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: 1930s

Architecture - November Fog

Currently not on view
Location
Currently not on view
date made
ca 1930s
ID Number
PG.004041B
accession number
133811
catalog number
4041B

Giddy-up!

From Pictorial Artistry: The Dramatization of the Beautiful in Photography"Man and horse against time and tide! Soon… unless they be quick, the remaining lobster cages will be afloat and they will be lost.
Description
From Pictorial Artistry: The Dramatization of the Beautiful in Photography
"Man and horse against time and tide! Soon… unless they be quick, the remaining lobster cages will be afloat and they will be lost. But a kindly Providence seems to watch over the destinies of Prince Edward’s Island lobstermen. For day in and day out the same thing happens here in the Gulf of the St. Lawrence River. First, the seemingly needless delay to gather the catch in reasonable time… then, the last minute rush and scurry as the tide-waters deepen, reaching farther and farther shoreward across the wet sands… and the cages finally saved by a hair’s-breadth.
Composition:
Powerful contrast and concentration of light on the leading motif (the man), was purposely emphasized to avoid being lost in the details of the secondary masses comprised of the wagon and the lobster cages. The disinterested attitude of the horse also refracts interest to the leading motif. The circular eddying motion of the water encloses the motif very effectively.
Technical Problems:
Because there was no color in the sky, a filter had little effect. Therefore, local reduction was applied to the sky and other bright parts of the picture, leaving the nearest wheel and the cap worn by the man the brightest points in the picture area. Beyond the horse’s head a black shoreline continued, leaving a disturbing heavy horizontal bar. It had to be treated so that attention would not be scattered from the leading motif. This was accomplished by merging the shoreline into the tone values of the adjoining ocean and subduing the values of the horse. Reducing, retouching on groundglass behind the film and on a paper negative were the methods used. Finally, by working up the threatening clouds and darkening of the tones in general, the picture was given the dramatic strength in keeping with its mood.
Data:
Camera: 2 ¼ x 3 ¼ Makina
Lens: Plaubel Anticomar
Stop: f.8
Exposure: 1/50, held in hand
Filter: Medium Yellow
Film: Agfa Super Plenachrome
Transparency: 8x10 Eastman Commercial
Paper Negative: 14x17 Charcoal Black F
Print: Defender Veltura, P"
by Adolf Fassbender, 1937
Location
Currently not on view
date made
before 1937
maker
Fassbender, Adolf
ID Number
PG.004116.37
catalog number
4116.37
accession number
146001

The nation's Capitol seen through the slums

Carl Mydans was part of Roy Stryker's photographic staff at the Resettlement Administration from late in 1935 until 1936.
Description
Carl Mydans was part of Roy Stryker's photographic staff at the Resettlement Administration from late in 1935 until 1936. Between his assignments in the southeastern states to document cotton production and his travels farther north in New England, Mydans spent time in the nation's capital and photographed the Capitol from a different, less familiar point of view. During the 1930s, most neighborhoods surrounding the Capitol were poor shantytowns of tenements and shacks.
Location
Currently not on view
Date made
1935-09
1935
photographer
Mydans, Carl
ID Number
2005.0228.003
accession number
2005.0228
catalog number
2005.0228.003

Pond Fantasy

Currently not on view
Location
Currently not on view
date made
1931
maker
Kono, Asahachi
ID Number
PG.004161B.22
catalog number
4161B.22
accession number
152565

