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Peale, Charles Wilson: (left) “Rachel Brewer Peale and Baby Eleanor” watercolor on ivory - 1791
(right) “George Washington” watercolor on ivory - 1777

Prior to the invention of photography artists painted portraiture such as the small watercolors on ivory by Charles Wilson Peale - the small size allowed for the wearing as a pendant or even providing as an engagement or wedding gift.

Niepce, Joseph Nicephore: “Window at Le Gras,”
heliograph - 1826

Silver plated copper, iodine and mercury; 7-10 minute exposures, one of a kind

The First Photograph is a one-of-a-kind permanent positive-image process, secured upon the surface of a pewter plate in 1826. As such, the process did not provide for a transparent negative or for multiple positive printings on paper as later photographic processes did and continue to do today. Among the special qualities of this heliograph is the very fact that Joseph Nicéphore Niépce could only produce a singular photograph with any exposure he made. Thus, the object on view is the unique original; the creator could make no more duplicates of it.

One hundred and fifty years ago [Summer 1826] Joseph Nicéphore Niépce succeeded in obtaining a camera picture on a polished pewter plate, sensitized with bitumen of Judea. This material has the unusual property of hardening in light (not blackening like silver salts) but its light sensitivity is small. Niépce needed 8-10 h[ours] exposure in sunshine. He named his invention "heliography." After dissolving the unexposed parts of the picture in oil of turpentine and rinsing the plate, there remained, without the need for any other fixing, a permanent bitumen image of the light drawing, the shadows being indicated by the bare pewter plate. To avoid a lateral reversal of the view, Niépce had employed a prism in front of his achromatic lens. He had obtained both components from the Parisian optician [Charles] Chevalier when he purchased his first professional camera in January that year. After using glass, lithographic stone and zinc for previous experiments, he had ordered the pewterplates in May 1826.

Daguerre, Louis Jacques Mande (French):
“View of the Boulevard du Temple, Paris, daguerretype - 1838

Creator: Daguerre, Louis-Jacques-Mande, French Title: View of the Boulevard du Temple, Paris, 1838 [2 views taken on same day] Date: 1838 Location: (original destroyed) Material: Daguerreotype Related Item: Hartt 4: 32-1 Related Item: H&F 4: 15.24 Collection: Art History Survey Collection Source: Catalogued by: Digital Library Federation Academic Image Cooperative

Daguerre, Louis J.M.: “Paris Boulevard, detail” daguerreotype - 1839

Creator: Daguerre, Louis Jacques Mandé, 1787-1851 Title: Paris Boulevard \det. man Date: 1839 Material: daguerreotype Subject: Photography--19th C. A.D Collection: ARTstor Slide Gallery Source: Data from: University of California, San Diego

Easterly, Thomas: (left) “Miriam Bailey (Easterly) with flowers,”
Daguerreotype - 1847;
(right) “Miriam Easterly,” wedding day - 1850

Creator: Easterly, Thomas, 1809-1882 Title: Date: 1847 Material: daguerreotype Repository: National Anthropological Archives Subject: Photography--19th C. A.D Subject: Portraits--Female Collection: ARTstor Slide Gallery Source: Data from: University of California, San Diego

Southworth & Hawes: Unidentified Family, daguerreotype – n.d.

Creator: Southworth & Hawes Title: Unidentified family. Material: whole plate daguerreotype Subject: Photography--19th C. A.D Collection: ARTstor Slide Gallery Source: Data from: University of California, San Diego

Southworth and Hawes was the largest portrait studio in the country during the mid-late 1800s. Their were known for their elegant lighting. Patrons wore their finest clothes as these photos cost what in today’s market would be $500 per sitting.

Disderi, Adolphe Eugene: “Apparatus”
(left) wood engraving – n.d.

The Petzval lens was developed in 1840 by Joseph Petzval It consisted of two doublet lenses with an aperture stop in between. The front lens is well corrected for spherical aberrations but introduces coma (distortion).

