der Zee’s Harlem Book of the Dead. A study of Cultural Relationships.
HULICK, Diana Emery.
History of Photography, Autumn 1993, 17 (3), 277–83.
A discussion of funeral photographs in Van Der Zee’s book published in New York in 1978 in relation to the cultural inheritance of African–Americans.

PH93–7518 Homage to Alvin Langdon Coburn [1882–1966].
Photographic Journal, November 1993, 133 (9), 390–3.
Illustrated with some of Coburn’s photographs in the Royal Photographic Society Collection.

PH93–7519 Man’s World. [Felix Man]
British Journal of Photography, 23/30 December 1993, (6954), 10–11.
Review of Centenary exhibition at National Museum of Photography, Bradford, UK, of the pioneering photojournalism of Felix Man (1893–1985) for Berliner Illustrierte and Munchener Illustrierte in the 1920s and early 30s, and later in England most famously for Picture Post. The writer expresses disappointment with the Bradford approach to this exhibition as it “lamentably lacks any example of the photo essay, a form that Man had done so much to make his own”.

PH93–7520 A clear eye [Bill Brandt].
Independent (London), 18 Sept 1993, Magazine 30–7.
Review of the major retrospective exhibition of Bill Brandt’s photographs held at the Barbican in London, with 9 illustrations drawing attention to the great range of his work. The exhibition was widely noticed, with illustrations, in London newspapers: for example reviews by HALL, James, ‘An inner violence’, Guardian, 5 Oct 1993, suppl. 4–5, who characterised Brandt’s photojournalism as capturing the insignificant and commonplace to express the ills of society, and by CORK, Richard, ‘Snapshot of a nation’s soul’, in The Times, 1 October 1993, 37, who highlights this photographer as a surrealist rather than a documentary imagemaker.

PH93–7521 Brandt awareness.
British Journal of Photography, 30 September 1993, 140 (6942), 14–6.
Bill Brandt exhibition at the Barbican in 1993 is reviewed highlighting the photographer’s long and varied legacy: “Brandt is acknowledged to be the greatest British photographer of the 20th century.”

PH93–7522 Opening up new perspectives on Bill Brandt.
BISHOP, William.
Photographic Journal, December 1993, 133 (10),412–3.
Review of Brandt retrospective exhibition, Barbican, London.

PH93–7523 Bill Brandt’s Cathedral Interiors: Rochester and Canterbury.
History of Photography, Autumn 1993, 17 (3), 263–8,269–76.
The author gives an account of the National Buildings Record formed in 1941 to document historic buildings when their survival in England was under threat by the second world war, and the way Brandt carried out his commission by that organisation to photograph “a wide range of church and cathedral monuments and interiors”. A portfolio of seven of Brandt’s photographs is appended in addition to three illustrations within the article. All are from the NBR archive, now part of the Royal Commission on Historical Monuments of England.

PH93–7524 Sirkka–Liisa Konttinen: The Meaning of Urban Culture in Byker.
History of Photography, Autumn 1993, 17 (3), 253–262.
Discussion of the work of S–L. Konttinen who photographed the transition from old slums to rebuilt urban environment and its social impact on the working class inhabitants of the suburb of Byker in Newcastle in the north–east of England during the 1970s.
PH93–7525 Through the Lens.
The Royal Academy Magazine (London), 1993, (39), 36–41.
In this notice of two recent books (on Atget by M. Nesbit, and on Doisneau by Peter Hamilton), the reviewer considers the different approaches of Eugène Atget (1856–1927) and Robert Doisneau [1912–1994] in chronicling Paris.

PH93–7526 Karl Struss: Composing New York.
History of Photography, Summer 1993, 17 (2), 193–201.
A discussion of the photography of the streets and people of New York by Karl Struss (1886–1981) as well as by Paul Strand (1890–1976). With a portfolio of seven photographs taken by Struss between 1909 and–1915 on pp 185–92.

PH93–7527 Paul Strand’s Fall in movement.
Museum Studies (Chicago), 1993, 19 (2), 186–95.

PH93–7528 William Eggleston. Treating Things Existentially.
WEAVER, Mike, and HAMMOND, Anne.
History of Photography, Spring 1993, 17 (1), 54–61.

PH93–7529 Walker Evans in New Orleans and vicinity.
Leica Fotographie International (Frankfurt), 1993, (5), 11–16.
Short introductory text to a portfolio of six photographs taken by Evans in New Orleans in 1935

PH93–7530 The extraordinary signs of Walker Evans.
Print (New York), Sept/Oct 1993, 47, 52–61.
Walker Evans’ photographs of public notices, posters and billboard advertisements.

