Numbers in bold relate to the figures on the page listed.
actuality: in digital photography 176; in documentary photography 176, 201, 204; in narrative 144; and visual perception 22, 118, 124; see also realism
Adams, A. 59
Adobe Photoshop (software) 84, 121, 235, 263
aesthetics: of the arts 42–57, 147, 156–7, 263; balance 42; of photography 42–5, 220, 236
African art and photography 86
Alhazen (Ibn Al-Haitham) 18
American Society of Media Photographers (ASMP) 219
analogue photography 63, 67, 85–6, 220, 231–4, 239
Annan, T. 199
anthropology/ists, use of photography 47, 87, 98, 129, 157, 164–6, 211–13
anthropometric photography 211–12, 250
Arago, D.F.J. 47
archives (photographic) 246; Barnardo’s 201; and copyright 244–6
Arrington, Clarence 224
art photography 37
arts: and aesthetics 42–57, 147, 156–7; cultural systems of 21, 102, 114, 133–4; Impressionist 36, 44; modernist 35–6, 51; and musical analogy 50; original artworks 248; performance 57; and photography 6, 15–17, 31, 35, 45, 48–9, 148, 262; and realism 148; rules of painting 62; theories 54; use of mirror images 131–2, 138
assignments 69–70, 81, 179, 188; clothing/dress occasions 71, 80; and communication 70; examples 75–8, 189; feature photography 189–92; research 69, 75–6; and weather forecasts 71; see also case studies
Associated Press Managing Editors’ Committee 254
association theory 22
Atget, J.E.A. 203
Auden, W.H. (poet) 108
audio-visual work 250
Austin, J.L. 91
Austin, Mark 198
Australia: ‘After 200 Years’ project 159–61, 199; art and photography 42, 102
authenticity: in analogue photography 121, 200, 234; in digital photography 173, 211, 236, 244, 252; in documentary photography 90, 121, 177
balance 262; and aesthetics 42, 57; colour 204–6, 252; content and composition 140, 179, 182, 203, 241, 260; in shoots 68
Baldinucci, F. 239
Banville, J. 138
Barnardo, Dr T.J. 201
Barthes, Roland 74, 84, 109, 113–14, 143, 145, 159; evolution of the camera 10, 29, 31; historical photography 95–7; photo-sequencing/punctum 143; and portrait shoots 69; semiotics theory 88; ‘third effect’ 31
Basic Photography (Langford) 22
Baumgarten, A.G. 42
Bayard, H. 172
Beard, R. 200
Beardsley, M.C. 42
Becker, Howard 100
Bell, D. 38
Beloff, H. 211
Benjamin, W. 32, 120, 139, 203
Berger, J. 42
Berkeley, George: theory of vision 22, 24–5, 28, 33, 55, 240
Bibby, C. 30
binary opposites 74, 87–8, 135
bin Laden, Osama 253
Bloom, H. 37
Boden, M.A. 235
Bogre, M. 175
Bolas, M. 251
Born, M. 242
Bourdieu, P. 176
Bowman, S. 244
Brandt, Bill 127
British Journal of Photography 197
Browne, M. 61
Bullock, A. 46
Busey, S.C. 249
BuzzFeed 242
Caillebotte, G. 64
Callahan, H. 35
Camera Lucida (Barthes) 10
camera obscura 2, 15, 17–18, 21, 28–9
cameras 69, 205; 35mm 80, 106, 166, 254; analogue 85; angles and positions 66–7, 69, 122; digital (input devices) 85; evolution of 28–31; Graflex Speed Graphic 106; mistakes 72; optical principles 84–5
Cameron, A. 234
Cameron, J. 38
Cameron, Julia Margaret 112
Capa, C. 203
captions: functions 139–40; and image manipulation 239; and metaphors 131; one-liners 115, 119; in photojournalism 58–9, 113; and syndicated images 127–30; ‘words and pictures’ 103
Carpenter, E. 211
Carroll, Lewis (Charles Dodgson) 127, 132, 137, 152–3
Cartesian principles 20–1, 42, 215
Cartier-Bresson, H. 46, 50, 62, 100, 112, 205, 264
case studies: Australian project 159–61, 162; ‘Bert is Evil’ 251–4; Guardian assignment 106, 118, 181–8; identity search 161–4; independent photography 206–10; Libyan People’s Bureau siege 192–5; ‘Looking-glass War’ 127–39; Nachtwey (war photographer) 228–9; Photo-Elicitation 164–72; Sorgi’s photo of a suicide 105–9, 150
