Photography

The millions of photographs in the Museum's collections compose a vast mosaic of the nation's history. Photographs accompany most artifact collections. Thousands of images document engineering projects, for example, and more record the steel, petroleum, and railroad industries.

Some 150,000 images capture the history, art, and science of photography. Nineteenth-century photography, from its initial development by W. H. F. Talbot and Louis Daguerre, is especially well represented and includes cased images, paper photographs, and apparatus. Glass stereographs and news-service negatives by the Underwood & Underwood firm document life in America between the 1890s and the 1930s. The history of amateur photography and photojournalism are preserved here, along with the work of 20th-century masters such as Richard Avedon and Edward Weston. Thousands of cameras and other equipment represent the technical and business side of the field.

date made
mid-late 1800s
ID Number
2012.3033.2057
nonaccession number
2012.3033
catalog number
2012.3033.2057
date made
1887
maker
Muybridge, Eadweard
ID Number
PG.002781
catalog number
2781
accession number
65115
In "The Wizard of Oz", Dorothy's journey from Kansas to Oz is symbolized by a shift from black and white to Technicolor.
Description
In "The Wizard of Oz", Dorothy's journey from Kansas to Oz is symbolized by a shift from black and white to Technicolor. This camera was one of several used to film the Oz scenes.
Invented in 1932, the Technicolor camera recorded on three separate negatives--red, blue and green--which were then combined to develop a full-color positive print. The box encasing the camera, a "blimp," muffled the machine's sound during filming.
The Early Color Cinema Equipment Collection [COLL.PHOTOS.000039] includes equipment, media and ephemera related to color motion pictures from the birth of the cinema to the mid twentieth century. This collection is comprised of 5 motion picture cameras, 3 movie projectors, more than 34 pieces of editing and other apparatus, more than 60 pieces of early color film and two notebooks illustrating the Technicolor process.
Reproducing natural color on film had been an industry goal since the earliest days of motion picture production, but it took several decades to perfect a technology for making movies in color. Motion picture directors often toned or hand-tinted monochromatic film in the industry’s early days to add life and emotion to their productions. Though movie producers continued to use toning and tinting, these costly and inefficient processes could never produce the full range of color that movie cameras failed to record. Therefore, innovators increasingly focused on the use of color filters during capture and projection to reproduce color detail.
Danish-American inventor August Plahn built and patented a camera and projector that split motion picture images through three color lenses using 70mm film. When the film, with three images printed across its width, was projected through the same colored filters, movies’ natural color was restored. The collection includes forty five short lengths of processed film and documents related to Plahn’s work as well as one camera, three projector heads and over seventy-five pieces of apparatus used by the engineer.
While Plahn had little success marketing his inventions, the Boston-based Technicolor Corporation effectively marketed their similar technology to become the industry standard. The color cinema collection includes four Technicolor cameras as well as over twenty-five pieces of equipment related to the Technicolor process and a book of photographs illustrating Technicolor film processing in a train car.
The Society of Motion Picture Engineers, the industry’s leading trade group, donated examples of a number of other early color film technologies, including Prizma, Kelley-line screen, Krayn Screen, Naturalcolor, Multicolor and Morgana color processes.
This finding aid is one in a series documenting the PHC’s Early Cinema Collection [COLL.PHOTOS.000018]. The cinema-related objects cover the range of technological innovation and popular appeal that defined the motion picture industry during a period in which it became the premier form of mass communication in American life, roughly 1885-1930. See also finding aids for Early Sound Cinema [COLL.PHOTOS.000040], Early Cinema Equipment [COLL.PHOTOS.000037], Early Cinema Film and Ephemera [COLL.PHOTOS.000038] and the Gatewood Dunston Collection [COLL.PHOTOS.000021].
