<p>These photographs from the Photographic History Collection are by a number of photographers from the Black Star News Agency. Most of the photographs date from the late 1950s through the 1960s. They were acquired by the museum before 1971.<br></p> <p>Some images may be copyrighted.</p> <p>For additional images, search collections.si.edu</p> <p>Keywords: photojournalist, photojournalism, news photography, editorial photography, documentary photography, reportage </p> <p>Photographers in this collection:</p> <ul><li>Anthony, Eugene</li><li>Crane, Ralph</li><li>Haun, Declan</li><li>Herron, Matt</li><li>Hershorn, Shell</li><li>Lackenbach, Robert</li><li>Launois, John</li><li>Lawrence, Nick</li><li>Lockwood, Lee</li><li>Lukas, Jan</li><li>Massar, Ivan</li><li>Mayer, Heini</li><li>McCoy, Dan</li><li>Merritt, Vernon</li><li>Moore, Charles</li><li>Moore, David</li><li>Moss, John</li><li>Muramatsu, Konosuke</li><li>Salmo, Frank</li><li>Schapiro, Steve</li><li>Schulke, Flip</li><li>Schulthees, Emil</li><li>St. Gil, Mark</li><li>Strode, Bill</li><li>Swanson, Richard</li><li>Tsagris, Athanasios</li><li>Ward, Fred</li><li>Wilhelm, Henry</li><li>Wolff, Werner</li><li>Zagarino, Frank</li></ul> <p><br></p>

<p>This is a collection of contemporary tintypes from the Photographic History Collection by Ed Drew.  There are two bodies of work in this collection, <em>Combat Images from Afghanistan</em> (2013) and <em>The People of Klamath</em> (2014-2015). <br></p> <p>Copyright Ed Drew.</p> <p>For additional images, search collections.si.edu.</p> <p>Keywords: tintype, portraiture, alternative process, airmen, Air Force Reserve, deployment, medic, helicopter,  American flag, guns, Native Americans, Oregon, photography and agency, record album cover, textile, feathers, fur, exterior portrait, woods, forest, trees, rocks, sweatshirt, cell phone</p>

<p>This is a selection of photographs from the Photographic History Collection of people who served in or adjacent to the military during the American Civil War. Most of the portraits are those who served in the military and the government. This this selection includes an African American washerwoman, Mary Todd Lincoln, photographer Mathew Brady, John Wilkes Booth, and two caricature portraits to represent political ideas.<br></p> <p>In the Learning Lab, see also the <em>Seville Collection</em> in which individual soldiers have biographical information and <em>Civil War Albums</em> to see the Gardner's Sketchbook of the War.</p> <p>For additional images, search collections.si.edu.</p> <p>Keywords: portrait, solider, washerwoman, carte-de-visite, CDV, flag, uniform, soldier, tintype, ambrotype, military, general, colonel, studio portrait, hand-colored, hand-coloring, nurse, African American women, Union Army, president, First Lady, political ideology, wartime</p>

<p>This is an assortment of photographs related to stage performances in theaters,  acting, plays, and musical theater, and revues from the Photographic History Collection. The date range for these photographs is mostly, but not exclusively, 1910s-1950s.<br></p> <p>For additional images, search collections.si.edu.</p> <p>Keywords: theater, theatre, stage, play, plays, actor, actress, orchestra, set design, musicals, musical revues, costume design, lighting design, performance, spoken word, Broadway, Jewish theatre, John F. Kennedy Center</p>

<p>This is an assortment of photographs from the Photographic History Collection depicting New York City.<br></p> <p>For additional images see collections.si.edu.</p>

