Boltanski, Christian (Continued)
individual exhibitions, 147, 148
selected works, 148, 149
Books of photographs, Ansel Adams, 13
Borrowed images, 47
Bourdeau, Robert, 149–152
abandoned industrial sites, 150
Advertising & Design Club of Canada Award, 151
all-consuming landscape, 150
Aperturemagazine, 149
biography, 151
camera work, 149
Canada Council grants, 150
Canadian, 149–151
elegiac quality, 150
experience of photographing, 150
feeling state, 149
further reading, 151, 152
group exhibitions, 151
humanity, 149
individual exhibitions, 151
inspiration, 149
KodakMaster View, 150
National Film Board, 149
photography dealer, 149
pictorialism, 149
print quality, 150
relationship with Paul Strand, 149
selected works, 151
station point, 150
subject, 150
Windowsill Daydreaming, 149
Bourke-White, Margaret, 152–155
American Economic Life, 154
American, 152–154
autobiography, 154
avant-garde vocabulary, 153
biography, 154
career, 152
chaos of patterns, 152
commercial practice, 152
day in the life of representative character, 154
Dust Bowl, 153
elevated consumption, 154
first major clients, 153
free-lancing forLifemagazine, 153
further reading, 155
group exhibitions, 154, 155
idealized picture, 152
image as woman, 152
imperial views, 153
individual exhibitions, 154
language of pristine Pictorialism, 153
manipulation by agents, 154
marketable hit, 152
mood-inducing atmosphere, 152
most famous image of 1930s, 153
multiple exposures, 152
national byline, 152
national publicity campaign, 153
private scenarios, 152
promise of ideal American way, 153
publicity shots, 152
risk taking, 152
selected works, 155Tonalism, 153
war assignments, 154
Bracketing, 155–157
automatic, 156
consistent ISO, 156
correct exposure, 155
digital photography, 156
disadvantage of, 156
incorrect exposure, 155
insurance for photographer, 157
manipulation of images in software program, 156
multiple exposures, 157
shutter speed, 156
stopping motion, 156
wasting of film, 156
Brady, Mathew, 3
Bragaglia, Anton Giulio, 157–159
biography, 159
Boccioni’s view of photodynamics, 158
Casa d’Arte Bragaglia, 159
Change of Position, 158
chronophotographs, 157
deforming of visual world, 158
dematerialization, 158
document of avant-garde performance, 159
European avant-garde approaches, 157
exhibition promotion, 159
first modern revolution in photography, 157
Fotodinamismo, 157–159
further reading, 159
Futurist plastic dynamism, 158
Futurist ringleader, 157
group exhibitions, 159
influence of Bergson’s theories on, 158
intuition over rationalized thought, 158
Italian, 157–159
liberation of photography, 157
Luigi Russolo and, 157
metaphysical predilections of imagery, 157
method of vitalist expression, 157
negative element, 158
Nuova archaeologia romana, 158
selected works, 159
shared epithet, 157
shared use of camera, 158
theoretical tracts on theater, 159
The Typist, 158
Brandt, Bill, 160–162
biography, 162
British, 160, 161
Camera in London, 160, 161
distortion of female form, 161
empathy for working class subjects, 160
exploration of new processes, 161
extreme formalism, 161
further reading, 162
genres followed, 160
important theme, 160
individual exhibitions, 162
influence of artistic avant-garde, 160
influence ofCitizen Kane, 161
innovations in night photography, 161
Lilliputmagazine, 161
mystery, 160
photographic language, 160INDEX
I14