Chambi, Martı ́n(Continued)
selected works, 263–264
singular chiaroscuro, 263
technical achievements, 263
Charge-coupled device (CCD), 77, 218, 299
Chargesheimer, 265–268
adoption of artist’s name, 265
articles published about, 266
biography, 266
close-up portrayals of stars, 265
Cologne Intime, 266
darkroom experiments, 266
description of approach, 265
early photography, 265
further reading, 268
German, 265, 266
group exhibitions, 266–268
individual exhibitions, 266
influence ofArt Informel, 265
Museum Ludwig, 265
photo-essay books, 265
photographic theater, 265
Photo-Kinoexhibition, 265
portraits, 265
post-war photography of, 265
reevaluated negatives, 266
selected works, 268
Stadtsbrger, 266
Subjective Photography, 265
theater designer, 265
Wolfgang Vollmer, 266
Chemical experimentation, 7
China and Taiwan, 268–279
ambitious photo album, 273
anti-imperialist movement, 269
arrival of photography in China, 268
Chang Tsai, 273, 274
Chen Changfen, 271
Chen Chieh-jen, 277
Chen Lingyang, 272
Chen Shun-chu, 277
Chen Wanli, 269
Cheng Shang-his, 276
Cheng Yin-jen, 276
Chin dynasty, 269
China Photographic Society, 270
China Pictorial, 270
China Reconstructs, 270
Chinese painting principles, 275
Chinese Photography Association, 274
Community Party and, 270
contemporary photography after mid-1990s, 271–273
contemporary photography in connection with digital technol-
ogy in 1990s, 276, 277
contemporary photography in Taiwan, 277
Cultural Revolution, 271
cyber culture, 277
Dafengji, 269
Darwin’s theory of evolution, 277
documentary photography in China after 1911, 269, 270
documentary photography in late 1980s, 271
dominance of realist style, 274
Donald Mennie, 269
Duplicated Me Photo Shop, 273
Echomagazine, 276
Felice Beato, 269
female photographers, 276
fine-arts expression in People’s Republic, 271
first photographs made, 269
Forbidden City, 269
Four Beauties, 271
further reading, 277
Gao Shin-jiang, 276
Guang Association, 269
‘‘High Class Photographer,’’ 268
historical motifs, 272
Hong Lei, 272
Hou Bo, 270
Hu Boxiang, 270
Hu Yung, 275
Huang Baohui, 270
increasing affluence, 271
intentional photography and modern photography in 1960s and
1970s, 275
Jang Jao-tang, 275
Jang Jao-tung, 276
Jang Shr-shian, 276
Judgement, 277
Ke Shi-jie, 275
landscape photography of Great Wall, 271
landscape photography, 271
leading exponent of theories on photography in China, 269
Lee Ming-diao, 273, 274
Lin Tsao, 273
Liu Bannong, 269
Liu Zheng’s series, 271
locust symbol, 271
Long Chin-san, 269
Long Chin-san, 274
Man and Land, 276
May 30th Movement, 269
Mee Cheung, 268
Milton Miller’s motifs, 268
montage pictorial photography after World War II, 274, 275
montage pictorial photography, 274
National Geographic Society, 269
Orchid Island aboriginals, 276
Origin, 277
Peng Ruei-lin’s experimentalism, 273
Photo Century, 275
Photographers, 276
photography from 1895 to 1948 during Taiwan’s colonial period
under Japanese occupation, 273, 274
photography in China, 268, 269
photography in Taiwan, 273
portraits of Communist leaders, 270
process of Western modernization, 271
propaganda tools, 270
Renjian, 276
reportage photography from 1970s to 1990s, 275, 276
Rong Rong, 272
Shr Chiang, 273
significant moment in PRC history, 270
Sino-Japanese War, 273
social documentary during anti-Japanese war and civil war in
1930s, 270, 271
symbolism of wartime patriotic struggle, 271
Taiwan forced out of United Nations, 275
Taiwan Photographic Society, 274
Talking about Photography, 269INDEXI23