catalysers 143
Cause of Death (Hilliard) 103, 124–5
CD-ROMs 250
Chambi, M. 199
charge-coupled devices (CCDs) 16, 64, 85, 89, 264
chemical photography see analogue photography
chirography 263; and photographic images 235, 248, 264
Chou Ch’en 21
cinema 239
Clark, Sir Kenneth (art historian) 17, 28, 50
Claudet, A.F.J. 23
Clifford, James 164
CNN 243
coherence: compositional 134; sequential 143
Coleman, A.D. 224
Collier, J. 145
collodion (wet plate) process 249
colonial photography 4, 7, 145, 159, 160, 211, 262
colour photography 203–6, 210; colour mixing/printing 210; and magazine cover design 256–7; and war documentation 204
Colvin, C. 27
communications 248; and assignments 70; photographic 148–9; reader’s-viewer’s role 19–20
composite photographs 232, 238; see also manipulation; photomontage
composition 62–7; and framing 82
computers 82, 206, 231; and image manipulation 234, 239–41; and photography on internet 210, 228, 243; programs/software 121, 235, 240
constructivism 24, 264; photography 139
Constructivist Theory of Perception 24–8
contact sheets 116, 117–19, 184, 191, 221, 264; production of prints 117
context 103, 113–17, 126; historical and political 130–2; and manipulation 238
continuity 143
copyright 244
Cork, Richard (art critic) 49
Couldrey, N. 243
Courbet, Gustave 177
Cowling, M. 213
critical theory, purpose of 9–12
cropping 63, 92, 103, 122–7, 256–7, 264; angled 126–7; see also framing
cultural factors 3–6, 100, 211–14; anthropometric approach 212–13; and image context 113–14; and photojournalism 214–15; and visual images 39, 100, 199, 213
culture: and development of photography 36–7; theories of 21–2
current affairs photography 69
Curtiz, Michael 218
Cutler, A.W. 4
daguerrotypes 3, 21, 200, 236–7, 249, 264
Danius, S. 156
Dante Alighieri 108
darkrooms/studios 108; techniques 239
Darwin, Charles 23
da Vinci, Leonardo 95
decisive moment 50, 95, 100, 112, 264
Delacroix, Eugène: musical analogy 50–1
della Francesca, Piero 17
della Porta, Giovanni Battista 28
Demarchy, R. 31
de Mare, E. 62
de Maria, Walter (sculptor) 49
depth: of field 67, 141; of meaning 103, 108, 249; perception of 33, 50, 62; representation of 45; and surface patterns of images 50, 62
de Saussure, Ferdinand 88
Descartes, René 19–20, 24, 34, 39, 147
diachronic technique 76, 181, 201
didactic approach 175–6, 202, 264
digital photography 85, 231–9; airbrushing 235, 255; altered images 254–8; copyright 244; definition 223; and ethical issues 221, 255; image manipulation 235–8, 252; image transmission 6, 85, 114, 235; photojournalism 241–2; postproduction 121; theory 247–51; see also documentary photography
digital storage 73
Dioptrics (Descartes) 19
distancing see detachment
distortion 90, 219, 237; and expressionism 46; perspective 18, 57
documentary photography 78, 99, 100, 175–88, 214; case study: Guardian assignment 106, 118, 181–8; case study: Libyan People’s Bureau siege 192–5; cultural chasm 211–14; educational role 175; feature photography 189–92, 162; image interrogation 150–1, 164, 241; informed/uninformed consent 224–5; Observer Hodge Award 80; see also news photography; photojournalism; social documentary photography
documentation 215; and the camera 36, 90; cultural 211; practice of 71, 159; social 200, 203
Doisneau, R. 178
Dolce, Ludovico 147
door-stepping 265
doppelgänger concept/tradition 74, 138
Dortu, Max 202
drones 260
dualism/duality 20, 90, 215; East–West 133–6
Dubrey, F. 113
Duchenne, G.B.A. 30
Duncan, D. 204
Dusard, J. 200
Dzenko, C. 110
Dzȩgiel, L. 135
Eagleton, Terry (literary critic) 89
Eaton, Isabel 197
Ecological Approach to Visual Perception, The (Gibson) 33
