1986 J. Splichal, I. Ben-Arieh and J. Uelsmann; Fotografie
Forum, Frankfurt, Germany
The Animal in Photography 1843–1985; The Photogra-
phers’ Gallery, London, England
Further Reading
Carlisle, Steve. ‘‘Jerry Uelsmann & Maggie Taylor: Partners
in Art.’’Digital Fine Art(Fall 1999): 26–33.
Enyeart, James L.Jerry N. Uelsmann Twenty-five Years: A
Retrospective. Boston: New York Graphic Society, 1982.
Lyons, Nathan, ed.The Persistence of Vision. George East-
man House. New York: Horizon and Rochester, New
York, 1967.
Uelsmann, Jerry.Jerry Uelsmann.Intro.byPeterBunnell.
Fables by Russell Edson. Millerton, NY: Aperture, Inc.,
- Rev. ed., 1973.
———.Jerry Uelsmann: Silver Meditations. Intro. by Peter
C. Bunnell. Dobbs Ferry, NY: Morgan & Morgan, Inc.,
1975.
———.Jerry Uelsmann: Photography from 1975–1979. Chi-
cago: Columbia College, 1980.
———.Uelsmann: Process & Perception. Ames, John. Gai-
nesville, FL: University Press of Florida, 1985.
———.Photo Synthesis. Gainesville, FL: University Press
of Florida, 1992.
———.Uelsmann/Yosemite. Gainesville, FL: University Press
of Florida, 1996.
———.Approaching the Shadow. Essay by Bill Jay. Tucson,
AZ: Nazraeli Press, 2000.
Ward, John.The Criticism of Photograph as Art: The Photo-
graphs of Jerry Uelsmann. Gainesville, FL: University of
Florida Press, 1970.DORIS ULMANN
American
Although her own background was one of upper-
class privilege, Doris Ulmann used her photo-
graphs to record the vanishing customs, trades,
and traditions in some of the poorest regions in
the United States. Yet poverty was not the primary
subject of her photographs. Ulmann was instead
attempting to document a way of life and a culture
that was slowly disappearing. Her portraits of peo-
ple of the rural South are Ulmann’s primary legacy
to the history of photography.
Born Doris May Ulmann to Gertrude Maas and
Berhnard Ulmann on May 29, 1882 in New York
City,herfatherwasoriginallyfromGermanyandthe
owner of a successful textile company. Her mother,
an American, died while Ulmann and her younger
sister Edna were still children. A delicate child who
suffered stomach problems, she spent some of her
childhood traveling in Europe with her family. For
her secondary education, Ulmann attended the tea-
chertrainingprogramattheprogressiveEthicalCul-
ture (Fieldston) School where her botany professor
was the photographer Lewis Hine. From 1907 to
1910 Ulmann attended Columbia University where
she studied law and psychology. It was at this time
that she also began taking courses in photography
with the photographer, Clarence White. For several
yearsWhitetaughtcoursesonphotographicportrai-
ture and Ulmann, along with other students (includ-
ing Margaret Bourke-White and Laura Gilpin)
learned to combine a Pictorialist technique of soft
focusandextendedtonalrangeswithamodernistuse
of form and composition.
While at the Clarence White school she met and
married a fellow student, Dr. Charles H. Jaeger.
Ulmann and her husband would often take trips to
picturesque places such as Quebec City, Canada, or
Gloucester Bay, Massachusetts, in order to photo-
graph the landscapes and the people until their
divorce in 1925. In the early part of her career
Ulmann toted her large, 57-inch view camera
around New York, photographing various trades-
people at work. It was this body of work that first
established her reputation as a photographer. The
workers are usually posed with a tool or other
object that indicated their trade—a street vendor,
for example, leans over a truck full of garlic or a
cooper is shown surrounded by barrels.
Ulmann became one of the first members of the
Pictorial Photographers of America when it was
founded in 1917. In 1919, her first photographic
portfolio, 24 portraits of the Faculty of the College
of Physicians and Surgeons of Columbian Univer-
sity, was published. One year later her photograph
Portrait of a Childwas published in the first issue ofUELSMANN, JERRY