Disderi, Adolphe Eugene: “Sarah Bernhardt”
uncut albumen – 1862

André Adolphe-Eugène Disdéri, former merchant, actor, and daguerreotypist, patented his invention, the carte-de-visite (visiting card) photograph, in 1854. At nine-by-six centimeters, cartes were primarily portraits, about the size of a conventional calling card and soon just as popular. Disdéri established his photographic practice with the manufacture of these tiny photographs; he divided a single glass plate negative to make ten different exposures and then printed them simultaneously

Nadar: “Sarah Bernhardt,” Salt print – 1854-1855

Cameron, Julia Margaret: “Ophelia No. 2,” albumen- 1897
Leibovitz, Annie: Jessica Chastain, Vogue, 2013

Cameron is known for her staged photographs, influenced by the Pre-Raphaelite artists - and referencing themes of love and loss, often titled as literary, historical, or biblical subjects; and staged groupings such as her illustrations for Tennyson's Idylls of the King or her Annunciation in the style of Perugino. Right - Leibovitz photographs Jessica Chastain as Merida, the princess in Disney’s film The Brave in 2014.

Leibovitz, Annie: Jessica Chastain, Vogue, 2013
Gustav Klimt Portrait of Ria Munk III (1918)

http://www.vogue.com/872778/where-to-find-the-eight-masterworks-that-inspired-jessica-chastains-vogue-cover-shoot/

Leibovitz shoots Jessica Chastain for Vogue - referencing eight famous paintings.

Cameron, Julia Margaret: “Days at Freshwater,” albumen – n.d.

Cameron poses her children at their summer home in Freshwater.

Levitt, Helen: New York City, gelatin silver - 1940

From the technical point of view, Helen Levitt made her pictures with a 35 mm Leica. Often, the camera was equipped with a 'Winkelsucher', a right-angle viewfinder. "This device allows a street photographer to sight along the camera body while standing sideways to his subject, who consequently fails to realize that he is the subject" (Westerbeck and Meyerowitz 1994: 259). The fact that one of the boys in picture look straight into and another one even poses for the camera does not necessarily contradict the use of such a crude device, because not everyone could be fooled. Helen Levitt pointed out that "the children caught on" (Westerbeck and Meyerowitz 1994: 260). Maybe she shot picture without using a Winkelsucher, for some of her photographs were produced without this crude device (Garner 1992: 89) With or without Winkelsucher, Helen shot almost all of her pictures outdoors, using natural light.

Levitt, Helen: New York City, gelatin silver - 1940

Levitt, Helen: New York, silver gelatin - 1939

"And I decided I should take pictures of working class people and contribute to the movements," she said. "Whatever movements there were -- Socialism, Communism, whatever was happening. And then I saw pictures of Cartier Bresson, and realized that photography could be an art -- and that made me ambitious.”

Helen Levitt, born in Brooklyn, made her mark on photography during a volatile time in America. The social crisis of the 1930's inspired photographers to work for government funded projects to expose and correct the social problems. Walker Evans documented the rural south and Lewis Hine labor conditions while Dorothea Lange revealed urban plights. Helen Levitt chose a different path. At age 23 the subject she'd singularly devote a long career was located just blocks away in the children of New York neighborhoods.

Creator: Helen Levitt, North American; American, Born: US, NY, New York, 1918 Title: New York, 1939 Work Type: Photographs Date: 1939 Location: US, NY, New York Material: gelatin silver print Description: verso-(in pencil) "H" "Aak (?) 4, 39" "12" "40" (signed) "Helen Levitt" Description: Full View Repository: George Eastman House Repository: Rochester, New York, USA Repository: Museum Purchase: Charina Foundation Purchase Fund Repository: 93:0519:0001 Repository: http://www.eastmanhouse.org/ Collection: George Eastman House Collection Collection: Formerly in The AMICO Library ID Number: GEH_.93:0519:0001 Source: Data From: George Eastman House Rights: This image was provided by George Eastman House. Contact information: Barbara Galasso, Rights and Reproductions, George Eastman House, 900 East Avenue, Rochester, NY 14607, (585) 271-3361 x 341, [email protected]. Rights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.

