<p>This is a collection from the Photographic History Collection of photographs by Key Heyman.<br></p> <p>For additional images, search collections.si.edu</p> <p>Keywords: travel photography, documentary photography, children, humor, black and white photography</p>

<p>This is a portfolio collection from the Photographic History Collection of work by Ashley Gilbertson from his series <em>Bedrooms of the Fallen</em>. A specially designed wooden portfolio was created to hold these works. Gilbertson is a member of VII Photo Agency.<br></p> <p>Copyright Ashley Gilbertson</p> <p>For additional collections, search collections.si.edu.</p> <p>Keywords: veterans, grief, death, memorial, memory, parents, young people, suicide, bedroom, domestic interior, bedroom decorations, masculine culture, masculinity, American flag, military personnel, Afghanistan veteran, Iraq veteran, photojournalist, photojournalism, documentary photography</p>

<p>Murray Becker was one of the key photographers of the Hindenburg disaster, the crash of a Nazi dirigible at Lakehurst, NJ on May 6, 1937. The Murray Becker collection consists predominantly of sixteen silver gelatin prints of the Hindenburg disaster. It also includes an oversized scrapbook of newspaper articles and photos covering the disaster, as well as a well-known photograph of a teary-eyed Lou Gehrig announcing his retirement from baseball.<br></p> <p>Keywords:  Hindenburg disaster, Associated Press, AP, Lou Gehrig, photojournalism, dirigible, flight disaster, photojournalism, media history, iconic photographs, scrapbooking</p> <p>On May 6, 1937 Becker and a score of other photographers, including Sam Shere of the International News Photo (INP) and Charles Hoff of the New York Daily News, appeared for a routine night landing of the Hindenburg. As the dirigible pulled in, lines were dropped from the aircraft so that it could be safely reined in to the ground below. Without warning, an explosion was heard, and the entire aircraft was consumed by flame in about 47 seconds. During those 47 seconds, when other photographers present shot one photograph at the most, Murray Becker quickly took three slides using his 4x5 Speed Graphic camera. The following day pictures of the event were reproduced in thousands of newspapers around the globe.</p> <p>The photographs of the Hindenburg exploding affected newspaper readers in a way that words could not. After those photographs were reproduced across the United States and around the world, many newspaper stories were not considered credible unless they had images to support the stories. Becker went on to produce a photograph of Lou Gehrig announcing his retirement in 1939 for which he also received awards. Becker served as Chief Photographer of the Associated Press for a full thirty-two years before he retired.</p> <p><br></p> <p><br></p>

<p>This is an assortment of photographs related to fish and fishing from the Photographic History Collection.<br></p> <p>For additional images, search collections.si.edu.</p> <p>Keywords: fish, fishing, fisherman, fishermen, fisherwoman, fisherwomen, fishing pole, seine net, fishing net, seining, crabbing, lobster, salmon, trout, recreational fishing, commercial fishing, competitive fishing, catch of the day, seafood, industrial fishing, canning fish, fish canning factory, fish pond, preservation, hunting, fish wives, eating fish, amateur fishing</p> <p>Keywords: humor, real photo postcard, exaggeration postcard, fine art photography, documentary photography, photo journalism, Pictorialism, snapshot photography, photo manipulation</p>

<p>#nmahphc</p> <p>This is an assortment of photographs from the Photographic History Collection broadly related to religion. The photographs were made for a variety of purposes and audiences with a variety of formats and processes. </p> <p>For additional photographs and objects, search collections.si.edu.</p> <p>Keywords: church, chapel, cathedral, temple, shrine, synagogue, alter, relic, God, Jesus, Mother Mary, Virgin Mary, Amish, protestant, catholic, Islam, Muslim, Judaism, Jewish, Shinto, Buddha, Buddhist, Buddhism, Hare Krishna, priest, preacher, pastor, rabbi, imam, reverend, deacon, worship, pray, prayer, cemetery, Bible, faith, adoration</p>

