Thank you for downloading reflections in a looking glass a centennial celebration of lewis carrol... more Thank you for downloading reflections in a looking glass a centennial celebration of lewis carroll photographer. As you may know, people have search numerous times for their chosen books like this reflections in a looking glass a centennial celebration of lewis carroll photographer, but end up in harmful downloads. Rather than enjoying a good book with a cup of coffee in the afternoon, instead they juggled with some harmful virus inside their desktop computer.
When Helmut and Alison Gernsheim began assembling their collection in January 1945, they were par... more When Helmut and Alison Gernsheim began assembling their collection in January 1945, they were part of a small minority that believed in the art of photography and the significance of its history. Two years later, their commitment would be such that they would both leave their other careers behind and set about the brave task of becoming independent full-time historians and collectors. And it would also be at this time that they would come to believe fully in the significance of the collection they were building and in the necessity of one day finding it a public home in which it could be perpetuated and grow.
The papers of the Bibliographical Society of America, Sep 1, 1973
HENRY Hunt Snelling's The History and Practice of the Art of Photography, originally publishe... more HENRY Hunt Snelling's The History and Practice of the Art of Photography, originally published by G. P. Putnam in 1849, was reprinted by Morgan & Morgan in 1970.1 The con temporary publishing house, widely known for its standard reference works Photographic Literature and Photo-Lab-Index, called the page for-page facsimile "a remarkable reincarnation" of "America's first bound book on photography," complete with "even a precisely dupli cated original embossed binding."2 Adding luster to the event was the collaboration of George Eastman House, one of the world's most important collections of photographic history.3 Moreover, the fac simile offers a new, context-setting introduction by Beaumont New hall, former curator of Eastman House and this country's best known and most frequently published historian of photography. Snelling himself, of course, merits fresh attention; he was a prominent figure in the photographic history of his time, a businessman, inventor, prolific writer, and founding editor of The Photographic Art Journal, the second magazine of its kind published in the United States.4 None of these prestigious sources, however, mentions that The 1 The reprint is a facsimile of the first edition copy at George Eastman House. Second ed., 1850; 3d ed., 18515 4th ed., 1853. Unless otherwise noted, all references hereafter will be to the first edition. 2 Of. cit. (reprint), front jacket. 3 Ibid,., title page. 4 Brief biographical sketches may be found in A. J. Olmstead, "Snelling—The Father of Photographic Journalism," The Camera, 47 (Dec. 1933), 391-94; Olmstead, "Henry Hunt Snelling" in Dictionary of American Biografhy (New York: Charles Scribner's Sons, 1936), pp. 379-80; and "Henry Hunt Snelling" in Affleton's Cyclopaedia oj American Biografhy (New York: D. Appleton and Company, 1891), p. 601. The standard histories of photography frequently mention Snelling. Newhall's introduction in the facsimile is largely biographical. There is a three-volume manuscript autobiography, "Memoirs of A Life," covering Snelling's life through 1867, in the E. W. Ayer Collection,
Audio files are EID restricted. Individuals without an EID should send an email request to apl-aa... more Audio files are EID restricted. Individuals without an EID should send an email request to [email protected].