Bittersweet

From Pictorial Artistry: The Dramatization of the Beautiful in Photography"The bright flowers and foliage of Summer are gone.
Description
From Pictorial Artistry: The Dramatization of the Beautiful in Photography
"The bright flowers and foliage of Summer are gone. Dry leaves and broken twigs rustle and crackle underfoot… the crisp air has become coolly remindful of the imminence of Winter… and sprigs of colorful Bittersweet again adorn the vases on my mantelpiece.
For it is at this time in our seasonal cycle that the hardy crimson-berried shrub defiantly colors the faded countrysides, and we gratefully gather its vivid cheeriness to grace our homes with its lasting hues through the long Winter months. It is this feeling of homely delicacy that I wished to capture in the subject.
Composition:
A simple arrangement in steelyard balance. The vase positioned at the extreme right permits the Bittersweet to extend far to the left without distortion or side-heaviness. The second sprig, resting carelessly below provides whatever additional support may be needed. The simple, restrained tone and contour of the vase prevent this large mass from otherwise dominating the composition and subordinating the intended center of interest, which of course is the Bittersweet. The high key of the rendering with subtle play of light and tone, and the diffused light accent at the center of the composition, give the ethereal delicacy and charm I desired.
Technical Problems:
High key and finely balanced tone values in a limited range is an achievement in photography that demands complete mastery, (barring accidents) of the technique of pictorial control all the way from the selection of suitable subject matter to the final negative and print manipulation. The particular problem at this time was to successfully introduce strength in high key without falling into that ever yawning pitfall of ruinous contrast. The tone in the center was introduced by flashing and printing-in during enlarging.
Data:
Camera: Jewel A 9x12cm
Lens: Zeiss Tessar
Stop: f.16
Film: Agfa Superpan
Exposure: 8 seconds (Mazda Light)
Print: 14x17 Tuma Gas, toned"
by Adolf Fassbender, 1937
Location
Currently not on view
date made
before 1937
maker
Fassbender, Adolf
ID Number
PG.004116.04
catalog number
4116.04
accession number
146001

Elderly man removing tree bark

Currently not on view
Location
Currently not on view
date made
ca 1936
maker
Associated Press
ID Number
2013.0327.0758
catalog number
2013.0327.0758
accession number
2013.0327

Rooster

Currently not on view
Location
Currently not on view
date made
1938
maker
Abbott, Berenice
ID Number
PG.006126
catalog number
6126
accession number
234066

Hearse

Silver gelatin, mounted. Upward looking view of an old hearse. Flower patterned cushion in driver seat, paint chipped on body of carriage, glass cracked on encolsure. Can see where wood has warped and the ornamentation has been taken off. Signed, ink (recto: bottom right).
Description (Brief)
Silver gelatin, mounted. Upward looking view of an old hearse. Flower patterned cushion in driver seat, paint chipped on body of carriage, glass cracked on encolsure. Can see where wood has warped and the ornamentation has been taken off. Signed, ink (recto: bottom right). Verso: Adams stamp, handwritten title.
Description
Ansel Adams (1902-1984) is one of the most well-known twentieth century photographers. His contributions to the field of photography include his innovation and teaching of the Zone System. The quality of his photographs set the standard by which many straight photographs are judged.
The collection in the Photographic History Collection consists of twenty-five photographs, all printed in or about 1968. All are gelatin silver, mounted, labeled and signed in ink by the photographer. The photographs include some of his most well-known images, but also portraits and objects. The selection of images was made in collaboration between the collecting curator and Adams.
negative made
ca 1936
print made
1968
maker
Adams, Ansel
ID Number
PG.69.117.23
catalog number
69.117.23
accession number
282104

(Portfolio Dune) Dunes, Oceano

Mounted gelatin silver print of Edward Weston's (Portfolio Dune) Dunes, Oceano, 1936. The photograph was printed by Edward's son Cole Weston from his father's original negative.Edward Weston was influential in the modern photography movement beginning in the 1930s.
Description (Brief)
Mounted gelatin silver print of Edward Weston's (Portfolio Dune) Dunes, Oceano, 1936. The photograph was printed by Edward's son Cole Weston from his father's original negative.
Edward Weston was influential in the modern photography movement beginning in the 1930s. He is well known for photographing the natural surroundings of his home on the California coast. Weston created striking works of art, some abstract, some more traditional images. A leader in American photography of the 20th century, Weston's prints were first exhibited at the Smithsonian in 1947. Afterwards, he remained interested in the national photography collection. At times, Weston recommended photographers to curators for collecting opportunities, and eventually donated a selection of his work and several cameras to the Photographic History Collection.
Location
Currently not on view
date made
1936
maker - negative
Weston, Edward
maker - print
Weston, Cole
ID Number
PG.69.137.18
catalog number
69.137.18
accession number
288850