<p>This is a selection of photographs by Will Connell from his series, <em>In Pictures</em>, from the Photographic History Collection. <br></p> <p>For additional collections, search collections.si.edu.</p> <p>Keywords: satire, humor, critique, Hollywood, manipulated photography, composite photography, surrealism</p> <p>Will Connell (1898-1961) was an influential photographer, teacher, and author in Southern California known for his often-satirical “modern pictorialist” style, commercial photography work, and mentorship of a generation of photographers. The National Museum of American History’s Photographic History collection received a donation of 11 prints of various subjects from Connell’s wife in 1963. This donation was followed by another, from Connell’s son, in 1977, comprised of the 49 prints published in <em>In Pictures</em>. Connell was born in McPherson, Kansas, but moved to California soon after. </p> <p>As a young man in Los Angeles, Connell came into contact with the thriving California camera clubs of the 1910s and 1920s, and more importantly, the burgeoning Hollywood film industry. After a brief stint in the U.S. Army Signal Corps at the end of the first World War, Connell worked a variety of odd jobs while experimenting in amateur photography. </p> <p>Several motion picture studios hired Connell to photograph actors and actresses in the 1920s and 1930s, and he soon became a professional. Connell’s glamour shots of stars such as Myrna Loy, as well as his growing body of art photography, reveal pictorialist influence, and his work was often exhibited at salons and exhibitions throughout the United States. </p> <p>In the 1930s, Connell began working as a photographer for magazines including the <em>Saturday Evening Post</em>, <em>Colliers</em>, <em>Time</em>, and <em>Vogue</em>, started teaching photography at Art Center College, and continued work at the Los Angeles studio he opened in 1925. Connell spent the rest of his life in Los Angeles, teaching, judging work, producing commercial work, and writing, notably, his "Counsel by Connell" column in <em>US Camera</em>, which he authored for 15 years. </p> <p>His first book, <em>In Pictures</em>, was published in 1937. Now considered a classic work of satire, the book featured montaged, often surreal images that mocked the Hollywood studio system and a public enamored with the motion picture industry. The photographs were published alongside a fictional account of a meeting of Hollywood moguls, written by several of Connell’s friends in the business. While the images appear to be a marked departure from Connell’s earlier soft-focus pictorialism, the sharp, poignant photographs nevertheless retain that movement’s emphasis on composition and communication of a message. <em>In Pictures</em> also pays homage to the film industry where the photographer cut his teeth – many of the images feature close-ups, characteristic stage lighting, and influence of the glamour of Hollywood’s Golden Age. Connell, in his work and teaching until his death in 1961, is cited as an influence on an entire generation of photographers, including Dr. Dain Tasker (COLL.PHOTOS.000031). </p> <p>Connell's  1949 book <em>About Photography</em> outlined an artistic philosophy that stressed a straight-forward, communicative style of photography and expressed the author’s belief that even the most commercial work can have artistic merit. A 1963 monograph in US Camera featured fond remembrances from friends Ansel Adams and Dorothea Lange, among others, who praised Connell for his warm personality and unique work. </p>