<p>The Diana Walker collection at the NMAH Photographic History Department consists of 140 photographs reflecting her career as a photojournalist.  These include her tenure as a TIME Magazine photographer at the White House from 1984-2004, as well as other assignments.<br></p> <p>Copyright Diana Walker.</p> <p>For more images, search collections.si.edu.</p> <p>Keywords: photojournalist, women photographers, First Ladies, FLOTUS, President of the United States, POTUS, Vice-President of the United States, VPOTUS, Secretary of State, Senator, campaign photography, reportage, portraiture, journalism, photographs of the military, laughing, heads of state</p>

<p>This is a sampling of photographs from the Photographic History Collection related to hotels and motels, and other established places one might stay while away from home. <br></p> <p>These images are snapshots, real photo postcards,albumen and Kromscope stereoviews, fine art and documentary photographs, scans from glass plate negatives.</p> <p>For additional images, search collections.si.edu.</p> <p>Keywords: hotels, motels, inns, spas, resorts, road trip, vacation, haciendas, roadside lodging</p>

<p>The Imogen Cunningham collection consists of thirty gelatin silver photographs, mounted, with label, signed and dated by the photographer, and three platinum prints, mounted and labeled. The subjects in the thirty gelatin silver photographs range from plants to portraiture between 1925 and 1968. The three platinum prints were made in 1912 and are representative of Cunningham’s pictorialist style. They were acquired from the photographer in 1968.<br><br>Keywords: art photography, women photographers, self-portrait, portraits of photographers, Edward Weston, Alfred Stieglitz<br><br>For additional collections, search collections.si.edu.<br><br>The photographs were used in a Smithsonian exhibition titled, “Women, Cameras, and Images I,” November 30, 1968-May 30, 1969, in the Hall of Photography, Museum of History and Technology. The exhibition also included thirty additional photographs lent by Imogen Cunningham, and five lent from the Library of Congress. The “Women, Cameras, and Images” exhibition was a series of five exhibitions featuring the work of female photographers: Cunningham, Betty Hahn, Gayle Smalley, Barbara Morgan, and Janine Niepce.</p>

<p>This is an assortment of photographs from the Photographic History Collection by Ray K. Metzker.<br></p> <p>Copyright Ray K. Metzker</p> <p>For additional images, search collections.si.edu.</p> <p>Keywords: modernism, gelatin silver print, street photography, sequencing, narrative, film strip, graphic, breaking the frame, 35mm negative</p>

<p>The J. Ross Baughman collection in the Photographic History Collection at the National Museum of American History includes some 290 photographs, his Pulitzer prize, five contact sheets, an album, two books, and cameras.  The photographs include various subjects such as his time in the Middle East, an unpublished series entitled <em>Beautified,</em> as well as, prints from Baughman's image assignments for <em>Life</em> magazine during the 1980s , including a story about two gay fathers.<br></p> <p>Some of Baughman's cameras are seen the PHC's Learning Lab collection, <em>Leicas</em>.</p> <p>Objects from Baughman's career and professional experiences can be found in two other National Museum of American History Collections (accessions 2010.0228 and 2010.0229).</p> <p>For additional materials, search collections.si.edu.</p> <p>Keywords: photojournalist, photojournalism, Rhodesia, Pulitzer Prize, undercover work,  journalism, photography and danger, newspapers, print culture, picture magazines, print journalism, freelance photographer, controversy, contemporary politics, international affairs, protest, community activism, AIDS, gay family life, military, mercenaries<br></p> <p><br></p> <p><br></p> <p><br></p> <p><br></p>

