Board_Advisors_etc 3..5

(nextflipdebug2) #1

Encyclopedia International 1839 to the Present. Her-
mance, Switzerland, Editions Camera Obscura, 1985.
Bertonati, Emilio.Das Experimentelle Photo in Deutsch-
land, 1918–1940.Mu ̈nchen: Galeria del Levante, 1978.
Browne, Turner, and Elaine Partnow, eds.Macmillan Bio-
graphical Encyclopedia of Photographic Artists & Innova-
tors. New York and London: Macmillan, 1983.
Coke, Van Deren, Eskildsen, Ute; and Lohse, Bernd.Avant-
Garde Photography in Germany 1919–1939. San Fran-
cisco: San Francisco Museum of Modern Art, 1980
(German edition:Avantgarde-Fotografie in Deutschland
1919–1939.Munich: Schirmer/Morsel, 1982).
Gidal, N.Tim.Deutschland—Beginn des modernen Fotojour-
nalismus. Luzern and Frankfurt: Bucher, 1972.
Gidal, N. Tim, ed.Photography. Men and Movements: Mod-
ern Photojournalism. New York: Collier Macmillan, 1973.
Gra ̈ff, Werner.Es kommt der neue Fotograf!Berlin: Her-
mann Reckendorff, 1929 (Reprint: Cologne, 1978).
Haenlein, Carl-Albrecht, ed.Dada. Photomontagen. Hann-
over: Kestner-Gesellschaft, 1979.
Haenlein, Carl, ed.Photographie und Bauhaus. Hannover:
Kestner-Gesellschaft,1986.
Hall-Duncan, Nancy.Photographic Surrealism. Cleveland:
The New Gallery of Contemporary Art, 1979.
Kempas, Thomas, and Gabriele Saure.Photo-Sequenzen,
Reportagen, Bildgeschichten und Serien aus dem Ullstein
Bilderdienst von 1925 bis 1944. Berlin: Ullstein Bild,
1992.
Boje, Walter, and Heinz Fuchs, Hans H. Hofsta ̈tter, Fritz
Kempe, Bernd Lohse, and Rolf Sachsse. Gesellschaft Deuts-


cher Lichtbildner e.V., ed.,Fotografie 1919–1979. Made in
Germany. Die GDL-Fotografen, Frankfurt: Umschau and
Fotomuseum im Mu ̈nchner Stadt-museum, 1979.
Kraszna-Krausz, Andor.Exhibition in Stuttgart, June 1929,
and Its Effects. Close-up(London) 29 December 1929.
Mellor, David, ed.Germany: The New Photography 1927–
1933. London: Arts Council of Great Britain, 1978.
Molderings, Herbert, and Bauhaus-Archiv. Berlin/Kunstver-
ein fu ̈r die Rheinlande und Westfalen, eds.,Umbo—Vom
Bauhaus zum Bildjournalismus. Berlin: Bauhaus-Archiv,
1995.
Molderings, Herbert.Umbo. Otto Umbehr 1902–1980. Dus-
seldorf: Ritcher Verlag, 1996.
Molderings, Herbert,Umbo. (Photo Poche no. 66). Paris:
Centre National de la Photographie, 1996.
Galerie am Fischmarkt und Rheinisches Landesmuseum
Bonn, eds./ Anna, Susanne, Buke, James, Goodrow,
Ge ́rard A., Oppenheim, Jeanne Freifrau von, texts,Sig-
naturen des Sichtbaren—Ein Jahrhundert der Fotografie
in Deutschland. Stuttgart: Erfurt, 2000.
Reinhardt, George.Umbo-Fotografien von 1925 bis 1933.
Hannover: 1979.
Schlegel, Franz-Xaver.Das Leben der toten Dinge—Studien
zur modernen Sachfotografie in den USA 1914–1935.
Stuttgart: Self-published, 1999.
Spectrum Photogalerie and Kunstmuseum Hannover, eds.
Umbo-Fotografien 1925–1933. Hannover: 1983.
Wick, Rainer K., ed.Das Neue Sehen: Von der Fotografie
am Bauhaus zur Subjektiven Fotografie.Mu ̈nchen: Klin-
khardt & Biermann, 1991.

UNDERWATER PHOTOGRAPHY


Since the 1950s, underwater photography has
grown increasingly popular. Yet, the history of
underwater photography actually began 100 years
earlier when, in 1856, the British engineer William
Thompson attempted to photograph the sub-
merged structure of a bridge spanning the Wey
River. To protect the camera from the surging
water, he constructed a watertight box with one
plate glass side covered by a wooden string-oper-
ated shutter. Once the apparatus was lowered from
a row boat down to the river bed, Thompson
opened the shutter. While the box itself flooded,
Thompson did manage to capture a vague image
of the weed-covered river bottom. Additional
experiments in underwater photography occurred
in the 1860s and 1870s when the French photogra-
pher Ernest Bazin attempted without success to
take photographs from the porthole of a diving


bell. Meanwhile, in the United States, the British
photographer Eadweard Muybridge, responsible
for the first series of fast motion photographs,
conducted his own trials in underwater photogra-
phy with a camera in a watertight casing lowered
into the San Francisco Bay. However, the French
scientist Louis Boutan is credited with producing
the first true underwater photograph in 1893. To
assist his study of aquatic creatures off the coast
of southern France, Boutan set out to photogra-
phically record his subjects. Like his predecessors,
Boutan recognized the need to construct a water-
tight container for the camera to counteract the
corrosive effects of water and amplified atmosphe-
ric pressure. Boutan’s preferred housing weighed
several hundred pounds and, despite the buoying
tendencies of water, required an attached floatation
device for underwater maneuvering. During the

UNDERWATER PHOTOGRAPHY
Free download pdf