ecological perception 32–5, 265
editing process 9, 115, 118; animation 122, 251; cropping 122, 256
Edwards, E. 102
Eisenstadt, A. 95
Elford, P. 96
Else, G.F. 147
encoding, photographic 86
entertainment 135; and mass culture 55, 215; and photography 3, 38
equipment 69, 70, 78, 80–1; fill-in flash 205; see also cameras; computers
Erice, V. 157
Erwitt, E. 211
ethical issues 198, 200; codes and guidelines 218–20, 257; and digital photography 181, 254; disaster/war images 204, 225–9; and human/individual rights 214–15, 218, 225–7; image manipulation and misrepresentation 221–4; informed/uninformed consent 226–8; invasion of privacy 73, 215, 225; and news organisations 218–20; and paparazzi 224–5; and photojournalism 217–29, 257
ethnographic photography 47, 164–72, 211, 251, 262
European Network of Press Agencies 247
Evans, D. 54
Evans, F. 31
Evans, H. 61, 92, 95, 103–4; on cropping 122–4
Export, V. 54
exposure(s) 27, 28, 67, 100, 106, 254; bracketing 67, 263; ensuring accuracy 67; timing/duration 100
expressionism 52–7, 250, 260, 265; and aesthetic intentions 56–7; and shooting 57
Expression of the Emotions in Man and Animals (Darwin) 307
eye–camera analogy 18–22, 30, 33, 39, 147, 265; and digital photography 231; and Gibson’s theory of perception 33–4; and stereoscopes 30
f-64 group 46
Facebook 242
Fahrmeier, E. 35
Farm Security Administration Project 200
feminist photography 43, 53–4, 108, 214 262
film 85; silver halides 85, 265
film montage: theory of 31
films (movies), fiction/documentary 238, 240
film-stock 266
Fiske, J. 124
Fleischhauer, C. 200
focalisation 144
focus, differential 141
forensic photography 47–8, 211
formalism 49–52, 250, 260, 265; and aesthetic intentions 56–7; composition 63; cropping 122–3; and feature photography 189; and shooting 57
formats: and contexts 121; cover templates 257; landscape/portrait 191–2, 257
Foster, R.F. 157
freelancing: assignments 179–80; combining skills 180; commercial sponsorship 209; new technologies 209–10; photo-opportunities 71, 178, 189; setting up 78–80; see also independent photography
Friedlander, L. 172
Friedrich, Caspar David 56
Frith, F. 91, 146, 148, 198, 248
Geertz, Clifford (anthropologist) 88, 129, 137–8, 152
Geffroy, Y. 155
Genette, Gérard (literary critic) 144
Gestalt psychology 31, 32, 84, 140, 265
Gibson, J.J. 25, 91, 235; theory of perception 32–5, 39, 51, 99, 145, 231
Gide, A. 108
Goldsworthy, Andy (artist) 41, 49, 210
Gombrich, E.H. 29, 55, 60, 239; ‘Mirror and Map’ paper 92, 141
Goody, J. 134
Gorgoni, Gianfranco 224
Graham, Paul 206
Green, D. 212
Greenberg, C. 35, 45, 50–1, 83
Grierson, John (film-maker) 176
Grover, Jan Zita 55
Gunther, R. 146
Haas, E. 204
Hagen, M.A. 135
Harbutt, C. 109
Haslam, J. 135
Hawkes, T. 49
Haworth-Booth, M. 240
Heartfield, J. 54
Hegel, G.W.F. 137
Heise, C.G. 56
Helmholtz, Hermann von 24, 31, 33, 39
Henderson, L. 223
Hevey, D. 199
Hicks, Wilson 141
high-control photography 61, 138
Hilliard, John (artist) 36, 103, 114, 124–5, 141–2
historical photography 43, 47, 96, 112, 116–17, 225, 262
history: definition 102
history/development of photography 2, 3–7, 14–41, 49, 148, 198, 224, 248–50; advent of colour 203–5; art status 235; equipment 254; future of photojournalism 214–15, 260–2; and image manipulation 235–7; revolutionary approach 202–3
Hoffman, Professor A. J. 222–3
Holmes, Oliver Wendell 39, 235
Hopkinson, Sir Tom 127
Houston, 169; Williams Tower 58–60
How the Other Half Lives (Riis) 201
Hughes, C. Jabez 54
iconic representation 25, 249, 261, 265; Peirce’s scheme 88, 92–3
illusory information 27