<p>This is a collection of photographs from the Photographic History Collection of work by Eugene Atget. The portrait of Atget is by Bernice Abbot. <br></p> <p>The Eugène Atget collection consists of fourteen silver albumen prints made between 1907 and 1908. On the back of each print the title and dates are handwritten by the artist. On a few, a number is etched in the negative. All of the photographs present different scenes in Paris, France. Most are architectural in subject matter, but some do include individuals. Each print is approximately 7 x 8.5 inches and is not mounted.</p> <p>Keywords: albumen, French architecture, street views, store windows, Paris, France, portrait, windows</p> <p><br></p> <p>Edited text from finding aid:</p> <p>Le Pére Atget, as Man Ray fondly called him, was born in Libourne, France in 1857. As a young man, he was drawn not to photography, but to the stage. Although he was drafted into the army in 1878 and remained on active duty for several years, Atget began studying at the National Conservatory of Music and Drama in 1879. By 1881, his teachers decided he could not handle the joint responsibilities of acting and military duty, and did not ask him to return the following year. Despite his dismissal, Atget went on to perform in small productions for the next ten years. By the time he was forty, he realized he was not going to succeed as an actor. After an initial attempt at painting and a few years of photographic experimentation, Atget finally settled into a Parisian apartment on Rue Campagne Premiere between 1890 and 1891 and hung a small painted sign above his door that defined his work for generations: “Documents pour artistes.”<br><br>While Atget is considered to be one of the great early photographers, his work was by no means considered groundbreaking at the time. The first push to document historical architecture in France, and especially Paris, began in the 1850s when the Commission des Monuments Historique was formed to photograph the city. Among the photographers appointed by the commission were Henri Le Secq, who photographed Chartes Cathedral and Reims, Edouard Baldus, and Charles Nègre (COLL.PHOTOS.000054). Atget began his work during a second push around the turn of the century, and was facilitated by technological advances in the mid-1890s that made photography easier for professionals and amateurs. What distinguished Atget from his contemporaries was his decision not to work for an institution where his photographs would be on public record. Rather, he carved his own niche in the market as a freelance photographer.</p> <p>As a result, in addition to any commissions he received from clients, Atget had the opportunity to seek out subjects that were of personal and professional interest, such as the trees that figure so frequently in collections of his work. Between 1898 and 1927, Atget systematically photographed streets, monuments, historic buildings and dwellings both in Paris and in the outlying areas. His meticulously categorized work was arranged in albums, and he recorded in detail his client’s preferences for different subjects so that he would be prepared when he met with them. To his credit, Atget’s body of work remains perhaps the best pictorial record available of Paris in the first quarter of the twentieth century.<br><br>By 1920 when most photographers had switched to smaller and technically superior cameras, Atget continued to use the same 18 x24 view camera he had been using since 1888. Professionally, he was isolated as he did not enjoy the company of a group of peers with whom he could discuss his work. The first publication of his photographs was in “La Revolution Surrealiste” in 1925. Though Atget had been well-known in his business since 1901, this was the first time his work had been identified as artistic rather than merely documentary. Atget himself refused to have his name included in the magazine, and by implication in the movement, explaining that he was simply a purveyor of documents that could be used by other artists. While his work belies this statement, he continued to disassociate himself from Surrealism until his death in 1927.<br><br>Both a businessman and artist, Atget sold his work to artists, historians, and even institutions such as the Bibliotheque Nationale during his lifetime. In 1920 the Service Photographique des Monuments Historiques purchased just over 2600 of Atget’s negatives. The remainder of the negatives, as well as any prints that remained following his death, went to his good friend Andre Calmette. Shortly thereafter, Berenice Abbott (COLL.PHOTOS.000017), a young American photographer, persuaded Calmette to sell her the collection so that she could properly introduce it to the world. She and American photographer Walker Evans (COLL.PHOTOS.000024) are testaments to the style and rigor that characterized Atget’s work, and both followed his tradition of documenting the urban landscape and its details.</p>

<p>This is a collection of photographs by Chuck Mintz from his <em>Lustron Stories</em> and <em>Hardware Store</em> series. Mintz uses a large format camera.<br></p> <p>Copyright Chuck Mintz.</p> <p>For more collections, search collections.si.edu</p> <p>Keywords: pre-fab homes, Lustron, hardware store, lumber store, hunting license, BBQ sauce, interior home view, exterior home view, domestic interior, bedroom, living room, home furnishing, books, interior decoration, backyard, hammer, community service, rural supplies</p>