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| Dedication | |
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| Preface | |
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| Advancing toward Photography: The Birth of Modernity | |
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| A Desire for Visual Representation | |
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| Perspective | |
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| Thinking of Photography | |
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| Camera Vision | |
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| The Demand for Picturemaking Systems | |
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| Proto-Photographers: Chemical Action of Light | |
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| Modernity: New Visual Realities | |
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| Optical Devices | |
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| Images through Light: A Struggle for Permanence | |
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| Other Distinct Originators | |
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| The Daguerreotype: Image and Object | |
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| What Is a Daguerreotype? | |
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| The Daguerreotype Comes to America | |
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| The Early Practitioners | |
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| Early Daguerreian Portrait Making | |
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| Post-Mortem Portraits | |
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| Technical Improvements | |
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| Expanding U.S. Portrait Studios | |
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| The Art of the Daguerreian Portrait | |
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| Daguerreian Portrait Galleries and Picture Factories | |
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| African-American Operators | |
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| Rural Practice | |
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| The Daguerreotype and the Landscape | |
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| The Daguerreotype and Science | |
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| Calotype Rising: The Arrival of Photography | |
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| The Calotype | |
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| Early Calotype Activity | |
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| Calotypists Establish a Practice | |
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| Calotype and Architecture: Mission Heliographique | |
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| The End of the Calotype and the Future of Photography | |
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| Pictures on Glass: The Wet-Plate Process | |
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| The Albumen Process | |
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| The New Transparent Look | |
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| The Ambrotype | |
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| Pictures on Tin | |
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| The Carte-de-Visite and the Photo Album | |
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| The Cabinet Photograph: The Picture Gets Bigger | |
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| The Studio Tradition | |
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| Retouching and Enlargements | |
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| The Stereoscope | |
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| The Stereo | |
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| Prevailing Events/Picturing Calamity | |
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| Current Events | |
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| Early War Coverage | |
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| The American Civil War | |
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| How Photographs Were Circulated | |
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| A New Medium of Communication: Art or Industry? | |
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| Discovering a Photographic Language | |
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| Americans and the Art of Nature | |
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| Positivism | |
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| Standardizing the Practice: A Transparent Truth | |
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| Mechanical Photography | |
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| The Traveling Camera | |
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| Picturing Industrialization | |
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| Urban Life | |
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| The Other | |
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| The American West: The Narrative and the Sublime | |
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| New Ways of Visualizing Time and Space | |
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| The Inadequacy of Human Vision | |
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| Locomotion | |
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| Transforming Aesthetics: Technical Breakthroughs | |
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| The Hand-Held Camera and the Snapshot | |
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| Time and Motion as an Extended Continuum | |
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| Moving Pictures | |
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| Color | |
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| Suggesting the Subject: The Evolution of Pictorialism | |
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| Roots of Pictorialism | |
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| Pictorialism and Naturalism | |
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| The Development of Pictorial Effect | |
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| The Secession Movement and the Rise of Photography Clubs | |
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| The Aesthetic Club Movement | |
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| Working Pictorially: A Variety of Approaches | |
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| American Perspectives | |
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| The Photo-Secession | |
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| The Decadent Movement and Tonalism | |
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| Women Pictorialists | |
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| The Pictorial Epoch/The Stieglitz Group | |
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| The Decline of Pictorialism | |
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| Modernism: Industrial Beauty | |
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| Cubism | |
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| High and Low Art | |
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| Futurism | |
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| Time, Movement, and the Machine | |
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| Towards a Modern Practice: Distilling Form | |
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| Data | |
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| Exploring Space and Time: The Return of the Photogram | |
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| Surrealism | |
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| Collage | |
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| Suprematism | |
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| Art, Technology, and a New Faith | |
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| Paul Strand and Straight Photography: Purity of Use | |
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| The New Culture of Light | |
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| Teaching Modernism: The American Impulse | |
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| Stieglitz's "Equivalents" | |
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| Steichen Goes Commercial | |
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| Form as Essence | |
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| Straight, Modernistic Photography | |
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| Film und Foto and New Objectivity | |
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| Experimentally Modern | |
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| New Vision | |
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| Pathways of Light: Time, Space, and Form | |
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| Surrealistic Themes | |
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| Social Documents | |
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| An American Urge: Social Uplift | |
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| Ethnological Approaches | |
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| Emerging Ethnic Consciousness | |
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| The 1 hysiognomic Approach | |
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| The Great Depression: The Economics of Photography | |
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| The FAP Project: Changing New York | |
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| Mass Observation | |
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| The Film and Photo League | |
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| Nabbing Time: Anticipating the Moment | |
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| Photography and the Halftone | |
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| Pictures and Printers Ink | |
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| The Photo Magazine | |
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| The Sepration of Art and Commerce: Advertising and Fashion | |
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| Newspapers | |
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| War Reportage | |
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| The New Subjective Journalism | |
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| Bytes and Halftones | |
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| The Atomic Age | |
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| The Surrealistic Metaphor | |
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| The Photograph as Spirit | |
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| Photo Education as Self-Expression | |
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| Family of Man | |
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| Photography and Alienation | |
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| Making a Big Jump | |
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| The Subjective Documentary | |
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| The Terror of Riches | |
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| New Frontiers: Expanding Boundaries | |
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| Structuralism: Reading a Photograph | |
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| The Found Image: The Beginnings of Postmodernism | |
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| The Rise of Pop Art | |
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| Challenging the Code | |
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| The Social Landscape | |
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| New Journalism | |
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| Multiple Points of View | |
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| The Rapid Growth of Photographic Education | |
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| Changing Realities | |
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| Alternative Visions | |
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| Turning the Straight Photograph on Itself | |
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| Personal Accounts: Documentary Fiction | |
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| The Snapshot | |
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| Post-Structuralism/New Topographics | |
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| The Rephotographic Survey Project/Time Changes | |
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| Color Rising | |
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| Artists' Books | |
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| Reconfiguring Information | |
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| Expanding Markets | |
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| Critical Writing | |
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| Thinking About Photography | |
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| Conceptual Art: The Act of Choosing | |
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| Performance Art | |
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| A Return to Typologies | |
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| Postmodernism | |
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| Deconstructing Myths | |
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| Gender Issues | |
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| Fabrication | |
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| Altering Time and Space | |
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| Investigating the Body | |
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| Multiculturalism: Exploring Identity | |
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| A Personal Cultural Landscape | |
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| The Digital Future | |
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| Bibliography | |
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| Individual Artists | |
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| Technology | |
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| Sources of Artists Books | |
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| Index | |