Johnson Standard Exposure Calculator

Currently not on view
Location
Currently not on view
Date made
ca 1930
ID Number
2006.0098.0516
accession number
2006.0098
catalog number
2006.0098.0516

French Premier Pierre Laval visits the White House

Gelatin silver print; French Premier Pierre Laval visits the White House, Washington, D.C. Left to right: Boissard, French Ministerial Director; Laval; U.S. President Herbert Hoover; Ogden Mills, U.S. Undersecretary of State; U.S. Secretary of State Henry L.
Description (Brief)
Gelatin silver print; French Premier Pierre Laval visits the White House, Washington, D.C. Left to right: Boissard, French Ministerial Director; Laval; U.S. President Herbert Hoover; Ogden Mills, U.S. Undersecretary of State; U.S. Secretary of State Henry L. Stimson.
Description
The Erich Salomon Collection consists of two groups of gelatin silver prints from 1927-1943, totaling 140 prints. There is a certain amount of duplication between the groups. Accession 2002.0258 was acquired in 1965 from Salomon’s friend, Peter Hunter. These prints were made from Salomon’s original negatives. Accession 2002.0259 was acquired in 1965 from Magnum. Subjects in the collection are mainly photographs of politicians, diplomats, business magnates, royalty; European and American.
Dr. Erich Salomon (1886-1944) was born to a prominent Jewish family in Berlin, Germany. He became a lawyer before the outbreak of World War I but was drafted into service. When he returned, his family had lost its fortune and he needed to work. Salomon became interested in photography and soon specialized in taking photographs where cameras were not allowed and without his subject’s knowledge.
Salomon became famous in 1928 when his photographs from the Johann Hein murder trial in Coburg, Germany were published in the Berliner Illustrirte newspaper [see images PG*008164.42 and PG*008164.47]. From that point, Salomon became a freelance photographer, gaining admittance to even the most secure meetings and banquets. Salomon was labeled the first “candid cameraman” and called himself a bildjournalist, still the German word for “photojournalist.”
Salomon first used the common journalist’s camera – a 13 x 18 cm Contessa Nettel – but it was too cumbersome for his purposes. He soon switched to the Ermanox, a small plate-loaded camera perfect for photographing in low lighting. Salomon mastered the technique and used it until 1932 when he traded it for the Leica.
In 1933 Adolf Hitler came to power in Germany. As Jews, Salomon and his family were forced to flee to Holland, his wife’s homeland, for protection. Based in The Hague, he had greater access to the political conferences but he also began taking photographs of cultural events, such as concerts. Salomon traveled to Britain and the United States as well. In 1943, while on the verge of immigrating to America, Salomon, his wife and one son were forced to go into hiding when the Nazis overtook Holland. They were eventually deported and died at the Auschwitz labor camp in July of 1944.
Salomon’s images survive to this day because of his foresight. In order to keep the negatives safe he hid them in three separate places in Holland during the war. The first group was placed in the Dutch Parliament library. The second, he buried in the chicken coup at a friend’s home. This group was critically damaged by the dampness, though many of the plates are still printable. The third was in the custody of friend Peter Hunter. In 1952, the collection was consolidated in Amsterdam. Beginning in the 1950s, there were a number of exhibitions of his work, including a 1958 traveling exhibition which was acquired by the Smithsonian.
date made
1931-10
maker
Salomon, Erich
ID Number
PG.008164.37
catalog number
8164.37
2002.0258.37
accession number
2002.0258

