Photography

Leica 35mm Camera

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: 1900s

Hog Island, Virginia 1906

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
1906
maker
Eickemeyer, Jr., Rudolf
ID Number
PG.004135.B019
accession number
128483

Glover Store

Currently not on view
Location
Currently not on view
date made
before 1907
ID Number
PG.78.38.04
catalog number
78.38.4
accession number
2018.0225

breaking waves at daybreak

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.B010.80
catalog number
4135.B10.80
accession number
128483

field and stream

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.B021.07
catalog number
4135.B21.7
accession number
128483

Christmas Jerry

Currently not on view
Location
Currently not on view
date made
after 1907
postmark date
1909/12/24
date made
after 1907
ID Number
1986.3048.0693
nonaccession number
1986.3048
catalog number
1986.3048.0693

small woodland stream

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.B021.25
catalog number
4135.B21.25
accession number
128483

Worker in a Field, Massachusetts, 1911

A Lewis Hine silver print circa 1908. This image is one in a series of photographs made for The National Child Labor Committee. The image is of a very small child in a field. The child is wearing a brimmed hat and carrying two buckets of fruit.
Description (Brief)
A Lewis Hine silver print circa 1908. This image is one in a series of photographs made for The National Child Labor Committee. The image is of a very small child in a field. The child is wearing a brimmed hat and carrying two buckets of fruit. Other workers can be seen in the blurred background.
Description
Lewis Hine was born in Oshkosh, Wisconsin to a working class family. He was orphaned at the age of fifteen and forced into the workforce. While supporting himself, Hine managed to continue his education. After high school graduation he worked a few odd jobs and then in 1900 eventually enrolled at The University of Chicago. At the University Hine studied Sociology. While taking classes, Hine came to know Frank Manny a professor at the State Normal School. Manny had recently received a job offer to be the superintendent of the Ethical Culture School in New York City. Hine decided to join his new friend and in 1901 moved to New York to teach at Manny's school. Hine continued to pursue his degree in Sociology at New York University. It was during this period that Hine began to use a camera. At first, his interest in photography was simply as a means to educate students and to document school events. However, Hine was quick to take an interest in photography and ultimately this new medium would become the means through which he could express his growing social concerns, especially about child welfare.
In 1904, Hine began his first photo essay. In an attempt to counter growing anti-immigration sentiment amongst New Yorkers, and Americans in general, Hine began a project to photograph immigrant families arriving at Ellis Island. Instead of making them appear pathetic or even animalistic, as other photographers were doing, Hine photographed these people with a humanitarian eye. He depicted them as brave, dignified pioneers of a new land. Hine's camera was a 5x7-plate box-type on a tripod. Often he had to work in low light. If he was indoors, Hine usually had only one chance to photograph an image because after he used a magnesium flash powder to create artificial light the room would fill with smoke, obstructing the image.
In 1905, Hine received his degree from NYU and began considering a career in Sociological Photography. By 1908, he had left his teaching job for a full time position as an investigative photographer for The National Child Labor Committee (NCLC). His first commission from the NCLC was to photograph home workers, children and adults, in New York City tenements. Hine was horrified with what he saw, he described the conditions as "One of the most iniquitous phases of child slavery." Later that year Hine, on commission from the NCLC, left New York to photograph child laborers all over the United States. In 1909 Hine published his first photo essay on children at risk. The essay was comprised of material from the first years of his tour of the United States.
Throughout his career many more photo essays would follow, alerting the public to the plight of these American children who were obviously in such grave danger in their working environments.
Hine's work also took him to Europe in 1917. Funded by the Red Cross he photographed European refugees of World War I. In the 1920's, Hine returned to America and to Ellis Island to once again photograph newly arrived immigrants. Although Hine was a pioneer in 'Sociological Photography' and he had vastly increased public awareness about child labor, he still struggled to make a living.
In 1930, ten years before his death, Hine received the honor of photographing the construction of the Empire State Building. For a change, Hine focused on the joyful and productive side of labor instead of the dark side. Lewis Hine died in 1940. As a photographer, Hine left a resounding impact on the worlds of journalism and art, pioneering a new form of storytelling that today we call photojournalism.
Location
Currently not on view
Date made
ca 1908
date made
ca. 1908-1911
maker
Hine, Lewis
ID Number
PG.72.78.17
catalog number
72.78.17
accession number
302041

man in winter gear and goggles

Currently not on view
Location
Currently not on view
date made
after 1907
ID Number
1986.3048.1871
nonaccession number
1986.3048
catalog number
1986.3048.1871

