Life Magazine; Look; Pictorialism; Propaganda;
Sheeler, Charles; Stieglitz, Alfred; Stryker, Roy;
White, Clarence
Further Reading
Doezema, Marianne.American Realism and the Industrial
Age. Cleveland, Ohio: The Cleveland Museum of Art,
1980.
Giebelhausen, Joachim.Photography in Industry. Ed. E.F.
Linssen. Munich: Nikolaus Karfp, Verlag Grossbild-
Technik GMGH, 1967.
Hales, Peter Bacon. ‘‘American Views and the Romance of
Modernization.’’ InPhotography in Nineteenth-Century
America. Ed. Martha A. Sandweiss. New York: Harry
N. Abrams, Inc., 1991.
Hambourg, Maria Morris.The New Vision: Photography
between the World Wars, Ford Motor Company Collec-
tion at the Metropolitan Museum of Art. New York: The
Metropolitan Museum of Art, 1989.
Hurley, F. Jack.Industry and the Photographic Image: 153
Great Prints from 1850 to the Present. New York: Dover
Publications, Inc., 1980.
Keir, Malcolm.The Epic of Industry. Vol. 5 ofThe Pageant
of America: A Pictorial History of the United States.Ed.
Ralph Henry Gabriel. New Haven: Yale University
Press, 1926.
Keller, Ulrich.The Building of the Panama Canal in Historic
Photographs. New York: Dover Publications, Inc., 1983.
———.The Highway as Habitat: A Roy Stryker Documen-
tation, 1943–1955. Santa Barbara, California: University
Art Museum, 1986.
Kiefer, Geraldine W. ‘‘From Entrepreneurial to Corporate
and Community Identities: Cleveland Photography.’’ In
Transformations in Cleveland Art, 1796–1946, by Wil-
liam H. Robinson and David Steinberg. Cleveland,
Ohio: The Cleveland Museum of Art, 1996, pp. 198–215.
Lemann, Nicholas.Out of the Forties. Washington and
London: Smithsonian Institution Press, 1981.
Neubart, Jack. Industrial Photography. New York:
Amphoto, 1989.
Nye, David E. American Technological Sublime. Cam-
bridge, MA, and London: The MIT Press, 1994.
———.Consuming Power: A Social History of American
Energies. Cambridge, MA, and London: The MIT Press,
1998.
———.Image Worlds: Corporate Identities at General Elec-
tric. Cambridge, MA, and London: The MIT Press,
1985.
Ripley, C.M.Facts about General Electric. Schenectady,
NY: General Electric Company, 1929.
Sekula, Allan. ‘‘Photography between Labour and Capi-
tal.’’ InMining Photographs and Other Pictures, 1948–
1968: A Selection from the Negative Archives of Shedden
Studio, Glace Bay, Cape Breton, Photographs by Leslie
Shedden. Ed. Benjamin H.D. Buchloh and Robert
Wilkie. Halifax: The Press of the Nova Scotia College
of Art and Design and the University College of Cape
Breton Press, 1983, pp. 193–268.
Sichel, Kim.From Icon to Irony: German and American
Industrial Photography. Seattle and London: University
of Washington Press, 1995.
Smith, Terry.Making the Modern: Industry, Art, and Design
in America. Chicago and London: The University of
Chicago Press, 1993.
Stilgoe, John.Metropolitan Corridor: Railroads and the
American Scene. New Haven and London: Yale Univer-
sity Press, 1983.
Taylor, A. Faulkner.Photography in Commerce and Indus-
try. London: Fountain Press, 1962.
Vilander, Barbara.Hoover Dam: The Photographs of Ben
Glaha. Tucson: The University of Arizona Press, 1999.
Wilson, Richard Guy, Dianne H. Pilgrim, and Dickran Tash-
jian.The Machine Age in America, 1918–1941. New York:
Harry N. Abrams, Inc., 1986.
Zielke, Moni Hans and Franklin G. Beezley.How to Take
Industrial Photographs.NewYorkandToronto:McGraw-
Hill Book Company, Inc., 1948.INFRARED PHOTOGRAPHY
Pioneering astronomer Sir William Herschel made
the discovery of infrared light in 1800. Interested in
viewing the sun through a large telescope and
recognizing that this cannot be done by direct
means, he began a search for filters that would
accomplish this. Herschel discovered certain co-
lored filters passed little light, yet produced a
great deal of heat. Other filters passed lots of
light, but little heat. He speculated that different
rays had different heating capacities and that the
rays from the infrared, literally meaning ‘‘below the
red’’ were responsible for the maximum heating
effect. In an elegant experiment he proved his the-
ory. Many refinements of this discovery followed,
principally by Ritter and Ampere. From the 1870s
on a great deal of scientific experimentation with
sensitizers took place, including those chemicals
that extended the sensitivity into the infraredINFRARED PHOTOGRAPHY