The Papers of the Bibliographical Society of America, 1973
HENRY Hunt Snelling's The History and Practice of the Art of Photography, originally publishe... more HENRY Hunt Snelling's The History and Practice of the Art of Photography, originally published by G. P. Putnam in 1849, was reprinted by Morgan & Morgan in 1970.1 The con temporary publishing house, widely known for its standard reference works Photographic Literature and Photo-Lab-Index, called the page for-page facsimile "a remarkable reincarnation" of "America's first bound book on photography," complete with "even a precisely dupli cated original embossed binding."2 Adding luster to the event was the collaboration of George Eastman House, one of the world's most important collections of photographic history.3 Moreover, the fac simile offers a new, context-setting introduction by Beaumont New hall, former curator of Eastman House and this country's best known and most frequently published historian of photography. Snelling himself, of course, merits fresh attention; he was a prominent figure in the photographic history of his time, a businessman, inventor, prolific writer, and founding editor of The Photographic Art Journal, the second magazine of its kind published in the United States.4 None of these prestigious sources, however, mentions that The 1 The reprint is a facsimile of the first edition copy at George Eastman House. Second ed., 1850; 3d ed., 18515 4th ed., 1853. Unless otherwise noted, all references hereafter will be to the first edition. 2 Of. cit. (reprint), front jacket. 3 Ibid,., title page. 4 Brief biographical sketches may be found in A. J. Olmstead, "Snelling—The Father of Photographic Journalism," The Camera, 47 (Dec. 1933), 391-94; Olmstead, "Henry Hunt Snelling" in Dictionary of American Biografhy (New York: Charles Scribner's Sons, 1936), pp. 379-80; and "Henry Hunt Snelling" in Affleton's Cyclopaedia oj American Biografhy (New York: D. Appleton and Company, 1891), p. 601. The standard histories of photography frequently mention Snelling. Newhall's introduction in the facsimile is largely biographical. There is a three-volume manuscript autobiography, "Memoirs of A Life," covering Snelling's life through 1867, in the E. W. Ayer Collection,
"The Byrd Williams Collection at the University of North Texas contains more than 10,000 pri... more "The Byrd Williams Collection at the University of North Texas contains more than 10,000 prints and 300,000 negatives, accumulated by four generations of Texas photographers, all named Byrd Moore Williams. Beginning in the 1880s in Gainesville, the four Byrds photographed customers in their studios, urban landscapes, crime scenes, Pancho Villa's soldiers, televangelists, and whatever aroused their unpredictable and wide-ranging curiosity. When Byrd IV sat down to choose a selection from this dizzying array, he came face to face with the nature of mortality and memory, his own and his family's. In some cases these photos are the only evidence remaining that someone lived and breathed on this earth"--Amazon. The contents include: Foreword : One bright thread / Roy Flukinger -- Photographs : The family album -- Landscape -- Postcard -- The Great Depression -- Studio -- People -- Non-people -- Violence and religion in Texas -- Night -- Afterword : Palimpsest / Anne Wilkes Tucker.
When Helmut and Alison Gernsheim began assembling their collection in January 1945, they were par... more When Helmut and Alison Gernsheim began assembling their collection in January 1945, they were part of a small minority that believed in the art of photography and the significance of its history. Two years later, their commitment would be such that they would both leave their other careers behind and set about the brave task of becoming independent full-time historians and collectors. And it would also be at this time that they would come to believe fully in the significance of the collection they were building and in the necessity of one day finding it a public home in which it could be perpetuated and grow.
Thank you for downloading reflections in a looking glass a centennial celebration of lewis carrol... more Thank you for downloading reflections in a looking glass a centennial celebration of lewis carroll photographer. As you may know, people have search numerous times for their chosen books like this reflections in a looking glass a centennial celebration of lewis carroll photographer, but end up in harmful downloads. Rather than enjoying a good book with a cup of coffee in the afternoon, instead they juggled with some harmful virus inside their desktop computer.
The art of capturing an image through an improvised pinhole device traces back to ancient China a... more The art of capturing an image through an improvised pinhole device traces back to ancient China and Greece through the Renaissance and reaching its height of popularity in the 1880s. The era of the modern sharp-focus lens camera marked the end of pinhole photography as a major art form. Three decades ago Eric Renner resuscitated the form with his publication Pinhole Journal that ushered in a resurgence of interest by artists seeking an alternative often conceptual vision and alternative to sharp-focus photography. Renner and Nancy Spencer have out of this effort built the world's most collection of pinhole art from 31 countries and 500 of artists comprising 6000 images. Pinhole offers new ways of exploring the world using the simplest, improvised mechanisms fashioned of oat boxes, sea shells, and other surprising materials to create images of mysterious, sometimes disturbing beauty in dreamlike landscapes, portraits still-lifes, abstractions and politically charged images. In pi...