images 51–2, 84; context of 111–12, 113–14; digital 14, 200–1, 234–5, 247–8; and dual awareness 50; integrity of 235–7; interpretations of 102, 109, 146, 266; juxtapositioning 140; latent 85, 266; manipulation 221, 234–8, 240–1, 252, 254–8; metaphorical potential of 131–2; perception of 8, 114, 143; power and earning potential 197–8; reading thumbnails and contact sheets 117–19; retinal 22; sequences 141–5; static 101; surveillance 52–3; symbolic nature of 90–4; symbolism of 90–4, 108; and symmetry 133–4; syndicated 125–7; and text relationship 140–1; and trompe l’oeil 25; see also manipulation; transmission; viewers
Immediate Family (Mann) 215
implied narrative 100
independent photography 206–10, 266; funding 210; special interest groups 210
indexical function 25, 249, 261, 265
Indian art and photography 86
In Our Own Image (Ritchen) 121
International Fund for Concerned Photography 203
internet 210, 234; image availability 228, 252–3; and image transmission 6, 242–4; and photography 242–4
interrogatory principle 109, 150–1, 241
Introduction to Communication Studies (Fiske) 124–5
investigative journalism 49, 72, 78, 200, 265
Irby, K. 255
Iversen, M. 88
Jones, Dylan 255
journalistic photography see photojournalism
Kember, S. 52
Kingsley, Charles 30
Kircher, A. 17
Klingender, F.D. 54
Köhler, W. 32
Kosuth, J. 35
Kristeva, Julia 74
Krupp, Alfried 220
Kubler, G. 249
Lamprey, J. 212
Land Art 35
landscape photography 49
Langer, S. 51
Lartigue, J.H. 100
Last Supper, The (da Vinci) 95
Lavrentiev, A. 66
le Carré, John 130, 132, 136, 138
Lemon, L.T. 51
Levin, H. 45
Levine, L. 234
Levine, S. 38
Lévi-Strauss, Claude 74, 87–8, 135
light/lighting 84–5, 93; and image manipulation 220; metering 66; and visual perception 22, 61
Lindberg, D.C. 17
lithographic reproduction 237
Loeffler, C.E. 26
London Labour and the London Poor (Mayhew) 200
Longinus 147
Long, John 247
Longinus 147
looking-glass images/metaphors 134–9
Lumière brothers 204
Macdonald, G. 224
McMurdo, Wendy 74
magazine industry 204, 214; cover photographs 256–7
Malinowski, B. 98
Malraux, A. 50
Manet, Edouard 50
manipulation: airbrushing 235, 255; ‘Bert is Evil’ website 251–3; darkroom techniques 239; digital image 240–1, 252; and/or enhancement 254–8; of photographic images 221–4, 234–7, 240–1, 248, 254–5; through context 239
Mann, Sally 215
Marks, Nadia 189
Martin, Rupert 206
Marx, Karl 137
Mass Observation projects 214–15
Mathews, T.F. 127
Mayhew, H. 200
Meade, C. 236
Mellor, D. 202
metaphors 17, 131, 134; functioning of 135; mirror/looking-glass 131, 133–4, 135–7
Meyer, Pedro 250
Meyer, U. 36
Meyerowitz, J. 205
Michaels, C.F. 39
Michelangelo 95
Middle East Monitor 244
mirror images and symmetry 133–7
Mirzoeff, N. 100
Mitchell, W.J. 237, 247, 248, 255, 262
Moeller, S.D. 61
Moholy-Nagy, L. 198
Molderlings, H. 32
Mondotti, T. 140
monochromatic photography 186, 203–6, 210
Monroe, Marilyn: and ethical codes 221–3
montage see photomontage
Moore, Julianne 69
morality see ethical issues; truth value (photographic)
Morgan, A.B. 239
Morphy, H. 43
Muybridge, E. 38
mythic time 4
Nachtwey, James (war photographer) 288
narration/narratives 102, 103; categories of 145; see also implied narrative
National Photographic Record Association 31
National Press Photographers’ Association (NPPA) 218, 227, 247
National Union of Journalists (NUJ) 72, 258
Newhall, Nancy 140
Newman, Robert 255
New Realism 32
news photography 73, 120, 188–9; see also photojournalism
Nichols, Bill 176
Nicholson, Mike 198
objectivity 30, 43, 47, 112, 148, 176, 209, 213; detached/unattached 112, 113
observational approach 175–6, 198, 213
Oechsner, F. 222
Old Closes and Streets of Glasgow (Annan) 199