Kasebier, Gertrude: “Zitkala Su Looking West,” platinum print - 1898

Kasebier was the first woman photographer to open her own studio in the late 1800s. She had served as Edward Curtis’ assistant prior to setting up her own business. She grew up in Colorado and was close friends with the Sioux Indians - here Zikala Su, a concert cellist and married to an American businessman, looks forward to her life in New York and her history and family among the Sioux.

Platinotype is a contact print process, meaning that your image is as large as your negative. They also can print in a much wider density range than silver. The prints can be developed in tungsten light so there is no need of a darkroom. Platinium became very expensive so the process was more or less discontinued after c. 1920s.

Cunningham, Imogen: Stieglitz

gelatin silver, 1934:

Creator: Imogen Cunningham, North American; American, 1883 - 1976, (Photographer) Title: Alfred Stieglitz at An American Place, New York Work Type: Photographs Work Type: Photograph Date: 1934 Material: gelatin silver print Measurements: H.9-9/16 x W.7-1/2 in. (image) Description: Front Repository: The Minneapolis Institute of Arts Repository: Minneapolis, Minnesota, USA Repository: Ethel Morrison Van Derlip Fund Repository: 76.51 Repository: http://www.artsmia.org/ Collection: The Minneapolis Institute of Arts Collection Collection: Formerly in The AMICO Library ID Number: MIA_.76.51 Source: Data From: The Minneapolis Institute of Arts Rights: This image was provided by The Minneapolis Institute of Arts. Contact information: DeAnn Dankowski, Permissions Assistant, The Minneapolis Institute of Arts, 2400 Third Avenue South, Minneapolis, MN 55404, (612) 870-3029 (ph), (612) 870-3004 (fax), [email protected]. Rights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.

Stieglitz, Alfred: “Georgia O’Keefe,” 1920

Creator: Stieglitz, Alfred, 1864-1946 Creator: Title: Georgia O”Keeffe Date: 1920 Subject: O'Keeffe, Georgia, 1887-1986 Subject: Photography--20th C. A.D Subject: Portraits Collection: ARTstor Slide Gallery Source: Data from: University of California, San Diego Rights: © 2008 The Georgia O'Keeffe Foundation / Artists Rights Society (ARS), New York

Kodak Girls 1920 Catalogs

Strand, Paul: “Blind,” platinum - 1916

Strand was an early member of the Stieglitz circle of photographers - he studied with the great photojournalist Lewis Hine when he was in high school. In 1916, Strand made a series of candid street portraits with a handheld camera fitted with a special prismatic lens, which allowed him to point the camera in one direction while taking the photograph at a ninety-degree angle.

Strand subsequently traveled to Mexico, where he photographed the landscape, architecture, folk art, and people and in 1934 produced a film about fishermen for the Mexican government. Thirteen years earlier he had collaborated with Charles Sheeler on a film, Manhatta, a study of the urban high-rise environment. Having returned to New York late in 1934, Strand devoted his energies to theater and filmmaking cooperatives.

Lange, Dorothea: Migrant Mother, gelatin silver - 1935

Migrant Mother is the “Madonna” of the dust bowl era - Lange worked as a photographer for the Farm Security Administration under Roy Stryker who hired her to travel throughout the southwest & photograph the migrant farmworkers. He hoped the photos would raise money in Congress for the victims of the 1903s serious droughts.

Bresson, Henri Cartier:
Gare St. Lazare, Silver gelatin - 1933

“for me the camera is a sketch book,
an instrument of intuition and spontaneity,
the master of the instant which, in visual terms,
questions and decides simultaneously. ...
It is by economy of means that one arrives at
simplicity of expression.”

“for me the camera is a sketch book, an instrument of intuition and spontaneity, the master of the instant which, in visual terms, questions and decides simultaneously. ... It is by economy of means that one arrives at simplicity of expression.”

Cartier Bresson

Cartier Bresson, Henri: Seville, Spain - 1932

Creator: Henri Cartier-Bresson Great Britain, Coronation of George VI, 1937

The crowd waited all night, sleeping in the street - one weary man after an all night vigil, never awoke and missed the Coronation.