Location
Currently not on view (running boards)
date made
1937
maker
Technicolor Corporation
ID Number
PG.008166
catalog number
8166
maker number
Patent No: 2,000,058
accession number
260112
Purple Hearts" series; handwritten on verso "Pfc. Randall Clunen, 19, of the 101st Airborne Division, was wounded December 8, 2003 in Tal Afar, Iraq when a suicide car bomber broke U.S. security lines. The explosion sent shrapnel into Clunen's face, neck and body.
Description (Brief)
Purple Hearts" series; handwritten on verso "Pfc. Randall Clunen, 19, of the 101st Airborne Division, was wounded December 8, 2003 in Tal Afar, Iraq when a suicide car bomber broke U.S. security lines. The explosion sent shrapnel into Clunen's face, neck and body. / Photographed at his home in Salem, Ohio. / February 14, 2004 / From the Purple Hearts Series
Location
Currently not on view
date printed
2021
date made
2004-02-14
maker
Berman, Nina
ID Number
2021.0057.0004
accession number
2021.0057
catalog number
2021.0057.0004
Currently not on view
Location
Currently not on view
date printed
2021
date made
2006-08-27
maker
Berman, Nina
ID Number
2021.0057.0039
catalog number
2021.0057.0039
accession number
2021.0057
Currently not on view
Location
Currently not on view
date printed
2021
date made
2008-02-20
maker
Berman, Nina
ID Number
2021.0057.0029
accession number
2021.0057
catalog number
2021.0057.0029
Eadweard Muybridge’s cyanotypes are working proofs (contact prints) made from the more than 20,000 negatives he took at the University of Pennsylvania from 1884 to 1886.
Description
Eadweard Muybridge’s cyanotypes are working proofs (contact prints) made from the more than 20,000 negatives he took at the University of Pennsylvania from 1884 to 1886. There Muybridge photographed human and animal subjects in motion from lateral (parallel), front and rear positions. For the lateral views he used up to 36 lenses in 12 to 24 cameras placed at 90-degree angles to his subjects, and he added more cameras, each holding up to 12 lenses and placed at 60-degree angles, for the front and rear “foreshortening” views.
Since the original negatives no longer exist, the cyanotypes record full images before Muybridge edited and cropped them for publication. Over 800 sets of proofs exist in the unique collection found in the Photographic History Collection of the National Museum of American History. Comparisons between Muybridge’s working cyanotype proofs and his final collotype prints prove that he freely reprinted, cropped, deleted or substituted negatives to make the assemblage of 781 collotypes in the portfolio Animal Locomotion.
Location
Currently not on view
date made
1884-1886
maker
Muybridge, Eadweard
ID Number
PG.003856.0378
accession number
98473
catalog number
3856.0378
maker number
776
Currently not on view
Location
Currently not on view
date made
1884-1886
maker
Muybridge, Eadweard
ID Number
PG.003856.0314
accession number
98473
catalog number
3856.0314
maker number
764
Currently not on view
Location
Currently not on view
date made
1940s
maker
Signal Corps' Army Pictorial Service and Army Communications Service
ID Number
2013.0327.0219
catalog number
2013.0327.0219
accession number
2013.0327
date made
mid-late 1800s
ID Number
2012.3033.3407
nonaccession number
2012.3033
catalog number
2012.3033.3407
date made
mid-late 1800s
ID Number
2012.3033.3411
nonaccession number
2012.3033
catalog number
2012.3033.3411
Currently not on view
Location
Currently not on view
date made
1887
maker
Muybridge, Eadweard
ID Number
PG.002979
catalog number
2979
accession number
65115
Paper-mounted tintype studio portrait of four two pairs of men in boxing stance and another man, in a suit, standind between them; on verso, in pencil, "M Stimson / 1894."The NMAH Photo History Collection (PHC) has over 3000 tintype photographs dating from the beginnings of the p
Description (Brief)
Paper-mounted tintype studio portrait of four two pairs of men in boxing stance and another man, in a suit, standind between them; on verso, in pencil, "M Stimson / 1894."
