transformed by World War II, Liberman sought a
less elitist approach to fashion photography and
wished to forge it with more documentary and sur-
real sensibilities. As a result, Liberman published the
fashion photography of Diane Arbus, Erwin Blu-
menfeld, Irving Penn, and William Klein. The doc-
umentary style would remain a mainstay of fashion
magazines after the war although the readership
revived its appetite for fantasy images once again
affording photographers ample possibilities for con-
tinuous experimentation.
Photographers’ Periodicals
In 1935, T.J. Maloney published the first edition of
the annual publicationU.S. Camera.The preface,
written by Dr. Mehmed Fehmy Agha, art director
atVogue, claimed that books of photographs really
need no prefaces and the photographs were made by
‘‘Americans in America and abroad and by foreign-
ers in America for Americans.’’ The spiral-bound
issue featured high-quality photogravures in color
and black and white on coated paper. Subdivided
into categories such as ‘‘Illustration,’’ ‘‘Portraiture,’’
and ‘‘Scientific-Aerial-News,’’ it featured hundreds
of images by leading photographers selected by
Edward Steichen—Berenice Abbott, Cecil Beaton,
Margaret Bourke-White, Henri Cartier-Bresson,
Arnold Genthe, Toni Frissell, Martin Munkacsi,
and D.J. Ruzicka.U.S. Camerapublished memor-
ableimagesofWorldWarIIasmonographs,and
many were the work of Edward Steichen taken dur-
ing active duty with the United States Naval Re-
serves. One such monograph, U.S. Navy War
Photographs, Pearl Harbor to Tokyo Harbor: A Col-
lection of Official U.S. Navy, Marine Corps and Coast
Guard Photographs by Captain Edward Steichensold
over 6 million copies in 1945.
In 1952, Minor White and a group of photogra-
phers and critics that included Dorothea Lange,
Nancy and Beaumont Newhall, Ansel Adams, Bara-
bra Morgan, Ernst Louie, Melton Ferris, and Dody
Warren founded the influential photographic quar-
terly,Aperture. During its first year of publication,
those who were generous enough to subscribe at the
sustaining level of $25.00 received a print by Ansel
Adams. The first issue featured a photograph by
Dorothea Lange on the outside cover, and on the
inside cover was a quote from Ansel Adams that
read ‘‘We have nothing to lose but our photography.’’
Aperture’sstatementofintentdeclaredit‘‘amature
journal where photographers could talk straight to
each other.’’ In addition to publishing photographs
by important photographers, it included insightful
critical essays and reviews of publications.Aperture
courageously published controversial and charged
images ranging from Manuel A ́lvarez Bravo’s images
of Mexico in the 1950s to photographs by Robert
Mapplethorpe in the 1980s. In 1958,Aperturededi-
cated an entire issue to Edward Weston shortly after
his death in which a selection of his masterworks were
accompanied by excerpts from hisDaybooksedited
by Nancy Newhall. This issue, later published as a
monograph entitledThe Flame of Recognition,would
become one of the most popular photography books
of all time. Michael E. Hoffman assumed editorship
ofAperturein 1965 and endeavored to make it the one
of highest-quality photographic publications.Aper-
turecelebrated its 50th anniversary in 2002 in a special
two-part issue.Reprint Series
Original copies of early photographic periodicals
and monographs are rare, and series are often
incomplete at the majority of research institutions.
Thankfully, many have been reprinted. The most
comprehensive isThe History of Photography,a
microfilmed reprint series of over 2,000 early mono-
graphs and 100 periodicals from the United States
and Europe dating back to the seventeenth century.
Another series,The Literature of Photography, edi-
ted by Peter Bunnell and Robert A. Sobieszek and
published in 1973 by New York’s Arno Press, repro-
duces 62 early monographs and treatises on photo-
graphy. Additionally, all 50 numbers ofCamera
Workwere issued as a reprint in 1969.
AnneBlecksmith
Seealso:Censorship; Dada; Fashion Photography;
Liberman, Alexander; Life Magazine; Look; Nast,
Conde ́; Picture Post; Propaganda; Steichen, Edward;
Stieglitz, Alfred; Strand, Paul; War Photography;
Worker PhotographyFurther Reading
Adams, Robert. ‘‘Forty Years after the Premiere Issue of
Aperture, Photographer Robert Adams Interviews Michael
E. Hoffman, Publisher and Editor since the 1960s.’’Aper-
ture, 129 (1994).
Camera Work. Reprint. Nendeln, Liechtenstein: Kraus,
1969.
Delvin, Polly.Vogue Book of Fashion Photography 1919–
1979. New York: Simon and Schuster, 1979.
Evans, David.John Heartfield: AIZ/VU 1930–1938. New
York: Kent, 1992.
Gernsheim, Helmut, and Alison Gernsheim.The History of
Photography: From the Camera Obscura to the Beginning
of the Modern Era. 2nd edition. London: Thames and
Hudson, 1955, 1969.PERIODICALS: HISTORICAL