Henri Cartier-Bresson (1908–2004) is one of the most original, accomplished, influential, and beloved figures in the history of photography. His inventive work of the early 1930s helped define the creative potential of modern photography, and his uncanny ability to capture life on the run made his work synonymous with “the decisive moment”—the title of his first major book. After World War II (most of which he spent as a prisoner of war) and his first museum show (at MoMA in 1947), he joined Robert Capa and others in founding the Magnum photo agency, which enabled photojournalists to reach a broad audience through magazines such as Life while retaining control over their work. In the decade following the war, Cartier-Bresson produced major bodies of photographic reportage on India and Indonesia at the time of independence, China during the revolution, the Soviet Union after Stalin’s death, the United States during the postwar boom, and Europe as its old cultures confronted modern realities.

https://www.moma.org/calendar/exhibitions/967

Cartier Bresson: First Flame of Ghandi’s Funeral Pure- 1947

Creator: Henri Cartier-Bresson Title: Ghandi’s Secretary as the first flame of the funeral pyre Date: 1947 Collection: Magnum Photos ID Number: PAR30294.jpg Source: Image and original data provided by Magnum Photos Source: http://www.magnumphotos.com/ Rights: ©Henri Cartier-Bresson / Magnum Photos Rights: Contact information: Mark Lubell, Bureau Chief, Magnum Photos, 151 West 25th Street, New York, New York 10001-7204 Rights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.

Cartier Bresson: Mahatma Ghandi - 1947

Creator: Henri Cartier-Bresson Title: Collection: Magnum Photos ID Number: PAR30294.jpg Source: Image and original data provided by Magnum Photos Source: http://www.magnumphotos.com/ Rights: ©Henri Cartier-Bresson / Magnum Photos Rights: Contact information: Mark Lubell, Bureau Chief, Magnum Photos, 151 West 25th Street, New York, New York 10001-7204 Rights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.

Cartier Bresson: Salvador Dali - nd

Cartier Bresson: Martin Luther King - 1961

Creator: Henri Cartier-Bresson Title: USA. 1957. USA. Washington DC. 1957. Date: 1957 Collection: Magnum Photos ID Number: PAR30294.jpg Source: Image and original data provided by Magnum Photos Source: http://www.magnumphotos.com/ Rights: ©Henri Cartier-Bresson / Magnum Photos Rights: Contact information: Mark Lubell, Bureau Chief, Magnum Photos, 151 West 25th Street, New York, New York 10001-7204 Rights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.

DeCarava, Roy: (Duke Ellington) The Sound I Saw series, gelatin silver - 1962 – 1962

Photographer Roy DeCarava, who died Oct. 27 at age 89, dedicated his 60-year career to capturing images of African Americans. His subjects ranged from daily life in his hometown of Harlem to the Civil Rights movement, but his most noted work featured photographs of jazz greats like Duke Ellington, Thelonious Monk, Billie Holiday and Louis Armstrong.

See obituary NPR (Oct 2009) for more information

DeCarava: Coltrane, gelatin silver - 1961 on Soprano, gelatin silver – 1962

Coltrane, who was shy to begin with, simply played. DeCarava’s diffused image makes recognition difficult—it is not a “likeness” but suggests a musician achieving the kind of lift-off in which he would simply disappear, leaving only the music behind, coming from everywhere and nowhere.

Park, Gordon: American Gothic, Washington, D.C, gelatin silver - 1942.

Gordon Park, another of the master photographers of the 20th c. One of the key African American photographers known for his work with the Federal Farm Security Administration (Office of War) was an influential documentary photographer and the first Black journalist for Life Magazine in the 50s. He closely followed Ella Watson, visiting her home and family to document this White House worker who appears in this iconic photograph of the war years.