Ollman, A. 220
On Photography (Sontag) 18
Origin of Species (Darwin) 29
‘Outsiders Photography’ 206–10
Parr, Martin 206
patterns: two-dimensional/surface 50, 62; of visual stimulation 32
Penny, S. 19
perception 61; active 51; and colour photography 204; Constructivist Theory of Perception 22–6; of depth 33; ecological approach 32–5, 265; evolution of 33; nature of 33, 62; organisation and patterns of 31, 32; philosophy/psychology of 17, 26, 91; viewers’ 99, 114, 143–4, 135; and virtual images 23; see also Constructivist Theory of Perception; visual perception
peripateia (pregnant moment) 95
perspective 22; distortion 17, 49; normal 47, 60; theoretical 44; and use of mirror images 136–7
photographers: and subject collaboration 149–50, 164–72; and writer partnership 200–1
Photographer’s Eye, The (Szarkowski) 35
photographic representation see representation
photographs: captions and contextualization 113–14, 124; determinants of 98; duality of 49, 90, 94, 133–5; as icons 24, 89–94; indexical nature of 86, 88–90, 93; metaphorical functions 129–30; as sources of information 98–100
photography: aesthetics of 42–5; approaches to subject 197–202; avantgarde practice 36–8; categories of 175, 201; central characteristics 84; cultural chasm 211–14; as cultural critique 197–216; editing process 114; education 10–11; as entertainment medium 38–40; and human psychology 39; monochromatic/colour 61; objective nature of 42–3; realist aspect 101; recording function 47; storytelling/decisive moment 90–3, 104; and symbolism 86–90; theories of 86; and truth 86–8, 147, 198, 202, 235; as a Western phenomenon 212
photojournalism 4, 102–3, 177–9; disaster/war photography 203, 224–9; editorial skills 111; ethical issues 217–19, 257; feature photography 189–92; future of 214–16; and narratives 144; see also assignments; digital photography; equipment
photo-narratives/-stories 56, 144, 214
photo-opportunities 71, 72, 179, 189
Picasso, Pablo 148
Pictures on a Page (Evans) 103
Pinney, C. 212
Pirenne, M.H. 27, 39, 50, 62, 134
Piven, J. 78
Poggioli, R. 37
points of view 144
Porta, Giovanni Battista della 28
portrait photography 56–7, 69, 190; informed/uninformed consent 225–6
Postman, N. 250
postmodernism 55
post-production 115, 266; cropping 92, 266; editors/editing 8, 120–1; enhancement/manipulation 257–8; retouching 241; see also captions; editing process
Poulet, G. 140
Poynter Institute (US) 254
practice, and theory relationship 8–9
Predicament of Culture, The (Clifford) 164
pre-production 13, 46, 252, 266
press photography 70, 241–2; cards and passes 72; see also photojournalism
Price, W.L. 240
propaganda: and use of photography 5
Pryluck, Calvin 226
Raif, S. 108
realism 2, 14, 15–16, 90, 250, 259, 260, 266; and aesthetic intentions 44–5; cropping 124–5; and digital photography 235; documentary photography 176; photographic 46–9; and shooting 57–9
reciprocity, concept of 135
recit 144
Redeye photography (Manchester) 210
Remembrance of Things Past (Á la recherche du temps perdu) (Proust) 155
representation 85, 90, 92; and context 114; cultural systems of 20; documentary photography 176; of subject matter 177; theories of 11, 18, 20, 115; visual 18–24, 27, 260
research: pre-assignment 70, 73; setting limits 74–8
response theory 145
Ritchen, F. 3, 90, 121, 240, 241
Robinson, Henry Peach 62, 91, 117, 238
Rodchenko, Alexander 46, 48, 66, 67, 126, 141, 198
Roosevelt, Theodore (US president) 201
Royal Photographic Society 31
Ruff, George 225
Ruskin, John 56
Ryan, M-L. 156
St Ignatius Entering Heaven (Pozzo) 26–7, 34
Sander, A. 2
Saussure, Ferdinand de 88
scanners/scanning 231