<p>The Berenice Abbot collection at NMAH Photographic History consists of 16 silver prints ranging in size from 7 1/2” x 9 1/4” to 18 3/4” x 15,” and also includes two tall, narrow prints of Manhattan and a swinging pendulum. The photographs provide a broad survey of the work Abbott produced during her lifetime, from her early portraiture work in Paris and her “Changing New York” series to the “Physics” and “Route 1, U.S.A.” series.’<br></p> <p>Keywords:  women photographer, documentary photography, New York City, street photography, science and photography, portraiture</p> <p>During the 1920s, Berenice Abbott was one of the premier portrait photographers of Paris, her only competitor was the equally well-known Dada Surrealist Man Ray who had served as her mentor and employer before she launched her own career. An American expatriate, Abbott enjoyed the company of some of the great twentieth century writers and artists, photographing individuals such as Jean Cocteau, Peggy Guggenheim and James Joyce. One of the critical elements of Abbott’s portraiture was a desire to neither enhance nor interfere with the sitter. She instead wished to allow the personality of her subject to dictate the form of the photograph, and would often sit with her clients for several hours before she even began to photograph them. This straight-forward approach to photography characterized Abbott’s work for the duration of her career. Thematically and technically, Abbott’s work can be most closely linked to documentary photographer Eugène Atget (COLL.PHOTOS.000016), who photographed Paris during the early 1900s. Abbott bought a number of his prints the first time she saw them, and even asked him to set some aside that she planned to purchase when she had enough money. After his death in 1927, Abbott took it upon herself to publicize Atget’s work to garner the recognition it deserved. It was partly for this reason she returned to the United States in 1928, hoping to find an American publisher to produce an English-language survey of Atget’s work. Amazed upon her arrival to see the changes New York had undergone during her stay in Paris, and eager to photograph the emerging new metropolis, Abbott decided to pack up her lucrative Parisian portrait business and move back to New York. The status and prestige she enjoyed in Paris, however, did not carry over to New York. Abbott did not fit in easily with her contemporaries. She was both a woman in a male-dominated field and a documentary photographer in the midst of an American photographic world firmly rooted in Pictorialism. Abbott recalls disliking the work of both photographer Alfred Stieglitz and his then protégé Paul Strand when she first visited their exhibitions in New York. Stieglitz, along with contemporaries such as Ansel Adams and Edward Steichen, tended to romanticize the American landscape and effectively dismissed Abbott’s straight photography as she saw it. Not only was Atget’s work rejected by the Pictorialists, but a series of critical comments she made towards Stieglitz and Pictorialism cost Abbott her professional career as a photographer. Afterwards, she was unable to secure space at galleries, have her work shown at museums or continue the working relationships she had forged with a number of magazine publications. In 1935, the Federal Art Project outfitted Abbott with equipment and a staff to complete her project to photograph New York City. The benefit of a personal staff and the freedom to determine her own subject matter was unique among federally funded artists working at that time. The resulting series of photographs, which she titled <em>Changing New York</em>, represent some of Abbott’s best-known work. Her photographs of New York remain one of the most important twentieth century pictorial records of New York City. Abbott went on to produce a series of photographs for varied topics, including scientific textbooks and American suburbs. When the equipment was insufficient to meet her photographic needs, as in the case of her series of science photographs, she invented the tools she needed to achieve the desired effect. In the course of doing so, Abbott patented a number of useful photographic aids throughout her career including an 8x10 patent camera (patent #2869556) and a photographer’s jacket. Abbott also spent twenty years teaching photography classes at the New School for Social Research alongside such greats as composer Aaron Copland and writer W.E.B. DuBois. Perhaps the most intriguing aspect of Abbott’s career was the printing of Eugène Atget’s photographs, one of the few instances in which one well-known photographer printed a large number of negatives made by another well-known photographer. The struggle to get Atget’s photographs the recognition they deserved was similar to Abbott’s efforts to chart her own path by bringing documentary photography to the fore in a Pictorialist dominated America. Though she experienced varying levels of rejection and trials in both efforts, her perseverance placed her in the position she now holds as one of the great photographers of the twentieth century.</p>

<p>This is an assortment of photographs from the Photographic History Collection related to television. This collection has three groups of photographs. <br></p> <p></p> <ol><li><strong>Photographs of television content</strong>. These are photographs of images on television screens.</li><li><strong>Photographs of televisions<em>. </em></strong>These are photographs of televisions and people watching television.</li><li><strong>Photographs of television production.</strong> These are photographs depicting the making of television content and in television studios.</li></ol> <p>For additional images, search collections.si.edu.</p> <p></p> <p><strong>Keywords</strong>:  TV, television, tv shows, watching tv, television furniture, making tv, television repair, television and news events, breaking news, television camera, television personalities, late night television, comedy, sport TV, sports television, ABC, NBC, CBS, cable television, Christmas trees, living room</p> <p></p> <p><strong>Keywords (people)</strong>: Richard Nixon, Johnny Carson, Joe Garagiola, George Wallace, Elliott Erwitt, J. Ross Baughman, Ken Regan, Roone Arledge, AV Weston, President William Clinton</p> <p></p> <p><strong>Keywords (photography)</strong>: snapshot, press print, documentary photography, fine art photography, photojournalism</p> <p></p> <p></p> <p></p>

