Brownie (Continued)
Walter Dorwin Teague and, 174
William Christenberry’s use of, 279, 280
Bruguie`re, Francis Joseph, 175–177
Alfred Stieglitz’s Photo-Secession, 175
American, 175, 176
avant-garde photography experiments, 175
Beyond this Point, 176
biography, 177
collaborations, 175, 176
Few Are Chosen, 176
film-noir-esque lighting, 176
fourth dimension, 176
Frank Eugene and, 175
further reading, 177
group exhibitions, 177
individual exhibitions, 177
legacy, 176
modern aesthetic, 176
Panama-Pacific Exposition, 176
photography as art form, 175
Photo-Secessionists, 176
selected works, 177
solarization, 176
variations on photographic processes, 176
vision, 175
Bullock, Wynn, Center for Creative Photography and, 253
Burgin, Victor, 178–181
appropriation and, 179
Between, 179
biography, 179
class consciousness of Karl Marx, 178
colonial imagery, 179
contemporary society, 178
denaturalizing photography, 178
England, 178–179
feminism, 178
film theory, 178
group exhibitions, 179–181
individual exhibitions, 179
motivating preoccupations, 179
multi-threaded videos, 179
open-ended narratives, 179
Performative Narrative, 178
Possession, 178
postmodernism, 178
selected publications, 181
selected works, 181
Sigmund Freund and, 178
Some Cities, 179
text narratives, 178
theme of migration, 179
When Attitudes Become Form, 178
Burning-in, 181, 182
addition of light, 181
artificial vignetted-edged effect, 182
burning-in tool, 182
changing burning time, 182
contact printing and, 326
digital image manipulation software, 182
exposure length, 181
foot pedal, 182
further reading, 182
muddied colors, 182
obviousness of, 182overuse of, 181
practice, 182
purpose, 181
re-exposure, 182
technique, 181
Burri, Rene`, 183–186
aerial cityscapes, 184
biography, 184
black and white work, 184
Die Deutschen, 183
documentary photography, 183
films for advertisement, 184
first book, 183
further reading, 185, 186
group exhibitions, 184, 185
human nature, 183
individual exhibitions, 184
international contracts, 184
Leica camera, 183
live photography, 183
Magnum Photos, 183
national identities, 184
portraits of artists, 183
selected works, 185
Swiss, 183, 184
war zones, 184
Burrows, Larry, 186–188
The Air War, 187
apprenticeship, 186
biography, 187
British, 186, 187
courage of, 187
freelance photography, 186
further reading, 188
group exhibitions, 187, 188
Home Guard, 186
individual exhibitions, 187
Keystone Photographic Agency, 186
Lifemagazine, 186
One Ride with Yankee Papa 13, 187
photo essays, 186, 187
press photographers in Vietnam, 187
selected works, 188
sensitivity to pictorial composition, 186
soldier’s emotional journey, 187
Vietnam: A Degree of Disillusion, 187
vision of Vietnam war, 186
Burson, Nancy, 188–193
aged photographs, 189
The Age Machine, 189
American, 188–190
biography, 190
children with Apert Syndrome, 189
color Polaroids of faith healers, 188
composite image, 188
computer-generated portrait, 188
Diana camera and, 190, 217
The Difference Between Love and Anger, 190
DNA images, 190
faces with blurred features, 190
further reading, 193
genetic deformities, 189
group exhibitions, 191–193
history of physiognomy, 189
The Human Race Machine, 188INDEX
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