Description
The NMAH Photo History Collection (PHC) has over 3000 tintype photographs dating from the beginnings of the process in 1856 to the present. ‘Tintype’ was coined and became the favored name.
Tintypes in the PHC are found in albums, the Kaynor Union Case collection and as individual photographs. The original tintype process patent was assigned to William and Peter Neff in 1856. William Neff died a short time later, but his son Peter, who named the process Melainotype, continued on with his work. The earliest tintypes in the PHC are a group of more than thirty Peter Neff Melainotypes, some of which date back to 1856 and contain notes written by Peter Neff. Shortly after the Melainotype, Victor Griswold introduced a very similar process on thinner, lighter iron plates and called them Ferrotypes. The PHC has tintypes ranging from rare large images between 5”x7” and 10”x12”down to small images cut to 6mm diameter to fit jewelry. The Melainotypes are between 1/6 plate and 4”x5” in size and many have indistinct images. There are also unexposed Melainotype plates including a pack of 1/6 plates and large whole-plates with four decorated oval borders that were designed to be cut into smaller quarter plates after exposure.
The great majority of tintype photographs are studio portraits, including the very popular ‘Gem’ size (about ¾” x 1”). Almost every gem tintype in the PHC is an individual head and shoulders portraits, the only exceptions seen being a full length portrait and a head and shoulders portrait of a couple. Most of these gem portraits are in small gem albums designed to hold two to six gems per page. However, several gems are mounted on cartes-de-visite (CDV) size cards and set in specifically designed album pages. Some of these CDV mounted gems are in elaborate miniature frames attached to the card. The tintypes larger than gem size show a greater variety of subject matter, but still with a main focus on individual portraits, this is especially true of the smaller 1/16 and 1/9 plate images. Outdoor tintypes are rare. Of the few in the PHC, the most common outdoor subjects noted are people standing in front of their homes and photographs of people proudly standing with, or sitting on, their horse or horses and buggy. One of the largest tintypes is a 9”x 7” outdoor view of a row of townhouses with a couple standing on one of the balconies. There is also an outdoor tintype of men fishing along with another of their days catch.
One common subject in tintype photography, as noted in text books, is the civil war soldier. The durability of the tintype meant that photographs taken in the field could be sent home. However, this category of tintype is not well represented in the PHC, with less than thirty noted due to the fact that the majority of the Smithsonian’s Civil War tintypes are located mainly in the Military History Collection. Most of the PHC examples of Civil War tintypes are in the Kaynor collection of cased images.
A few of the tintypes in the PHC are hand colored. This coloring varies from light tinting of faces and hands to heavy overpainting that obscures the underlying tintype image. A number of the tintypes (about 30) depict people with the apparatus of their occupations. Some are posed studio shots and others appear to be photographs of people at their place of work. Among the occupational views are images of a doctor, grocery deliveryman, weavers, fireman, ice delivery man, craftsman, cobbler, shoe shiners, mail carrier, surveyor, pipe liners and other tintypes of people wearing work clothes and posing with tools. These include a unique full-length gem tintype of a man in work apron with a saw.
Location
Currently not on view
date made
1894
ID Number
PG.75.24.18
accession number
317967
catalog number
75.24.18
Tintype full-length studio portrait of a woman dressed as a nun holding a crucifix and leaning on a piece of furniture.The NMAH Photo History Collection (PHC) has over 3000 tintype photographs dating from the beginnings of the process in 1856 to the present.
Description (Brief)
Tintype full-length studio portrait of a woman dressed as a nun holding a crucifix and leaning on a piece of furniture.
Description
The NMAH Photo History Collection (PHC) has over 3000 tintype photographs dating from the beginnings of the process in 1856 to the present. ‘Tintype’ was coined and became the favored name.