William Randolph Hearst

Gelatin silver print; Newspaper maganate and publisher William Randolph Hearst perched on arm of chair reading dispatches from the editors of his papers, at home in San Simeon, California.The Erich Salomon Collection consists of two groups of gelatin silver prints from 1927-1943,
Description (Brief)
Gelatin silver print; Newspaper maganate and publisher William Randolph Hearst perched on arm of chair reading dispatches from the editors of his papers, at home in San Simeon, California.
Description
The Erich Salomon Collection consists of two groups of gelatin silver prints from 1927-1943, totaling 140 prints. There is a certain amount of duplication between the groups. Accession 2002.0258 was acquired in 1965 from Salomon’s friend, Peter Hunter. These prints were made from Salomon’s original negatives. Accession 2002.0259 was acquired in 1965 from Magnum. Subjects in the collection are mainly photographs of politicians, diplomats, business magnates, royalty; European and American.
Dr. Erich Salomon (1886-1944) was born to a prominent Jewish family in Berlin, Germany. He became a lawyer before the outbreak of World War I but was drafted into service. When he returned, his family had lost its fortune and he needed to work. Salomon became interested in photography and soon specialized in taking photographs where cameras were not allowed and without his subject’s knowledge.
Salomon became famous in 1928 when his photographs from the Johann Hein murder trial in Coburg, Germany were published in the Berliner Illustrirte newspaper [see images PG*008164.42 and PG*008164.47]. From that point, Salomon became a freelance photographer, gaining admittance to even the most secure meetings and banquets. Salomon was labeled the first “candid cameraman” and called himself a bildjournalist, still the German word for “photojournalist.”
Salomon first used the common journalist’s camera – a 13 x 18 cm Contessa Nettel – but it was too cumbersome for his purposes. He soon switched to the Ermanox, a small plate-loaded camera perfect for photographing in low lighting. Salomon mastered the technique and used it until 1932 when he traded it for the Leica.
In 1933 Adolf Hitler came to power in Germany. As Jews, Salomon and his family were forced to flee to Holland, his wife’s homeland, for protection. Based in The Hague, he had greater access to the political conferences but he also began taking photographs of cultural events, such as concerts. Salomon traveled to Britain and the United States as well. In 1943, while on the verge of immigrating to America, Salomon, his wife and one son were forced to go into hiding when the Nazis overtook Holland. They were eventually deported and died at the Auschwitz labor camp in July of 1944.
Salomon’s images survive to this day because of his foresight. In order to keep the negatives safe he hid them in three separate places in Holland during the war. The first group was placed in the Dutch Parliament library. The second, he buried in the chicken coup at a friend’s home. This group was critically damaged by the dampness, though many of the plates are still printable. The third was in the custody of friend Peter Hunter. In 1952, the collection was consolidated in Amsterdam. Beginning in the 1950s, there were a number of exhibitions of his work, including a 1958 traveling exhibition which was acquired by the Smithsonian.
date made
1930
maker
Salomon, Erich
ID Number
PG.008164.79
catalog number
8164.79
2002.0258.79
accession number
2002.0258

Schoolyard at Skyline Farms

The Resettlement Administration was created in an effort to curb rural poverty among farmers. It purchased small, economically unviable farms and set up government-monitored cooperative homestead communities. These farm families received educational aid along with supervision.
Description
The Resettlement Administration was created in an effort to curb rural poverty among farmers. It purchased small, economically unviable farms and set up government-monitored cooperative homestead communities. These farm families received educational aid along with supervision. A community called Skyline Farms was set up in the Cumberland Mountains region as one such effort of a cooperative farmstead. In this image, Mydans captures some of the children playing in the yard outside the multigrade school.
Location
Currently not on view
Date made
1936-06
1936
photographer
Mydans, Carl
ID Number
2005.0228.013
accession number
2005.0228
catalog number
2005.0228.013

Old French Lady

Currently not on view
Location
Currently not on view
Date made
1937
maker
Model, Lisette
ID Number
PG.69.210.02
catalog number
69.210.2
accession number
298689

Richard Menz as "Abraham Lincoln"

Currently not on view
Location
Currently not on view
date made
1932
ID Number
PG.004735C
accession number
192657
catalog number
4735C

1933 Chicago Century of Progress

Date made
1933
maker
Agfa Ansco
ID Number
1981.0174.01
catalog number
1981.0174.01
accession number
1981.0174
catalog number
81.174.01