PH93–7531 Josef Albers: Photographien 1928–1955.
Camera Austria International (Graz), 1993 (42), 75–6
Nach dem Tode von J. Albers im Jahre 1976 wurden in seinem Nachlaß auch Fotografien entdeckt. Der Josef Albers Foundation zeigten 1992 eine Retrospektive seiner Arbeiten. Bereits 1943 hatte Albers am Black Mountain College einen Vortrag unter dem Titel gehalten: ‘Photos als Photographie und Photos als Kunst’. Als Lehrer am Bauhaus in Dessau suchte er nach neuen Strukturen und Materialien, fertigte Fotogramme und Fotos an, und diskutierte darüber mit seinen Schülern. Albers fotografierte mit einer Leica.

PH93–7532 Frantisek Drtikol.
BRAUN, Kerstin
Camera Austria International (Graz), 1993 (43–44), 117–8.
Mit dem Begriff “Photopurismus” bezeichnete F. Drtikol 1930 die Wirkung eines Bildes, wenn es ausschließlich durch Regie und Beleuchtung erzielt wird und erklärte die Photomontage als überholte Technik.

PH93–7533 Wien – Metamorphosen einer Stadt.
Der Photograph (A), 1993, (2), 28.
Franz Hubmann hat eine Fülle von Material über die architektonische Entwicklung Wiens und deren Bewohner ab 1840 bis in unsere Zeit zusammengetragen. Das Werk enthält viele Bilder österreichischer Fotografen aus dem 19 un 20 Jahrhundert, wie: Wilhelm Burger, Emil Mayer, Bruno Reiffenstein die Brüder Natterer oder Lothar Rübelt, Erich Lessing, Harry Weber.

PH93–7534 Paradoxes of victory.
Art & Antiques, May 1993, 15 (5), 68–77.
Soviet war photography between 1914 and 1945 from collections of Howard Schickler and David Lafaille.

materials and equipment

PH93–7535 J.Lewis Baldwin, Thermoplastic Case Manufacturer.
BERG, Paul K.
The Daguerreian Annual 1993, 41–3.
Almost nothing is known about Baldwin except that he was listed as an “engraver” in Newark, New Jersey, USA in directories of that city from 1860 to 1871 and he obtained US patent No. 34,344 on 11 February 1862 for Improvement in Molds for making Daguereotype Cases. The patent specification describing his “improvements in dies for forming a screw in plastic material as a fastening for daguerreotype and other photographic cases”, and an accompanying diagram of his molds, is provided in full. Hitherto the origin of circular “oreo” thermoplastic cases has remained unattributed, but the author has two such cases having within them printed paper labels giving Baldwin’s name and date of his patent. Baldwin undoubted made “oreo” cases, and indeed may have been the sole supplier.

PH93–7536 Early [Daguerreotype] Equipment.
ISENBURG, Matthew R.
The Daguerreian Annual 1993, 201–54.
A visual feast of daguerreotype equipment: cameras,reversing prisms, sensitizing boxes, mercury baths and alcohol lamps, buffing sticks, plate holders, gildingstands, colouring sets,etc. Guided by an introduction and extended commentary by Isenburg, the full range ofactivities involved in the production of daguerreotypes can be comprehended from 75 illustrations of the various equipment surviving today in his collection along with line diagrams and figures from contemporary publications.

PH93–7537 Blitz–fotografiens historie.
Objektiv (DK), 1993, 61, 14–33
A history of flashlight equipment with illustrations of early flashpowder lamps, electronic units and Photoflash synchronizers

PH93–7538 Flashguns for the rangefinder Leica.
MAYER, Peter
Leica Fotographie International (Frankfurt), 1993, (8), 41.
Leitz began manufacture of Flashguns using disposable flash bulbs in 1934.

PH93–7539 Exposure measurement in 1937.
Leica Fotographie International, 1993, (7), 19.
"About 50 Years ago about 350 million negatives were exposed in Germany each year at value of 25 million Reichmarks...about 15 % of all negatives were wrongly exposed...–a wastage of 4 milllion Reichmarks". A critic in the German Photographic industry observed that it would for this sum have been better to spend more on exposure meters. Yet it was not until 1939 that an exposure meter (LC60) tailor made to fit the Leica body appeared and from which subsequent Leicameter M series were derived after the second world war.