Tintypes in the PHC are found in albums, the Kaynor Union Case collection and as individual photographs. The original tintype process patent was assigned to William and Peter Neff in 1856. William Neff died a short time later, but his son Peter, who named the process Melainotype, continued on with his work. The earliest tintypes in the PHC are a group of more than thirty Peter Neff Melainotypes, some of which date back to 1856 and contain notes written by Peter Neff. Shortly after the Melainotype, Victor Griswold introduced a very similar process on thinner, lighter iron plates and called them Ferrotypes. The PHC has tintypes ranging from rare large images between 5”x7” and 10”x12”down to small images cut to 6mm diameter to fit jewelry. The Melainotypes are between 1/6 plate and 4”x5” in size and many have indistinct images. There are also unexposed Melainotype plates including a pack of 1/6 plates and large whole-plates with four decorated oval borders that were designed to be cut into smaller quarter plates after exposure.
The great majority of tintype photographs are studio portraits, including the very popular ‘Gem’ size (about ¾” x 1”). Almost every gem tintype in the PHC is an individual head and shoulders portraits, the only exceptions seen being a full length portrait and a head and shoulders portrait of a couple. Most of these gem portraits are in small gem albums designed to hold two to six gems per page. However, several gems are mounted on cartes-de-visite (CDV) size cards and set in specifically designed album pages. Some of these CDV mounted gems are in elaborate miniature frames attached to the card. The tintypes larger than gem size show a greater variety of subject matter, but still with a main focus on individual portraits, this is especially true of the smaller 1/16 and 1/9 plate images. Outdoor tintypes are rare. Of the few in the PHC, the most common outdoor subjects noted are people standing in front of their homes and photographs of people proudly standing with, or sitting on, their horse or horses and buggy. One of the largest tintypes is a 9”x 7” outdoor view of a row of townhouses with a couple standing on one of the balconies. There is also an outdoor tintype of men fishing along with another of their days catch.
One common subject in tintype photography, as noted in text books, is the civil war soldier. The durability of the tintype meant that photographs taken in the field could be sent home. However, this category of tintype is not well represented in the PHC, with less than thirty noted due to the fact that the majority of the Smithsonian’s Civil War tintypes are located mainly in the Military History Collection. Most of the PHC examples of Civil War tintypes are in the Kaynor collection of cased images.
A few of the tintypes in the PHC are hand colored. This coloring varies from light tinting of faces and hands to heavy overpainting that obscures the underlying tintype image. A number of the tintypes (about 30) depict people with the apparatus of their occupations. Some are posed studio shots and others appear to be photographs of people at their place of work. Among the occupational views are images of a doctor, grocery deliveryman, weavers, fireman, ice delivery man, craftsman, cobbler, shoe shiners, mail carrier, surveyor, pipe liners and other tintypes of people wearing work clothes and posing with tools. These include a unique full-length gem tintype of a man in work apron with a saw.
Location
Currently not on view
ID Number
PG.75.24.15
catalog number
75.24.15
accession number
317967
date made
mid-late 1800s
ID Number
2012.3033.2649
nonaccession number
2012.3033
catalog number
2012.3033.2649
Currently not on view
Location
Currently not on view
date made
ca 1971
maker
Snyder, Joel
ID Number
PG.71.120.10
catalog number
71.120.10
Rudolf Eickemeyer, Jr. (1862–1932) used a wide variety of printing processes, printing out some negatives in more than one medium.
Description
Rudolf Eickemeyer, Jr. (1862–1932) used a wide variety of printing processes, printing out some negatives in more than one medium. In his lectures, he pointed out that this approach to photography was important because in the hands of a photographer who “lives and understands the infinitely varied moods of nature, photography can be made to express and interpret them.” In correspondence with Dr. Olmstead at the Smithsonian, as the presentation of his gifts and bequest to the museum was being arranged, Eickemeyer wrote: “The collection illustrates the use of every important process and will, I believe, be of real educational value.”