Scharf, A. 336, 44, 50, 64, 148, 240
Schneider, B. 78
Schuneman, R. 204
Schwarz, H. 18
Seibert, S.R. 249
Sekula, A. 3, 31, 89, 91, 104, 262
self-portraits 30, 56–7, 162–4, 239
self-reflexive photography 51, 141
semiotics/semiology 25, 87–91, 267
Senses Considered as Perceptual Systems, The (Gibson) 32
sequences, before-and-after shots 141, 201; of images 141–5
Seymour, C. 29
Sherrington, C.S. 16
Shklovsky, Viktor (literary critic) 51, 58
shoots/shooting 57–9; failures and disasters 72–3; portrait 56–7; stills 124; unphotographic practicalities 69–72; viewpoints 67, 69; see also case studies; equipment
Shore, S. 205
Short History of Photography (Benjamin) 203
simulation 19
single image photography 74, 100, 124, 140; and presentation 143
Smith, Adophe 200
Smith, H.H. 35
social documentary photography 197–203, 215
Sommerlad, N. 195
Sontag, S. 10, 18, 63, 94, 100, 156, 159
Sorgi, I.R.: suicide photograph 105–7, 179, 227, 254
Sowerby, A.L.M. 85
Spencer, H. 200
spot news 106
still photography 94, 124, 144; documentary/fiction 241
Stoddart, Tom 197
Stone, Sir Benjamin 31, 76, 102, 147, 202, 250
Storm, H. 244
Story of Art, The (Gombrich) 29
straight photography 46
Street Life in London (Thomson) 199
subjects: human 177; and photographer 164–72
Suchar, C.S. 109, 149, 150, 241
Sune, Camilla: case study 161–4
surrealist photography 203
Swan, P.A. 257
symbolism in photography 90–4, 250, 267
symmetry: and mirror images 132–7; reflective 135
Szarkowski, J. 35
tableau vivant 94, 101, 117, 234, 267
Tagg, J. 99
Talbot, W.H. Fox 18, 28, 119, 235
Taylor, B. 25
technological developments 240, 248–9, 251–2; analog/digital melding 252–3
television 234; news manufacture/manipulation 244, 247; photography 192; and social documentation 202
text: and image relationship 139–41; see also captions
theory: and practice relationship 8–9; see also critical theory
third meaning 31, 88, 139–41; and photo-sequences 141–5
Thomson, J. 199
Through the Looking-glass (Carroll) 132, 137
Tintoretto 140
Tirohl, B. 238
Trachtenberg, A. 202
transmission 6, 85, 114, 235, 203–5
transport, for assignments 71
Treatise of Physiological Optics (Helmholtz) 39
truth value (photographic) 90–2, 146, 199, 202, 235, 240–1, 248; see also authenticity
Turner, F.J. (historian) 102
Ucko, P.J. 2
University of North Texas Department of Journalism 254
Urban, Mike 227
US Department of Defense 257
van Leeuwen, T. 100
Varieties of Realism (Hagen) 135
Vermeer, Jan 29
Vice News 243
viewers: and image context 111–12; image responses 144–7; perception 99, 143–4, 145; role of 109, 145
viewpoints: cultural 102, 198;
current/historical 106–7; and image
manipulation 220; and interpretations 145; and narratives 144; shoots/shooting 67, 69
Virilio, P. 246
virtual images 109
vision, theories of 17, 18, 23, 24
Vision and the Eye (Pirenne) 39
Vision Machine, The (Virilio) 246
visual awareness/literacy, development of 8
visual images: and cultures 39; influence of 7–9
visual perception 21, 24; and actuality 21, 118, 138; ecological approach 32–6, 265; psychology of 32, 39; theories 21, 22, 31, 32–6
websites 210, 223; ‘Bert is Evil’ 251–4
Weegee see Fellig, A.
Weisman, A. 200
Wertheimer, M. 32
Western art and photography 20–2, 28, 29, 92; and image response 112; and mirror images 136–7; role of copying and imitation 136–7
Western culture 2, 22, 39, 136, 214, 215
Weston, E. 35, 38, 48, 60–1, 237–8
Wheatstone, Sir C. 38
White, J. 138
Williams, J. 244
Winogrand, G. 205
Witschge, T. 244
Wittgenstein, L. 104
Wollaston, W.H. 28
Wollheim, R. 248
Wood, George 225
Workers’ Camera Leagues 202
Workers’ Film and Photo League 203
Wright, C.E. 245