PH93–7540 Eastman Roll Films.
BERRY, Reed.
The Photographist, Summer 1993, (98), 5–11,15–23.
A valuable and detailed account of the black and white Roll Films made by the Eastman company from the 1880s to c.1935 for use in Kodaks, Brownies and in roll film holders. A few films produced for non–Eastman cameras are identified. Much of the information is from Kodak and other camera catalogues. Has five tables of data: 1. Roll Films for early Kodaks and Kodets; 2. Kodak Roll Film numbers; 3.Films for Roll Holders; 4. Kodak Autographic Films; 5. Other Kodak Roll Films (Films No. 35, 128, 129, 235, 435, 636).

PH93–7541 The familar Yellow Box.
The Photographist, Summer 1993, (98), 12–14.
A reprinting of an article originally in Eastman Kodak’s Canadian publication Kodakery in 1963 with illustrations of eleven Kodak Film cartons from 1890 to 1962.

PH93–7542 Otis C. White: A Chair for all reasons.
KESSLER, Mike (editor).
The Photographist, Fall 1993, (99), 5–9.
The Otis C. White company of Worcester, Massachusetts, USA, made a great variety of equipment based on the use of a ball–and–socket joint. Kessler provides only a brief 150 word introduction to reproductions of catalogue advertisements for various photographic studio appliances sold by the company presumably in the mid–1890s, but the dates of the original catalogues are not stated. Posing Supports, Head Screens, Side Shades and studio chairs are illustrated.


PH93–7543 A lifetime devoted to the History of Photography: Beaumont Newhall (1908–1993)
Image, Fall/Winter 1993, 36, (3–4), 3–7.
With a portrait of Newhall by Fritz Kempe and 4 other illustrations. Beaumont Newhall, leading American Historian of Photography, died on 26 February 1993 at his home in Santa Fe, New Mexico, aged 84. Amongst other obituaries of Newhall appearing in American journals were notices by TUCKER, Ann, Afterimage, April 1993, 20(9), 3; NAYLOR, Jack, New England Journal of Photographic History, 1993, 138/9 (1&2), 8, and in the same journal (p. 23) a review by WEILER, Joseph F., of Newhall’s Focus: Memories of a Life in Photography, a book of 264 pages and 86 photographs released shortly after his death.

PH93–7544 Ein Leben für die Fotogeschichte. Zum Tod von Beaumont Newhall.
MFM Fototechnik, 1993, 41 (5), 41–3.
Im folgenden Beitrag zeichnet Dr. Karl Steinorth ein Bild des kürzlich verstorbenen Kunsthistorikers und Fotogeschichtlers Beaumont Newhall. Newhall, der 1970 mit dem Kulturpreis der DGPh ausgezeichnet wurde, war mit vielen berühmten Fotografen eng befreundet. Diese Freundschaften spiegeln Aufnahmen, die Fotografen von Newhall und Newhall von den Fotografen gemacht, wider.
PH93–7545 Beaumont Newhall † 26.2.1993
AUER, Anna
Mitteilungen der Photographischen Gesellschaft in Wien, Juni 1993, (2), 14–15.

PH93–7546 Fritz Henle † 31.1.1993.
AUER, Anna
Mitteilungen der PhGW (A), Juni 1993, (2), 14.
Am 31.1.93 war Fritz Henle im 84 Lebensjahr in San Juan (Virgin Islands) an Hersversagen gestorben. “Mr. Rollei” betann bereits mit 15 Jahren zu photographieren und besuchte über Vermittlung von Hanna Seewald die Bayerische Staatslehranstalt für Lichbildwesen in München. Henle bereiste 1935–6 Japan und China. Er emigrierte nach Amerika and arbeitete für Life und Harper’s Bazaar. 1958 gab er sein Atelier auf und ließ sich in St. Croix auf den Virgin Island nieder.

PH93–7547 Beaumont Newhall, 1908–1993.
Photographic Canadiana, Sept–Oct 1993, 19 (2), 3.

PH93–7548 [Aaron Scharf (1922–1993)] Shy Scholar who says no to a free lunch
Creative Camera, April/May 1993, (321), 8–9.
Jay (8–9) and Haworth–Booth (9), with personal reminiscences pay tribute to the integrity and educational influence of Aaron Scharf, author of Creative Photography (1965), Art and Photography (1968), who died 21 January 1993.

