Contrast (Continued)
shadows, 328
tonality of print, 328
variable contrast papers, 327, 328
Coplans, John, 328–332
Andy Warhol and, 329
Artforum, 328, 329
biography, 330
British, 328–330
career as writer, 328
commonality of human form, 330
Constantin Brancusi’s photographs, 329
dialoguemagazine, 328, 329
Ed Ruscha and, 329
exhibitions of photomontages, 329
further reading, 332
group exhibitions, 330–332
humankind in most primal sense, 330
individual exhibitions, 330
Judy Chicago and, 329
monographs on contemporary artists, 329
need to establish forums for artists, 329
neglect of West Coast art scene, 329
perspective of Weegee’s photography, 329
Roy Lichtenstein and, 329
selected works, 332
self-portraits, 328
shared genetics, 330
social reactions to age, 330
sublime understanding of humanity, 328
Swahili, 328
Tate Gallery, 329
technique to de-emphasize youth, 330
timeless subject, 329
Copy Art, Canadian, 235
Corbis, 67
Corbis/Bettmann, 332–336
Bettmann Archive, 334
celebrity archive, 334
center of European book trade, 333
dissertation, 333
enthusiasm for collecting images, 333
film footage, 334
first commission, 333
flourishing business, 334
forward migration, 335
further reading, 336
gelatin, 335
Gendreau Collection of Americana, 334
grand plan, 333
hand-made art book, 333
Henry Wilhelm and, 335
Hitler’s rise to power, 333
image bank, 334
images appropriate for clients’ needs, 335
immigration to America, 333
intelligentsia of Leipzig, 332
interest in academics, 333
Microsoft Corporation, 334
New York Public Library, 333
newsworthy images, 335
original intent, 335
Outline, 334
photographic conservation expert, 335
photo-journalist archives, 334pounding the pavement, 333
Prussian State Art Library, 333
rare books, 334
repository of imagery, 333
Reuters, 334
royalty-free imagery, 334
sub-zero vault, 335
The History of the World in Pictures, 333
transporting of archive, 335
United Press International, 334
Web site, 335
world’s largest underground storage facility, 335
Coronet,2
Corporate collections, 336–339
art consultants and, 336
auctioned, 339
Baron James de Rothchild, 336
best-known, 336
building adornment, 338–339
commissioned photographs, 336
contemporary artists, 337
David Rockefeller, 337
digital prints, 338
first, 336
further reading, 339
Gillman Paper Company collection, 337
Hallmark photographic collection, 337
Henry Fox Talbot, 337
historical works, 337
Institute of Design, 337
insurance company, 338
International Museum of Photography and Film, 336
JP Morgan Chase collection, 337
Kodak company, 336
LaSalle National Bank collection, 337, 338
Metropolitan Museum of Art, 337
Microsoft collection, 338
museum exhibitions, 336
photo transfers, 338
Polaroid collection, 338
post-war photographers, 338
Safeco collection, 338
Seagram collection, 338, 339
7-Eleven collection, 336
Sotheby’s New York, 336
Southland Corporation, 336
testing of instant films, 338
traveling exhibitions, 337
vintage works, 337
Walker Evans, 337, 339
Weegee, 339
Creative camera, 339–341
The Arts Council of Great Britain, 340
Bill Brandt, 340
British reconstruction, 339
camera club alliances, 339
changes in social politics, 340
changing opinion, 341
Colin Osman’s editorial voice, 339
Coo Press Limited, 339
distribution of, 339
DPICT magazine, 341
editorial influences, 339
end of funding reliance, 341
France’s Cinema Verite`, 340INDEX
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