1934 Group exhibition in conjunction withMachine Arttraveling
exhibition; The Cleveland Museum of Art, Cleveland, Ohio
1937 Photography 1839–1937; Museum of Modern Art,
New York, New York
1937 Group exhibition sponsored by Museum of Modern
Art; Muse ́e du Jeu de Paume, Paris, France
1985 A Collective Vision: Clarence H. White and His Stu-
dents; University Art Museum, California State Univer-
sity, Long Beach, California, and traveling
1995 From Icon to Irony: German and American Industrial
Photography; Boston University Art Gallery, Boston,
Massachusetts
1996 Pictorialism into Modernism: The Clarence H. White
School of Photography; The Detroit Institute of Arts,
Detroit, Michigan, and traveling
Selected Works
Terminal Tower, Cleveland(series), 1927–1929
Otis Steel Company, Cleveland(series), 1927–1928
Elgin National Watch Company(series), 1930
Chrysler Building, New York City(series), 1931
NBC Photomurals(series), 1933
Airplane for TWA, 1935
Skyscraper, 1935
Fort Peck Dam, 1936
Flood Victims, Louisville, Kentucky, 1937
Nazi Bombing of Moscow, 1941
Waist Gunners, England, 1942
German Civilians Made to Face Their Nation’s Crimes,
Buchenwald, 1945
Mohandas Gandhi at His Spinning Wheel, Poona, India,
1946
Bridge Construction, New York Thruway, 1954
Further Reading
Batchelor, E.A. ‘‘Personal and Confidential: Margaret
Bourke-White.’’Detroit Saturday Night, May 10, 1930,
MBW Papers.
Bourke-White, Margaret.Portrait of Myself. New York:
Simon and Schuster, 1963.
Caldwell, Erskine, and Margaret Bourke-White.You Have
Seen Their Faces. Foreword by Alan Trachtenberg.
Athens, GA: University of Georgia Press, 1995.
Callahan, Sean. Margaret Bourke-White, Photographer.
Boston, New York, Toronto, and London: Little,
Brown and Company, 1998.
Callahan, Sean, ed.The Photographs of Margaret Bourke-
White. New York: New York Graphic Society, 1972.
Dorfman, Elsa. ‘‘Elsa Dorfman Photography Reviews: part
of http://elsa/photo.net.
Goldberg, Vicki.Margaret Bourke-White: A Biography.
New York: Harper and Row, 1986.
Grundberg, Andy. ‘‘What Was Cubism’s Impact?’’The
New York Times(December 13, 1981): D39.
Hurley, F. Jack.Portrait of a Decade: Roy Stryker and the
Development of Documentary Photography in the Thir-
ties. Baton Rouge: Louisiana State University Press,
1972.
Kozol, Wendy.Life’s America: Family and Nation in Post-
war Photojournalism. Philadelphia: Temple University
Press, 1994.
Puckett, John Rogers.Five Photo-Textual Documentaries
from the Great Depression. Ann Arbor: UMI Research
Press, 1984.
Silverman, Jonathan.For the World to See: The Life of
Margaret Bourke-White. New York: The Viking Press,
1983.
Tedlow, Richard S.Keeping the Corporate Image; Public
Relations and Business, 1900–1950. Vol. 3 ofIndustrial
Development and the Social Fabric. Ed. Glenn Porter.
Greenwich, CT: JAI Press Inc., 1979.
Trachtenberg, Alan. Reading American Photographs:
Images as History, Mathew Brady to Walker Evans.
New York: Hill and Wang, 1989.BRACKETING
Bracketing is a technique by which a photographer
tries to ensure that he gets a correct (or desired)
exposure for the conditions under which he is shoot-
ing. Using a camera’s built-in light meter or a sepa-
ratelightmeter,thephotographercanmeterthelight
around his subject and adjust his camera’s shutter
speed and aperture settings accordingly for a correct
exposure. However, some variables can cause a light
meter to recommend an incorrect exposure—for
example, if the subject is surrounded by either a
very light or a very dark background, or if there is a
bright light somewhere in the frame of the shot. In
these instances, a light meter will tend to average all
present light and recommend a setting that will, in
fact, either overexpose (resulting in an image that is
too bright and does not have enough dark tones or
shadows) or underexpose (resulting in an image that
is too dark and does not have enough light tones or
highlights) the subject. Both over-and underexpo-
sure result in film that has not recorded much dis-BRACKETING