Introduction to the History of Photography

"Leaving aside the mysteries and the inequities of human talent, brains, taste, and reputations, the matter of art in photography may come down to this: it is the capture and projection of the delights of seeing; it is the defining of observation full and felt." Walker Evans Walker Evans began to photograph in the late 1920s, making snapshots during a European trip. Upon his return to New York, he published his first images in 1930. During the Great Depression, Evans began to photograph for the Resettlement Administration, later known as the Farm Security Administration (FSA), documenting workers and architecture in the Southeastern states. In 1936 he traveled with the writer James Agee to illustrate an article on tenant farm families for Fortune magazine; the book Let Us Now Praise Famous Men came out of this collaboration. Throughout his career Evans contributed photographs to numerous publications, including three devoted solely to his work. In 1965 he left Fortune,

"Paul Strand's debut in photography coincided with the first stirrings of modernism in the visual arts in America. Born in New York in 1890, he attended both the class and club in photography taught by Hine at the Ethical Culture School in 1908. A visit to Stieglitz's 291 gallery arranged by Hine inspired Strand to explore the expressive possibilities of the medium, which until then he had considered a hobby.  Although he was active for a brief period at the Camera Club of New York, whose darkrooms he continued to use for about 20 years, his ideas derived first from the circle around Stieglitz and then from the group that evolved around the Modern Gallery in 1915, including Sheeler and Schamberg. Strand's work, which was exhibited at 291, the Modem Gallery, and the Camera Club, gained prizes at the Wanamaker Photography exhibitions and was featured in the last two issues of Camera Work.  From about 1915 on, he explored the visual problems that were to become fundamen