<p>This is an assortment of photographs from the Photographic History Collection at the National Museum of American History related to windows. This collection was created in response to the COVID-19 quarantine project known as window serenade.<br></p> <p>The photographs in this collection were made by snapshot, amateur, commercial, fine art, and professional photographers. They used windows for a range of artistic, cultural, metaphorical, and other purposes. The photographic processes and formats are as diverse as their uses for display, communication, documentation, entertainment, and expression.</p> <p>Photographers included in this collection are, Paul Anderson, Max Baur, Paul Caponigro, Mac Cosgrove-Davies, Rudolf Eickemeyer Jr,  Elliot Erwitt, Elizabeth Bliss Howe, Gertrude Kasebier, Frederick Langenheim and Alexander Beckers, Fred Maroon, Joel Meyerowitz, Chuck Mintz, Carl Mydans, Titian Ramsay Peale, Charles Ruston, Kosti Ruohomaa, Burk Uzzle, Diana Walker, Edward Weston, and Joseph Zalensky.</p> <p>This Learning Lab collection focuses primarily on domestic spaces and photographer's studios rather than storefront windows or notably public spaces. </p> <p>For additional images, search collections.si.edu.</p> <p>Keywords: window, windows, through my window, from my window, sunlit, window light, view from window, out window, looking out of window, window serenade, view to exterior</p> <p>Historical notes:</p> <p>The Langenheim and Beckers photograph from their studio window may be the first paper photograph of New York City. </p> <p>Titian Ramsay Peale made experimental photographs and views from his Washington, DC home in the 1850s.</p> <p>Charles Rushton photographed photographers living and working in the American southwest in the 1980s. For more than the few seen in this collection, see the collection <em>Charles Rushton</em> in the Learning Lab.</p> <p><br></p>

<p>This is a selection of photographs from the Photographic History Collection by Fred J. Maroon of the Nixon Presidency.<br></p> <p>These photographs are from the exhibition <a href="https://americanhistory.si.edu/exhibitions/photographing-history-fred-j-maroon-and-nixon-years-1970%E2%80%931974">Photographing History: Fred J. Maroon and the Nixon Years, 1970-1974</a> hosted at the National Museum of American History, July 29- December 5, 1999.<em></em></p> <p>Copyright Fred J. Maroon.</p> <p>Keywords: gelatin silver prints, photojournalism, photojournalist, documentary photography, impeachment process, Nixon resignation, President Richard M. Nixon, congressional processes, television, current events, historical events, United States history, presidential history, Washington, DC, White House, Capitol Building, Senate hearings</p>

<p>This is a collection of materials from the Photographic History Collection used and created by Bernice Palmer. As a teenage, she was on the Carpathia that rescued some of the Titanic survivors. Her camera is on view at the National Museum of American History, Washington, DC.<br></p> <p>Included in this collection is a behind the scenes video that shows the newspaper in which her photographs were published.</p> <p>For additional materials, search collections.si.edu.</p> <p>Keywords: women photographer, box camera, amateur photography, citizen journalist, rescue, rescuer, survivor, iceberg, sinking ship, disaster, newspaper, ethics, contract, travel photography</p>

<p>This is a collection of photographs from the Photographic History Collection of Polaroids by Jo Tartt, Jr. These photographs depict newspapers in newspaper boxes in Washington, DC during the time of the Iraq War.<br></p> <p>For additional photographs, search collections.si.edu.</p> <p>See also, Learning Lab <em>Polaroid </em>collection.</p> <p>Keywords: newspaper, front page, photojournalism, newspaper box, above the fold, war photography, war time civil experience, protest, headlines, <em>New York Times</em>, <em>Washington Post</em>, <em>Washington Examiner</em>, <em>New York Post</em>, <em>Daily News, USA Today</em>, US Army, military troops, Saddam Hussein, </p>