PH93–7549 Brett Weston (1911–93).
CLARK, Jonathan.
History of Photography, Autumn 1993, 17 (3), 313–4.
A record of a visit to Brett Weston at his californian home a few months before he died, with two portraits taken by the writer at the time.

PH93–7550 Cyril Permutt.
Photographic Journal, February 1993, 133 (1), 574.
Short obituary of Cyril Permutt, English collector of cameras and photographs who died August 1992. Author of Collecting Old Cameras (1976) and Collecting Photographic Antiques.

PH93–7551 P.C. Smethurst As I Knew Him.
Journal of Photographic Science, 1993, 41(6), 208–9.
Personal reminiscence of Philip Charles Smethurst who died 19 August 1993 aged 87. In 1935 formed his Smethurst High–Light company in
Bolton producing his own design of incident light Exposure meter. A very unique person and technologist.

PH93–7552 Philip Smethurst. A memoire.
Photographica World, December 1993, (67), 5.

PH93–7553 In Memoriam – John H. Dessauer.
BICKMORE, J.H., et al.
Journal of Imaging Science and Technology, 1993, 37 (5), iv.
Obituary, with a portrait, of John H. Dessauer (1905–1993), director of research and development in the Xerox Corp. until 1971. His leading role from 1938 in the development of electrophotography is described.

PH93–7554 Der Pionier der Xerografie. Milliarden, die niemand wollte. Zum Tod von J.H. Dessauer.
Frankfurter Allgemeine Zeitung, September 10, 1993.

PH93–7555 S.W. (Sam) Welford.
COOTE, Jack H.
Photographic Journal, March 1993, 132(2), 67.
Welford had a long career with Ilford Ltd, with particular expertise in colour products. Wrote section on colour processes in Clerc’s Theory and Practice of Photography, and two chapters of Silver by the Ton.

PH93–7556 Arthur Gandolfi.
Photographic Journal, March 1993, 132(2), 67.
The last of the camera makers, not so well known as his brother Fred [see PH91– 6122], died age 86 on 22 January 1993.

PH93–7557 Obituary: Arthur Gandolfi [1906–1993].
Photographica World, March 1993, (64), 5–6

PH93–7558 Obituary: George W. Smith, 1918–1993.
Journal of Photographic Science, 1993, 41(6), 210.
G. W. Smith was employed by Ozalid Co. from 1952–1983.



PH93–7559 Première reconstition du deuxième procédé photographique au monde.
MARIGNIER, Jean–Louis, assisté de MINANA, Michèle.
Le Photographe, Novembre 1992, (1499), 26–33.
Although this technique using the photosensitive residuum obtained by distilling Lavender Essence with development by the vapour of Petroleum Spirit was described by Daguerre in his Manual (published in September 1839) it has seemed of minor importance to historians in the past. [No name was given to this process in Daguerre’s manual, or indeed in Marignier’s article, but in a presentation of the same work on 30 June 1993 to a ESHPh symposium the author pointed out that Niépce suggested the term “Physautotype” (Page 2 of an abbreviated version of the text of Le Photographe article under a title of ‘Redécouverte de la Physautotypie inventée par Niépce et Daguerre en 1832’ issued at ESHPh symposium, Vilanova, Spain, 1993)]. This work, begun by Daguerre in 1830 and in collaboration with Niépce in 1832, is shown by Marignier to be important for our better understanding of the route by which the Daguerreotype was achieved. Pages 32–33 provide a detailed practical account of the technique as carried out by Marignier and Minana at Université Paris–Sud. About 9 hours exposure is required (such an image is shown in fig.7) providing a result very similar to a daguerreotype image.

PH93–7560 Daguerreian Fakes, Forgeries and Hoaxes.
ZUCKER, Harvey S.
The Daguerreian Annual 1993, 131–5.
An anecdotal talk given to Daguerreian Society Symposium at Columbus, Ohio, USA in October 1992 about the possibilities of coming across in the USA, daguerreian fakes (ie modern attempt to create a 19th century–daguerreian–like image), forgery (modern copy of a 19th century daguerreotype), or hoax (ie an attempt to pass off either of the foregoing as a genuine 19th century daguerreotype).

PH93–7561 The Halftone and American Magazine Reproduction 1880–1900.
HARRIS, Christopher R.
History of Photography, Spring 1993, 17 (1), 77–80.
An account [limited to American sources] of the earliest use in American magazines and newspapers of the half–tone dot reproduction process. The introductory portion of this article emphasizes the part played by Steven H. Horgan at the New York Graphic.