Park, Gordon: Ella Watson & 3 Grandchildren, gelatin silver - 1942

Park, Gordon: Red Jackson, Herbie Levy StudySlain Gang Member, Maurice Gaines - 1949

Lyon, Danny: Renegade’s Funeral, Detroit, silver gelatin - 1966

Message to the Future, Whitney retrospective for the documentary photographer Danny Lyon opened this summer 2016. The exhibition assembles approximately 175 photographs and related films and ephemera to highlight Lyon’s concern with social and political issues and the welfare of individuals considered by many to be on the margins of societyA leading figure in the American street photography movement of the 1960s, Lyon has distinguished himself by the personal intimacy he establishes with his subjects and the inventiveness of his practice. With his ability to find beauty in the starkest reality, Lyon has through his work provided a charged alternative to the bland vision of American life often depicted in the mass media.

Danny Lyon: Maricopa County, Arizona, 1977. Vintage gelatin silver print.

Danny Lyon: Message to the Future is the first comprehensive retrospective of the career of Danny Lyon (b. 1942) to be presented in twenty-five years. The exhibition is organized by the Fine Arts Museums of San Francisco and will premiere at the Whitney in summer 2016 before traveling to San Francisco.

The exhibition assembles approximately 175 photographs and related films and ephemera to highlight Lyon’s concern with social and political issues and the welfare of individuals considered by many to be on the margins of society.

Frazier, LaToya Ruby: Grandma and Ma, gelatin silver

In this, her first book, LaToya Ruby Frazier offers an incisive exploration of the legacy of racism and economic decline in America’s small towns, as embodied by her hometown of Braddock, Pennsylvania. The work also considers the impact of that decline on the community and on her family, creating a statement both personal and truly political—an intervention in the histories and narratives of the region. Frazier has compellingly set her story of three generations—her Grandma Ruby, her mother, and herself—against larger questions of civic belonging and responsibility. The work documents her own struggles and interactions with family and the expectations of community, and includes the documentation of the demise of Braddock’s only hospital, reinforcing the idea that the history of a place is frequently written on the body as well as the landscape.

Frazier, LaToya Ruby: Mom and Me, gelatin silver - 2011

Bey, Dawoud: Josef, polaroid - 1993
Bey, Dawoud: Odalys, C-print - 2003

Dawoud Bey is a documentary photographer who is currently a professor of photography at Columbia College in Chicago.

This is an example of his Chicago Project.

Since 1992, Dawoud Bey has undertaken a series of short-term collaborative projects that bring young people and museums together, but this ambitious residency is his first conducted within his home community. For this exhibition, Bey created large color portraits of each of the 12 students. These photographs are accompanied by audio portraits of the teenagers by award-winning radio producers Dan Collison and Elizabeth Meister and by written statements and photographs that the teens have chosen to represent themselves. Presented together, the groupings of photographs, audio, and text question the illusion of completeness of any representation. As a whole, the exhibition design—developed in collaboration with Garofalo Architects, Chicago—presents a multi-faceted and fluid composite of teenage identity. Smart Museum

Avedon, Richard: Jacob Israel, December 19, 1972

Avedon was one of the foremost fashion photographers in the 20th c who redefined the field of fashion photographry working for Vogue magazine. Here he photographs his father in the last few months of his fathers’ life in a nursing home.

Avedon, Richard: Self Portrait, New York City, silver gelatin - 2002

Avedon, Richard: Louise Nevelson, silver gelatin - May 13, 1975

Sherman, Cindy: Untitled
Film Still #7 - 1978

Creator: Sherman, Cindy Title: Untitled Film Still, #7 Work Type: photograph Date: 1978 Measurements: 50.8 X 40.6 cm Subject: Acting Subject: Photography--20th C. A.D Subject: Portraits Subject: Self-portraits Subject: Stockings Collection: ARTstor Slide Gallery Source: Data from: University of California, San Diego

Francesca Woodman: House #3, Providence, Rhode Island, 5” x 5” - 1976

Francesca Woodman committed suicide at the age of 22, jumping from a window. She had only about five years of photography behind her, much of it done as a student. Working in black and white, she frequently took self-portraits or depicted other young women, sometimes nude. Often the figures are only partly visible or blurry, as if trying to escape the frame.

