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| The Origins of Photography (to 1839) | |
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| Before Photography | |
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| The Invention of “Photographies” | |
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| Responses to the Announcement of the Daguerreotype | |
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| The Politics of Invention | |
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| Focus: The Stranger | |
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| Philosophy and Practice: Nature's Automatic Writing | |
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| The Second Invention of Photography (1839-1854) | |
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| The Second Invention | |
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| Focus: Iron, Glass, and Photography | |
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| Photography and the Sciences | |
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| Focus: Photography, Race, and Slavery | |
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| Recording Events with the Camera | |
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| War and Photography | |
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| Focus: The Mexican-American War | |
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| Expeditionary and Travel Photography | |
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| Portaiture and the Camera | |
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| Focus: The First Police Pictures? | |
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| Photography and Fiction | |
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| Philosophy and Practice: A Threat to Art? | |
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| The Expanding Domain (1855-1880) | |
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| The Stereograph | |
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| War and Photography | |
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| Focus: The Valley of Death | |
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| Portrait: Mathew Brady | |
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| Portrait: Alexander Gardner | |
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| Topographical Surveys and Photography | |
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| Focus: The Abyssinian Campaign, or the Magdala Expedition | |
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| Photography and Science | |
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| Photography and the Social Sciences | |
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| Popularizing Ethnic and Economic Types | |
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| Art and Photography | |
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| Portrait: Julia Margaret Cameron | |
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| Women Behind the Camera | |
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| Focus: Lewis Carroll's Photographs of Children | |
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| Philosophy and Practice: “Superseded by Reality” | |
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| Photography in the Modern Age (1880-1918) | |
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| The Challenge for Art Photography | |
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| Pictorialism | |
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| Portrait: Alfred Stieglitz | |
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| Portrait: Edward Steichen | |
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| Portrait: Gertrude K�sebier | |
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| Photography and the Modern City | |
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| Portrait: Jacob Riis | |
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| Science and Photography | |
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| Focus: Photography and Futurism | |
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| Focus: Worker Efficiency: The Gilbreth's Time and Motion Studies | |
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| Photography, Social Science, and Exploration | |
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| Focus: The National Geographic | |
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| War and Photography | |
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| Philosophy and Practice: The Real Thing | |
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| A New Vision (1919-1945) | |
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| Revolutionary Art: The Soviet Photograph | |
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| Focus: Photomontage or Photocollage | |
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| Dada and After | |
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| Surrealist Photography | |
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| Focus: Film and Photography | |
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| Experimental Photography and Advertising | |
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| California Modern | |
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| Social Science, Social Change, and the Camera | |
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| Portrait: Margaret Bourke-White | |
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| Portrait: August Sander | |
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| Popular Science | |
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| World War II | |
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| Philosophy and Practice: The “Common Man” and the End of Media Utopia | |
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| Through the Lens of Culture (1945-75) | |
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| The Family of Man | |
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| Cultural Realitivism and Cultural Resistance | |
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| Focus: Making an Icon of Revolution | |
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| Mexico | |
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| Portrait: Manuel �lvarez Bravo | |
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| Africa | |
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| Asia | |
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| Portrait: Shomei Tomatsu | |
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| Focus: Photographing the Atomic Bomb | |
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| The West and the Cold War | |
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| Annihilation, Alienation, Abstraction: America | |
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| Technology and Media in Postwar America | |
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| Photography in Art | |
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| Philosophy and Practice | |
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| Photography “Born Whole” | |
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| Convergences (1975-2000) | |
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| The Predicaments of Social Concern | |
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| Portrait: Sabast�io Salgado | |
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| Neutral Vision | |
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| Focus: The Cambodian Genocide Photographic Database | |
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| The Look of Politics | |
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| The Postmodern Era | |
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| Focus: Culture Wars | |
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| Family Pictures | |
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| Focus: Looking at Children | |
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| Nature and the Body Politic | |
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| Philosophy and Practice: The Passing of the Postmodern | |
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| Epilogue: On Beauty, Science, and Nature | |
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| Post-Photography | |
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| Everything Old Is New Again | |
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| Timeline | |
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| Glossary | |
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| Notes | |
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| Bibliography | |
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| Literary Credits | |
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| Picture Credits | |
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| Index | |