Thank you for downloading reflections in a looking glass a centennial celebration of lewis carrol... more Thank you for downloading reflections in a looking glass a centennial celebration of lewis carroll photographer. As you may know, people have search numerous times for their chosen books like this reflections in a looking glass a centennial celebration of lewis carroll photographer, but end up in harmful downloads. Rather than enjoying a good book with a cup of coffee in the afternoon, instead they juggled with some harmful virus inside their desktop computer.
When Helmut and Alison Gernsheim began assembling their collection in January 1945, they were par... more When Helmut and Alison Gernsheim began assembling their collection in January 1945, they were part of a small minority that believed in the art of photography and the significance of its history. Two years later, their commitment would be such that they would both leave their other careers behind and set about the brave task of becoming independent full-time historians and collectors. And it would also be at this time that they would come to believe fully in the significance of the collection they were building and in the necessity of one day finding it a public home in which it could be perpetuated and grow.
The papers of the Bibliographical Society of America, Sep 1, 1973
HENRY Hunt Snelling's The History and Practice of the Art of Photography, originally publishe... more HENRY Hunt Snelling's The History and Practice of the Art of Photography, originally published by G. P. Putnam in 1849, was reprinted by Morgan & Morgan in 1970.1 The con temporary publishing house, widely known for its standard reference works Photographic Literature and Photo-Lab-Index, called the page for-page facsimile "a remarkable reincarnation" of "America's first bound book on photography," complete with "even a precisely dupli cated original embossed binding."2 Adding luster to the event was the collaboration of George Eastman House, one of the world's most important collections of photographic history.3 Moreover, the fac simile offers a new, context-setting introduction by Beaumont New hall, former curator of Eastman House and this country's best known and most frequently published historian of photography. Snelling himself, of course, merits fresh attention; he was a prominent figure in the photographic history of his time, a businessman, inventor, prolific writer, and founding editor of The Photographic Art Journal, the second magazine of its kind published in the United States.4 None of these prestigious sources, however, mentions that The 1 The reprint is a facsimile of the first edition copy at George Eastman House. Second ed., 1850; 3d ed., 18515 4th ed., 1853. Unless otherwise noted, all references hereafter will be to the first edition. 2 Of. cit. (reprint), front jacket. 3 Ibid,., title page. 4 Brief biographical sketches may be found in A. J. Olmstead, "Snelling—The Father of Photographic Journalism," The Camera, 47 (Dec. 1933), 391-94; Olmstead, "Henry Hunt Snelling" in Dictionary of American Biografhy (New York: Charles Scribner's Sons, 1936), pp. 379-80; and "Henry Hunt Snelling" in Affleton's Cyclopaedia oj American Biografhy (New York: D. Appleton and Company, 1891), p. 601. The standard histories of photography frequently mention Snelling. Newhall's introduction in the facsimile is largely biographical. There is a three-volume manuscript autobiography, "Memoirs of A Life," covering Snelling's life through 1867, in the E. W. Ayer Collection,
Audio files are EID restricted. Individuals without an EID should send an email request to apl-aa... more Audio files are EID restricted. Individuals without an EID should send an email request to [email protected].