Francesca Woodman: from the Angel Series, 5” x 5” - 1977

Woodman produced more than 800 different images in her lifetime, and there are thousands of negatives on hand. The first major American museum exhibition of her work in 25 years, “Francesca Woodman,” had its debut last month at the San Francisco Museum of Modern Art, where it will remain until Feb. 20. The show, which features 176 vintage photographs along with 5 videos, will open in March at the Guggenheim Museum in New York.

Arbus, Diane: Photograph of the Artist: Taken By Stephen Frank - 1970

Creator: Arbus, Diane, 1923-1971 Title: PHOTOGRAPH OF THE ARTIST taken by Stephen Frank Date: 1970 Subject: Photography--20th C. A.D Collection: ARTstor Slide Gallery Source: Data from: University of California, San Diego

Mark, Mary Ellen: "Rat" and Mike with a Gun, Seattle, gelatin silver – 1983
The Streetwise Project

Mary Ellen Mark follows in the tradition of Arbus’ street photography but Mark captures the realities of street life for young gang members or teenage prostititutes in her photo series.

(Left) Samaras: “ November 1, 1973,” altered Polaroid
“November 22, 1973” altered Polaroid

(from the PhotoTransformations)

Samaras is known for his experimental photography that captures surrealities of portraiture - mainly self portraits - In these Polaroids he alters the image as it is developing by us solvents that can move the emulsion.

Sander, August: Master Potter from Frechen, gelatin silver – 1934
(right) Konditor, Köln, gelatin silver - 1928

August Sander was a German photodocumentarian who attempted to capture likenesses of every profession in Germany in the 1930s. Sander maintained that your image reflected your occupation. He captured over 600 portraits of German citizens ntil the Nazi’s shut down his studio and confiscated his negatives in the late 30s.

Olivier, Les Guerses, France, November 1, 2000
Olivier, Camp General De Gaulle, Libreville, Gabon, June 2, 2002 Olivier, Quartier Monclar, Djibouti, July 13, 2000

Rineke Dijkstra - follows an individual over many years of documentary portraiture - here Israili young men enscripted into the army.

Picasso: Weeping Woman, o/c - 1937
Dijkstra, Rineke: I Can See a Woman Crying, video still 2009
http://www.tate.org.uk/context-comment/video/rineke-dijkstra-weeping-woman

One of the worst atrocities of the Spanish Civil War was the bombing of the Basque town of Guernica by the German air force, lending their support to the Nationalist forces of General Franco. Picasso responded to the massacre by painting the vast mural

https://www.youtube.com/watch?v=Qb9tw8VF-F8

Guernica, and for months afterwards he made subsidiary paintings based on one of the figures in the mural: a weeping woman holding her dead child.Weeping Woman is the last and most elaborate of the series. The woman's features are based on Picasso’s lover Dora Maar.

November 2006

Weems, Carrie Mae: Roaming, 2006
https://www.youtube.com/watch?v=TI0R2qlRfps

Carrie Mae Weems, an influential and important African American photographer who has documented race, gender and socio political issues over the past 40 years. Roaming is an important series that images the African American self in juxtaposition to the histories of Western (Euopean) civilization.

Warhol: Screen Tests – Edie Sedgwick - 1966
http://www.moma.org/interactives/exhibitions/2010/warhol/#

Warhol: Screen Tests

Edie Sedgwick (1966). Photograph: The Andy Warhol Museum, Pittsburgh, PA, a museum of Carnegie Institute

http://www.youtube.com/watch?v=Z8sptsjCk18

Merv Griffith Show with Warhol and Segwick

Avedon, Richard: Marilyn Monroe, gelatin silver -1957

Avedon was famous fashion photographer throughout 20th c. He wined and dines

Monroe until late at night - she performed her Monroe image until the end of the evening and then let Avedon take her portrait.

Cartier Bresson, Henri:
Marilyn Monroe,
gelatin silver -1960

http://www.moma.org/interactives/exhibitions/2010/henricartierbresson/#/

Leibovitz, Annie: Queen Elizabeth II – 2007
http://www.youtube.com/watch?v=qhjEQpEGvaQ

She made her career as a photographer on the pages of Rolling Stone in the '70s and Vanity Fair in the '80s, where she accurately diagnosed celebrity fever and understood that its symptoms included an insatiable hunger for more stars.