The first of the Eickemeyer photographic collection came to the National Museum’s Department of Arts and Industries (the “Castle”), Division of Graphic Arts in 1922 at the close of a large exhibition of Eickemeyer’s work at the Anderson Gallery in New York. It was a gift from the photographer of five framed prints from the New York show that he considered representative of his work.
In 1929, Eickemeyer gave the Smithsonian 83 framed prints (including copies of the prints that he had previously given the museum), 15 portfolios, his medals and awards, and several miscellaneous photographic paraphernalia. In 1930, he made a will bequeathing most of his remaining prints, negatives, photographic equipment and other objects relating to his 30-year career as a photographer to the Smithsonian Institution.
Upon Eickemeyer’s death in 1932, an accession consisting primarily of photographic equipment from his studio came to the Smithsonian. Included in the bequest were 2 cameras, several lenses, scales, timers, printing frames, plate holders, dry mounters and a lecture case with slide projector and hand-colored lantern slides. Also included were 43 albums, journals and portfolios and assorted negatives and contact prints, many marked “discards.” There are 58 albums, notebooks and portfolios in the collection. Eickemeyer requested in his will that his gifts and bequests be called The Rudolf Eickemeyer, Jr. Collection.
Location
Currently not on view
date made
1909
maker
Eickemeyer, Jr., Rudolf
ID Number
PG.004135.B021.28
catalog number
4135.B21.28
accession number
128483
Currently not on view
Location
Currently not on view
date made
1884-1886
maker
Muybridge, Eadweard
ID Number
PG.003856.0684
accession number
98473
catalog number
3856.0684
maker number
1209
From the photographer, handwritten on verso of the photographer: "Spc. Robert Acosta, 20, an ammunitions specialists with the 1st Armored Division, was wounded July 13, 2003 near Baghdad International Airport when a grenade was thrown into his vehicle and exploded.
Description (Brief)
From the photographer, handwritten on verso of the photographer: "Spc. Robert Acosta, 20, an ammunitions specialists with the 1st Armored Division, was wounded July 13, 2003 near Baghdad International Airport when a grenade was thrown into his vehicle and exploded. He lost his right hand and the use of his left leg. / Photographed at his home in Santa Ana, California April 12, 2004 / From the Purple Hearts series"
Location
Currently not on view
date printed
2021
date made
2004-04-12
maker
Berman, Nina
ID Number
2021.0057.0001
accession number
2021.0057
catalog number
2021.0057.0001
From the photographer, handwritten on the verso of the photograph: "Spc. Sam Ross, 21, a combat engineer with the 82nd Airborne Division, was wounded May 18, 2003 while disposing of munitions near Baghdad.
Description (Brief)
From the photographer, handwritten on the verso of the photograph: "Spc. Sam Ross, 21, a combat engineer with the 82nd Airborne Division, was wounded May 18, 2003 while disposing of munitions near Baghdad. He lost much of his eyesight, his left leg, and some of his hearing in the blast. / Photographed in the woods near his trailer in Dunbar Township, Pennsylvania / October 19, 2003 / From the Purple Hearts Series"
Location
Currently not on view
date printed
2021
date made
2003-10-19
maker
Berman, Nina
ID Number
2021.0057.0006
accession number
2021.0057
catalog number
2021.0057.0006
Currently not on view
Location
Currently not on view
date made
ca 1903
maker
Annan, James Craig
ID Number
PG.003454
accession number
67327
catalog number
3454
Currently not on view
Location
Currently not on view
date made
1884-1886
maker
Muybridge, Eadweard
ID Number
PG.003856.0691
accession number
98473
catalog number
3856.0691
maker number
1227
date made
mid-late 1800s
ID Number
2012.3033.1735
nonaccession number
2012.3033
catalog number
2012.3033.1735
date made
mid-late 1800s
ID Number
2012.3033.3224
nonaccession number
2012.3033
catalog number
2012.3033.3224

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