PH93–7562 The Oxymel Process.
MORRIS, Richard.
PhotoHistorian, Winter 1992, (99),12–19; Spring 1993, (100), 11–9.
This 2–part article by Morris deals with the way John D. Llewelyn (1810–1882) in the last half of the 1850s modified the Collodion Process by use of acidified ‘Oxymel’ honey solution. Researched from published letters about the technique by Llewelyn, T.F. Hardwich and others in the Journal of the Photographic Society of London from 1856 to 1859. [In the mid 1850s various techniques were put forward to overcome a drawback that Archer’s epoque–making Collodion process although highly sensitive had to be immediately exposed, and developed, whilst still moist. Although much slower than the original unmodified wet technique, Taupenot’s method of using albumen with collodion and Dr Norris’s collodio–gelatine process were the most successful ways to obtain dry plates. Sugars in the form of Honey had also been tried in 1854 by English photographers G. Shadbolt and Maxwell Lyte to allow collodion plates to be prepared longer in advance.]

PH93–7563 Robertson and Beato in Malta.
HARKER, Margaret
History of Photography, Summer 1993, 17 (2), 217.
A letter drawing attention to James Robertson’s photographs of 1856 being salt paper prints made from glass negatives so should not to be confused with calotype negative images on paper.

PH93–7564 More on waxed Paper.
History of Photography, Summer 1993, 17 (2), 216.
Continuation of discussion with editor of the journal (see Spring 1992, 16 (1), 79 and Autumn 1992, 16 (3), 295–6) with regard to definition of waxed paper process as opposed to an imprecise use of the term calotype both in the past and today.

PH93–7565 Roger Fenton and the Waxed Paper Process.
History of Photography, Autumn 1993, 17 (3), 233–43.

PH93–7566 John Bishop Hall. Inventor of the Hallotype.
MARDER, William and Estelle.
History of Photography, Autumn 1993, 17 (3), 308–11.
The major appeal of the Hallotype patented on 27 May 1856 was a stereoscopic effect produced by attaching a second picture behind a transparent photograph. A business venture with Hall in partnership with Jerimiah Gurney was set up in January 1857 to market the process and sell licences at 349 Broadway, New York. But five months later the partnership was dissolved. Hall and Gurney had also acquired the patents
rights to a much earlier similar method put forward by Minotti in Europe. The authors also write on C.F. Fredericks who was associated with Gurney and refer to other methods such as the sphereotype, ivorytype, and alabastrine process, used by other studio photographers to satisfy a taste of their customers for elaborated photographs in the years around 1860.

PH93–7567 Old techniques: The Dichromatype – Gum Bichromates by an easier route.
Photographic Journal, October 1993, 133(8), 332–4.
A practical account only of the author’s experience and recommendations for the technique, without any exploration of the historical background of Chromate photography.

PH93–7568 The Cyanotype.
Photographica World, September 1993, (66), 10–11.
Personal experience at the present time in reproducing the old technique, with an outline of the earliest history of the process.

PH93–7569 Electronic Photography.
Kagaku Kogyo, 1993, 44 (8), 649–55.
A survey of the introduction of the techniques of electronic photography and their development from analog still video to digital electronic photographic processes. In Japanese.


PH93–7570 From today photography is dead: Digitisation has killed photography.
MITCHELL, William J.
Creative Camera, April/May 1993, (321), 54–8.
Digital imaging raises serious questions about the status of originals and copies. The author argues that the relationship between subject, photographer and audience is severely damaged: “the distinction between image producers and consumer evaporates”

[Title Page of printed issue]

photohistorica 54/55

Literature Index of the European Society for the History of Photography
Abstracts for 1993: 7230 to 7570

compiler and editor: R. Derek Wood

Published by the European Society for the History of Photography:
ESHPh, Acorn House, 79-94 Cherry Orchard Road, Croydon, Surrey, CRO 6BA England: July 1995

ESHPh President: Prof. Margaret Harker Farrand,
ESHPh Vice-President: Dr. Karl Steinorth,
ESHPh Administrator: Roy Green.

Contributors to this issue:
Thomas Adolfsson (Sverige); Anna Auer (Österreich);
Henrik Dupont (Danmark); Vegard Halvorsen (Norge);
Ritva Tähtinen (Finland — Suomi); Marc Vausort (Belgique).

This Index of articles concerning the history of photography published in Serials is free for members of the ESHPh. No part of this publication may be reproduced in any form without written permission from the publisher.

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