Ms. Leibovitz practically reinvented the single, storytelling portrait, using humor, corniness, oddity, boldness, silliness and sheer unexpectedness to make a photograph catch your attention instantly. The form has been widely imitated. She adapted her editorial style to Gap and American Express advertising campaigns, which introduced her images into countless living rooms. Seemingly, anyone who has ever stood in front of Ms. Leibovitz's camera takes a very favorable view of her. Her pictures do not denigrate or disparage. Her latest exhibition Pilgrimage is up at the Smithsonian (http://americanart.si.edu/exhibitions/archive/2012/leibovitz/).

http://topics.nytimes.com/top/reference/timestopics/people/l/annie_leibovitz/index.html

Beaton, Cecil (British): Queen Elizabeth II – 1953

Cecil Beaton was a noted British fashion during the 20th c. In the 1920s, he was hired as a staff photographer for Vanity Fair and Vogue, where he developed a unique style of posing sitters with unusual backgrounds. He was also a diarist, interior designer and Oscar-winning stage and costume designer.

Leibovitz, Annie: Queen Elizabeth II – 2007
http://www.youtube.com/watch?v=qhjEQpEGvaQ

Based in New York, Annie Leibovitz is best known for her portraits of political figures, musicians and athletes, all of which are featured regularly in magazines, fashion, and advertising. Many of Leibovitz's portraits of rock music celebrities have become signature images. A notable example is her portrait of the nude John Lennon on a bed with his fully clothed wife, Yoko Ono, the last portrait of Lennon before his death in 1980. During the volatile 70s she worked as staff

Photographer for the Rolling Stone magazine, followed by her long time association with Vanity Fair and Vogue magazines.

Leibovitz, Annie: (left) Patti Smith 1970s
(right) 2000s

Photographer for the Rolling Stone magazine, followed by her long time association with Vanity Fair and Vogue magazines.

Leibovitz, Annie: Rolling Stone covers – Lennon & Ono

Creator: Leibovitz, Annie, 1949-

Photographer Annie Leibovitz has said the original concept for the now legendary John Lennon and Yoko Ono Rolling Stone cover was for both to appear nude, designed to mark the release of their album "Double Fantasy." As legend has it, Lennon was game, shedding his clothes quickly, but Ono felt uncomfortable. Leibovitz recalled for Rolling Stone: �I was kinda disappointed, and I said, 'Just leave everything on.' We took one Polaroid, and the three of us knew it was profound right away." That same night, Dec. 8, 1980, he was shot and killed by a fan in front of his Manhattan apartment.

Issue date: Jan. 22, 1981

http://www.latimes.com/entertainment/news/la-et-magazine-rollingstone-yoko,0,2157538.photo#ixzz2wMRCK7YM

http://www.rollingstone.com/music/news/john-lennon-the-last-interview-20101223

John Lennon’s last interview.

Opie, Catherine: Liz Taylor - 2010-12

Creator: Opie, Catherine: Liz Taylor - 2010-12

In November 2010 the fine art photographer Catherine Opie gained entree into Elizabeth Taylor’s closet through their shared accountant, of all people. Opie, known for her documentary style, spent six months shooting the star’s myriad possessions at her Bel Air home — from her countless furs and many negligees to the famous La Peregrina pearl necklace, a gift from Richard Burton. Opie’s all-access pass was honored even after Taylor died in the middle of the art project. “I was there the day Christie’s staff came in with shopping bags to take it all away,” the photographer recalls. And while the sale earned Taylor’s estate a whopping $183.5 million, Opie’s exclusive window into the actress’s world — the images will eventually be published as a book — is priceless.

http://www.nytimes.com/interactive/2013/02/17/t-magazine/17document.html

Opie, Catherine: Liz Taylor - 2010-12

Creator: Opie, Catherine: Liz Taylor - 2010-12