The Papers of the Bibliographical Society of America, 1973
HENRY Hunt Snelling's The History and Practice of the Art of Photography, originally publishe... more HENRY Hunt Snelling's The History and Practice of the Art of Photography, originally published by G. P. Putnam in 1849, was reprinted by Morgan & Morgan in 1970.1 The con temporary publishing house, widely known for its standard reference works Photographic Literature and Photo-Lab-Index, called the page for-page facsimile "a remarkable reincarnation" of "America's first bound book on photography," complete with "even a precisely dupli cated original embossed binding."2 Adding luster to the event was the collaboration of George Eastman House, one of the world's most important collections of photographic history.3 Moreover, the fac simile offers a new, context-setting introduction by Beaumont New hall, former curator of Eastman House and this country's best known and most frequently published historian of photography. Snelling himself, of course, merits fresh attention; he was a prominent figure in the photographic history of his time, a businessman, inventor, prolific writer, and founding editor of The Photographic Art Journal, the second magazine of its kind published in the United States.4 None of these prestigious sources, however, mentions that The 1 The reprint is a facsimile of the first edition copy at George Eastman House. Second ed., 1850; 3d ed., 18515 4th ed., 1853. Unless otherwise noted, all references hereafter will be to the first edition. 2 Of. cit. (reprint), front jacket. 3 Ibid,., title page. 4 Brief biographical sketches may be found in A. J. Olmstead, "Snelling—The Father of Photographic Journalism," The Camera, 47 (Dec. 1933), 391-94; Olmstead, "Henry Hunt Snelling" in Dictionary of American Biografhy (New York: Charles Scribner's Sons, 1936), pp. 379-80; and "Henry Hunt Snelling" in Affleton's Cyclopaedia oj American Biografhy (New York: D. Appleton and Company, 1891), p. 601. The standard histories of photography frequently mention Snelling. Newhall's introduction in the facsimile is largely biographical. There is a three-volume manuscript autobiography, "Memoirs of A Life," covering Snelling's life through 1867, in the E. W. Ayer Collection,
"The Byrd Williams Collection at the University of North Texas contains more than 10,000 pri... more "The Byrd Williams Collection at the University of North Texas contains more than 10,000 prints and 300,000 negatives, accumulated by four generations of Texas photographers, all named Byrd Moore Williams. Beginning in the 1880s in Gainesville, the four Byrds photographed customers in their studios, urban landscapes, crime scenes, Pancho Villa's soldiers, televangelists, and whatever aroused their unpredictable and wide-ranging curiosity. When Byrd IV sat down to choose a selection from this dizzying array, he came face to face with the nature of mortality and memory, his own and his family's. In some cases these photos are the only evidence remaining that someone lived and breathed on this earth"--Amazon. The contents include: Foreword : One bright thread / Roy Flukinger -- Photographs : The family album -- Landscape -- Postcard -- The Great Depression -- Studio -- People -- Non-people -- Violence and religion in Texas -- Night -- Afterword : Palimpsest / Anne Wilkes Tucker.
When Helmut and Alison Gernsheim began assembling their collection in January 1945, they were par... more When Helmut and Alison Gernsheim began assembling their collection in January 1945, they were part of a small minority that believed in the art of photography and the significance of its history. Two years later, their commitment would be such that they would both leave their other careers behind and set about the brave task of becoming independent full-time historians and collectors. And it would also be at this time that they would come to believe fully in the significance of the collection they were building and in the necessity of one day finding it a public home in which it could be perpetuated and grow.
Thank you for downloading reflections in a looking glass a centennial celebration of lewis carrol... more Thank you for downloading reflections in a looking glass a centennial celebration of lewis carroll photographer. As you may know, people have search numerous times for their chosen books like this reflections in a looking glass a centennial celebration of lewis carroll photographer, but end up in harmful downloads. Rather than enjoying a good book with a cup of coffee in the afternoon, instead they juggled with some harmful virus inside their desktop computer.
The art of capturing an image through an improvised pinhole device traces back to ancient China a... more The art of capturing an image through an improvised pinhole device traces back to ancient China and Greece through the Renaissance and reaching its height of popularity in the 1880s. The era of the modern sharp-focus lens camera marked the end of pinhole photography as a major art form. Three decades ago Eric Renner resuscitated the form with his publication Pinhole Journal that ushered in a resurgence of interest by artists seeking an alternative often conceptual vision and alternative to sharp-focus photography. Renner and Nancy Spencer have out of this effort built the world's most collection of pinhole art from 31 countries and 500 of artists comprising 6000 images. Pinhole offers new ways of exploring the world using the simplest, improvised mechanisms fashioned of oat boxes, sea shells, and other surprising materials to create images of mysterious, sometimes disturbing beauty in dreamlike landscapes, portraits still-lifes, abstractions and politically charged images. In pi...
Uploads
Papers by Roy Flukinger