<p>This is a collection of photographs by Glen Friedman from the Photographic History Collection.<br></p> <p>Copyright Glen Friedman</p> <p>Keywords: Skateboarding, Run-DMC, Hollis, Beastie Boys, Neil Blender, Jay Smith, Black Flag, Cornell West, Rev. Al Sharpton, Ralph Nadar, Lenora Fulani</p>

<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>This is a sampling of photographs related to dining out from the Photographic History Collection.<br></p> <p>For additional images, search collections.si.edu.</p> <p>Keywords: restaurant, cafe, bar, dining room, diner, waiter, waitress, serving staff, hostess, ice cream shop, burger joint, pizza joint, pizzeria, food court, cafeteria, food hall, drive-through, fast food, coffee shop, saloon, canteen, chop house, grill, lunch room, watering hole, inn, dive, drive in, donut house, greasy spoon, hamburger stand, luncheonette, night club, soda fountain, deli, bistro, automat, tea house, beer garden, biergarten</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 collection of photographs by photographer Marco Grob from his series, <em>Beyond 9/11: Portraits of Resilience</em>, published in <em>Time </em>magazine on September 9, 2011.<br></p> <p>The photographs are large, depicting his subjects larger than life-sized. Here is a mix of public officials, members of the armed forces, and private citizens, with varied roles, experiences, and traumas related to life after September 11, 2001. </p> <p>Copyright held by Time Magazine and Marco Grob.</p> <p>Keywords: portraiture, journalism, teddy bear, political intrigue, political policy, military policy, veteran, injured, disabled veteran, interpreter, national leaders, intelligence community, spy, protest, grieving mother, religion, patriotism, memorial, tribute, national reflection, Iraq, Muslim, chaplain, helmet, 9/11</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 related to museum activities, museum interiors and exteriors, and museum education.<br></p> <p>For other images and Smithsonian-related museum activities, search collections.si.edu and siarchives.si.edu.</p> <p>Keywords (subject): museum architecture, museum exterior, museum interior, museum gallery, exhibition, framed art works, paintings, sculptures, guests, visitors, museum education, museum learning, museum socializing, natural history museum, art museum, The Met, Boston, Washington, DC, The Castle</p> <p>Keywords (photograph): gelatin silver print, reportage, press print, stereoview, real photo postcard, street photography, documentary photography, fine art photography</p> <p>Other related Learning Lab collections include, <em>Art Making and Display</em>, <em>Photographers at Work</em>, and <em>Portraits of Photographers</em>.</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>