Oceano Dunes

Edward Weston was influential in the modern photography movement beginning in the 1930s. He is well known for photographing the natural surroundings of his home on the California coast. Weston created striking works of art, some abstract, some more traditional images.
Description (Brief)
Edward Weston was influential in the modern photography movement beginning in the 1930s. He is well known for photographing the natural surroundings of his home on the California coast. Weston created striking works of art, some abstract, some more traditional images. A leader in American photography of the 20th century, Weston's prints were first exhibited at the Smithsonian in 1947. Afterwards, he remained interested in the national photography collection. At times, Weston recommended photographers to curators for collecting opportunities, and eventually donated a selection of his work and several cameras to the Photographic History Collection.
Location
Currently not on view
date made
1936
maker
Weston, Edward
ID Number
PG.004968
catalog number
4968
accession number
210054

Japanesque

Currently not on view
Location
Currently not on view
date made
1938
ID Number
PG.004161B.16
accession number
152565
catalog number
4161B.16

Two men standing next to Stanavo truck

Currently not on view
Location
Currently not on view
date made
1928-1931
ID Number
2015.0057.0007
accession number
2015.0057
catalog number
2015.0057.0007

Newspaper Salesman, Paris

Currently not on view
Location
Currently not on view
Date made
1937
maker
Model, Lisette
ID Number
PG.69.210.03
catalog number
69.210.3
accession number
298689

Snow Caps

From Pictorial Artistry: The Dramatization of the Beautiful in Photography"Winter night, away from the clamor and noise of the busy streets, and yet in the heart of the bustling Metropolis, New York City.
Description
From Pictorial Artistry: The Dramatization of the Beautiful in Photography
"Winter night, away from the clamor and noise of the busy streets, and yet in the heart of the bustling Metropolis, New York City. Here and there dancing snowflake flutter past the glare of the lantern and settles on the heavily laden fence or pathway. The stillness makes one hesitate, yet the winding curve with its elfin, snowcapped little figures seem to invite one to continue through the winter fairyland.
Composition:
The S-curve: In a daring fashion, two powerful leading lines direct attention into the picture field. From whatever angle the picture is viewed there is no other way to enter the simple, but dramatic setting. The lantern in the upper right provides a possible escape which is counterpoised by the surrounding darkness. The suggestion of the road turning inward again satisfactorily encloses the composition at this point.
Technical Problems:
To retain the semi-detail in the darkness of the distance, extreme over-exposure in the foreground was inevitable. Here, as in a great many cases the eyes adjust themselves to a scale of light too great to be reproduced on film or paper. Therefore local reduction had to be applied extensively to bring the tone scale into a possible printing balance. The lantern in the distance and the surrounding area also had to be brought down in tone and gradation via reduction.
Data:
Camera: 10x15 centimeter Orix
Lens: Tessar
Opening: f.11
Exposure: 3 ½ Minutes
Plate: Illingworth Lightning
Print: Tuma Gas, direct enlarging—blue toned"
by Adolf Fassbender, 1937
Location
Currently not on view
date made
before 1937
maker
Fassbender, Adolf
ID Number
PG.004116.19
catalog number
4116.19
accession number
146001

History of 100 Years in Photographs

Currently not on view
Location
Currently not on view
date made
1939-04
ID Number
1983.0838.0001
catalog number
1983.0838.1
accession number
1983.0838

Southwest Homestead

Currently not on view
Location
Currently not on view
date made
1937
maker
Gilpin, Laura
ID Number
1984.0665.06
catalog number
1984.0665.06
accession number
1984.0665

Kelp #3

Edward Weston was influential in the modern photography movement beginning in the 1930s. He is well known for photographing the natural surroundings of his home on the California coast.
Description
Edward Weston was influential in the modern photography movement beginning in the 1930s. He is well known for photographing the natural surroundings of his home on the California coast. Weston created striking works of art, some abstract, some more traditional images.
A leader in American photography of the 20th century, Weston's prints were first exhibited at the Smithsonian in 1947. Afterwards, he remained interested in the national photography collection. At times, Weston recommended photographers to curators for collecting opportunities, and eventually donated a selection of his work and several cameras to the History of Photography Collection.
Location
Currently not on view
date made
1936
photographer
Weston, Edward
ID Number
PG.004980
accession number
210054
catalog number
4980

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