Stephan Sinding, Valkyrie

Currently not on view
Location
Currently not on view
date made
after 1907
ID Number
1986.3048.1547
nonaccession number
1986.3048
catalog number
1986.3048.1547

portrait of three people in field in oval frame

Currently not on view
Location
Currently not on view
date made
after 1907
ID Number
1986.3048.1004
nonaccession number
1986.3048
catalog number
1986.3048.1004

man in jewelry shop, rush, texas

Currently not on view
Location
Currently not on view
date made
after 1907
ID Number
1986.3048.0962
nonaccession number
1986.3048
catalog number
1986.3048.0962

Crowd of People in a Tent on the Beach

date made
after 1907
ID Number
1986.3048.0864
catalog number
1986.3048.0864
nonaccession number
1986.3048

No. 68 Engine Room, Mechanics Mill.

black and white stereograph mounted on yellow cardstock; printed on verso "Photographed and Published by / Kilburn Brothers, ---- Littleton, N.H."; printed on recto "No. 68 Engine Room, Mechanics Mill."; large engines inside interior of factoryCurrently not on view
Description (Brief)
black and white stereograph mounted on yellow cardstock; printed on verso "Photographed and Published by / Kilburn Brothers, ---- Littleton, N.H."; printed on recto "No. 68 Engine Room, Mechanics Mill."; large engines inside interior of factory
Location
Currently not on view
date made
1865-1900s
maker
Kilburn Brothers
ID Number
2012.3033.0280
nonaccession number
2012.3033
catalog number
2012.3033.0280

crowd of people in city street

Currently not on view
Location
Currently not on view
date made
after 1907
ID Number
1986.3048.1675
nonaccession number
1986.3048
catalog number
1986.3048.1675

lake homes

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.B010.58
catalog number
4135.B10.58
accession number
128483

General View of the Alamo, San Antonio

Tall thin building next to the Alamo, cars in circle in frontCurrently not on view
Description (Brief)
Tall thin building next to the Alamo, cars in circle in front
Location
Currently not on view
date made
1900s
1850s-1860s
ID Number
2012.3033.0039
nonaccession number
2012.3033
catalog number
2012.3033.0039

woman standing outside house

Currently not on view
Location
Currently not on view
date made
after 1907
ID Number
1986.3048.1821
nonaccession number
1986.3048
catalog number
1986.3048.1821

group of people behind large white shape

Currently not on view
Location
Currently not on view
date made
after 1907
ID Number
1986.3048.1344
nonaccession number
1986.3048
catalog number
1986.3048.1344

Plymouth Rock imposter

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.B010.32
catalog number
4135.B10.32
accession number
128483

Globe Hotel

Currently not on view
Location
Currently not on view
date made
after 1907
ID Number
1986.3048.1576
nonaccession number
1986.3048
catalog number
1986.3048.1576

Bagley Tri-Lens Mapping Aerial Camera

Designed by Colonel James W. Bagley, former topographic engineer, U.S. Geological Survey. It has three lenses through which three simultaneous exposures are made on a single roll of film.
Description (Brief)
Designed by Colonel James W. Bagley, former topographic engineer, U.S. Geological Survey. It has three lenses through which three simultaneous exposures are made on a single roll of film. The center lens is parallel to the plane of the horizon, while the other to are inclined toward the plane. The inclined negatives must be transformed or projected to the plane of the horizon before they are used. This is done in the laboratory with a transforming camera.
Location
Currently not on view
date made
1917
patent date
1903-02-24
ID Number
PG.4025
catalog number
4025
accession number
129440

two women in dark dresses

Currently not on view
Location
Currently not on view
date made
after 1907
ID Number
1986.3048.1269
nonaccession number
1986.3048
catalog number
1986.3048.1269

A Century of Progress

Currently not on view
Location
Currently not on view
date made
after 1907
ID Number
1986.3048.1854
nonaccession number
1986.3048
catalog number
1986.3048.1854

Summer Sea

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
1901
maker
Eickemeyer, Jr., Rudolf
ID Number
PG.003920.A33
catalog number
3920.A33
accession number
106456

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