made major contributions. Historiography of key
technologies and applications in silver gelatin
emulsions and processing is one area of void in
literature. Jacobson (1991) gives an overview of
the progress of the photographic process. Eder
(1945) is a book on the history of photography by
one of the early active contributors to the silver-
gelatin process. Baier (1964) is another comprehen-
sive book on the same topic. Early history is also
described in older editions of Neblette (1930). Mees
(1961) is a book describing the history of photo-
graphic research at Kodak Research Laboratories.
RyujiSuzukiSeealso: Camera: An Overview; Conservation;
Darkroom; Film; Non-Silver Processes; Print Pro-
cesses; Toning
Further Reading
Baier, W.A Source Book of Photographic History (Quellen-
darstellungen zur geschichte der fotografie). Germany:
Veb Fotokinoverlag Halle, London: Focal Press, 1964.
(all editions in German).
Coote.Monochrome Darkroom Practice. Boston: Focal
Press, 1982.
Eder, J. M.History of Photography. 4th ed. New York:
Columbia University Press, 1945.
Haist, G.Modern Photographic Processing. Vol 1 and Vol 2.
New York: Wiley, 1979.
James, T. H.The Theory of Photographic Process. 4th ed.
New York: Macmillan Publishing Co., London: Collier
Macmillan Publishers, 1977.
Jacobson, R. E. ‘‘Photographic Processes—1890 to the Pre-
sent Day.’’J. Photogr. Sci., 39 (1991) 70–76.
Keller, K. ed.Science and Technology of Photography.Wein-
heim, Germany: VCH Verlagsgesellschaft, New York:
VCH Publishers, 1993. (The content of this book forms a
part of Ullmann’s encyclopedia of industrial chemistry.)
Levenson, G. I. P. ‘‘Superadditive Developers.’’Photogr.
Sci. Engr. 13 (1969) 299–311.
Levenson, G. I. P. ‘‘Development of the Latent Image.’’J.
Photogr. Sci. 39 (1991) 63–69.
Locker, D. J.Photography. In: Kirk-Othmer Encyclopedia
of Chemical Technology. 1996.
Mees, C. E. K.From Dry Plates to Ektachrome Film. New
York: Ziff-Davis Publishing Company, 1961.
Mitchell,E.N.Photographic Science. New York: Wiley, 1984.
Neblette, C. B.Photography: Its Principle and Practice. 2nd
ed. New York: Van Nostrand Company, 1930.
Proudfoot, C. N., ed.Handbook of Photographic Science
and Engineering. 2nd ed. The Society for Imaging
Science and Technology, 1997.
Sturge, J. M., ed.Neblette’s Handbook of Photography and
Reprography, 7th ed. New York: Van Nostrand Rein-
hold, 1977.PHILIP-LORCA diCORCIA
American
New York-based Philip-Lorca diCorcia became an
essential photographer on the international scene
in a few short years in the 1990s. He emerged in the
1980s as conceptual photography had become a
significant genre in contemporary photography
with pictures that provided an interesting late-cen-
tury look on the long-standing fiction–reality dia-
lectic that characterizes photography. His work
requires careful attention: At first glance his color
pictures seem ordinary, not unlike snapshots or
amateur efforts. People seem fixed in banality, sus-
pended in their actions, and expressive of stereo-
types or cultural prejudices. A closer look,
however, reveals clues left by the artist that indicate
this is not a captured slice of life, but a well-
thought-through scenario, carefully set up and
composed both before the shot is taken and during
the process of shooting.
His earliest work was based on his family
experience; his best-known early photograph,
Mario, 1978, was carefully staged by diCorcia
and the forlorn young man looking into the refrig-
erator is in fact his brother. This photo was part of
diCorcia’sFamily and Friendsseries, a fictional
‘‘documentary.’’
diCorciamovedtoNewYorkin1984topursue
commercial work, including fashion and advertis-
ing photography, which do not diverge greatly
from his fine-arts work. A 1993 exhibition curated
by John Szarkoski at the Museum of Modern Art
(MoMA) heralded his international career.
The photographic universe of diCorcia is in ten-
sion between microcosm and macrocosm, the pri-
vate and public worlds where what seems familiardiCORCIA, PHILIP-LORCA