by Michael L. Carlebach
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Editorial Reviews
From Publishers Weekly
Carlebach, an associate professor of communications at the University of Miami and a photojournalist himself, here offers a scrupulously researched history of American photojournalism from 1839 to 1880. He effectively narrates the technical developments that made news photography possible, while also describing how the craft's early successes affected the American people. The first photojournalists were folk paparazzi who badgered presidents and other notables to sit for portraits; later, they risked their lives traveling in wagons with portable darkrooms to photograph Civil War battles and Indian chiefs. Carlebach concentrates on how the craft's foremost practitioners--Mathewok Brady, William Henry Jackson, George Barnard--were able to create, and satisfy, the public taste for a new, more exciting visual journalism. Shocked and fascinated by Brady's wartime photos and Jackson's pictures of the newly laid Union Pacific railroad, the public developed a ravenous appetite for photographic images, spurring the breakthroughs of dry-plate and fast-shutter photography, and ultimately of the halftone printing process, which enabled newspapers and magazines to reproduce photos directly.
Copyright 1992 Reed Business Information, Inc.
Carlebach, an associate professor of communications at the University of Miami and a photojournalist himself, here offers a scrupulously researched history of American photojournalism from 1839 to 1880. He effectively narrates the technical developments that made news photography possible, while also describing how the craft's early successes affected the American people. The first photojournalists were folk paparazzi who badgered presidents and other notables to sit for portraits; later, they risked their lives traveling in wagons with portable darkrooms to photograph Civil War battles and Indian chiefs. Carlebach concentrates on how the craft's foremost practitioners--Mathewok Brady, William Henry Jackson, George Barnard--were able to create, and satisfy, the public taste for a new, more exciting visual journalism. Shocked and fascinated by Brady's wartime photos and Jackson's pictures of the newly laid Union Pacific railroad, the public developed a ravenous appetite for photographic images, spurring the breakthroughs of dry-plate and fast-shutter photography, and ultimately of the halftone printing process, which enabled newspapers and magazines to reproduce photos directly.
Copyright 1992 Reed Business Information, Inc.
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Citations
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5
books
cite this book:
- Beyond the Lines: Pictorial Reporting, Everyday Life, and the Crisis of Gilded Age America by Joshua Brown in Back Matter
- A Higher Branch of the Art: Photographing the Fine Arts in England, 1839-1880 (Documenting the Image) by Anthony Hamber on page 294
- Photojournalism: The Professionals' Approach, Fourth Edition by Kenneth Kobre in Back Matter
- The Remarkable Carlo Gentile: Pioneer Italian Photographer of the American Frontier by Cesare Marino in Back Matter
- 1000 Photo Icons (Klotz) by George Eastman House in Back Matter
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