caused a stir when presented in London in 1900 and
Paris in 1901, and served to spread Pictorialist ideas.
It was around this time that his relationship with
Stieglitz became estranged and as the ambitious
photographers of the day were drawn towards the
Photo-Secessionist group, Day remained apart, los-
ing influence and interest, and is largely associated
with nineteenth century photography.
Other photographers, some major figures asso-
ciated with the nineteenth century and many now
obscure, who were published inCamera Workand
thus associated with the Photo Secession include: C.
Yarnall Abbott, Prescott Adamson, J. Craig Annan,
Francis Bruguiere, Julia Margaret Cameron, George
Davison, Paul B. Haviland, F. Benedict Herzog,
David Octavius Hill, Robert Adamson, Karl F.
Struss,HansWatzek,andWilliamE.Wilmerding.
NunoPinheiroSeealso:Brownie; Bruguiere, Francis; de Meyer,
Baron; Eastman Kodak Company; Evans, Frederick
H.; History of Photography: Nineteenth-Century
Foundations; History of Photography: Twentieth-
Century Developments; History of Photography:
Twentieth-Century Pioneers; Ka ̈sebier, Gertrude;
Linked Ring; Pictorialism; Professional Organiza-
tions; Steichen, Edward; Stieglitz, Alfred; White,
ClarenceFurther Reading
Beck, Tom.John G. Bullock and the Photo-Secession. New
York: Aperture, 1989.
Doty, Robert.Photo-secession: Photography as a Fine Art.
Rochester, NY: George Eastman House, 1960; asPhoto-
Secession: Stieglitz and the Fine-Art Movement in Photo-
graphy, New York: Dover Publications, 1978.
Harker, Margaret. The Linked Ring: The Secession in
Photography in Britain, 1892–1910. London: Heine-
mann, 1979.
Jay, Bill.Robert Demachy, 1859–1910: Photographs and
Essays. London: Academy Editions, 1974.
Lawson, J., R. McKenzie, and A.D. Morrison, eds.Photo-
graphy 1900. National Museums of Scotland, National
Galleries of Scotland, Edinburgh.
Margolis, Marianne Fulton, ed.Alfred Stieglitz Camera
Work: A Pictorial Guide. New York: Dover, 1978.
Norman, Dorothy.Alfred Stieglitz. Millerton, NY: Aper-
ture, 1997.
Pohlmann, Ulrich.Frank Eugene: The Dream of Beauty.
Tucson, AZ: Nazraeli Press, 1995.
Poivert, Michel.Robert Demachy. Paris: Nathan, 1997.
Rosenblum, Naomi.A History of Women Photographers.
New York: Abbeville Press, 1994.
Steinorth, Karl, ed.Alvin Langdon Coburn: Photographs
1900–1924. Zurich, New York: Stemle, 1998.PHOTOGRAM
Photograms are photographic images made with-
out a camera or lens. Objects are placed on a photo-
sensitive surface and exposed to light, producing a
negative, or value-reversed, imprint of the shadows
cast by those objects. Technically, organic effects
such as the tanned areas of skin or the dark,
unfaded marks in the creases of an old sofa cushion
are photograms, but pictorially speaking, when we
refer to photograms we mean a photographic pro-
cess that produces a unique image on chemically
prepared and developed paper, and does so directly,
without a mediating negative.
This direct contact between the material object
and the surface of representation is the defining
feature of photograms, setting them apart from
other cameraless photographic techniques such as
bruˆlage (melting the emulsion); luminograms
(photographically recorded light effects); chemi-
grams (chemical distortion of the emulsion); and
even thecliche ́verre(a print made from a drawing
scratched onto blackened glass), which approaches
the process by which photographs are produced
with negatives—essentially copies of copies.
Because of their physical intimacy with the
objects they represent, photograms have been
grasped theoretically as an origin-point of photo-
graphy: they have been regarded as images pro-
duced by nature itself, prior to the technologies
we normally associate with photographic repro-
duction, and bear an indexical relation to the ori-
ginal object that is more material than in any other
means of photographic representation. Appropri-
ately, then, if the history of photography is written
out of the desire to fix images, rather than as just
another development in the march of technological
innovation that began with the camera obscura, thePHOTO-SECESSIONISTS