This extraordinarily comprehensive, well-documented, biographical dictionary of some 1,500 photographers (and workers engaged in photographically related pursuits) active in western North America before 1865 is enriched by some 250 illustrations. Far from being simply a reference tool, the book provides a rich trove of fascinating narratives that cover both the professional and personal lives of a colorful cast of characters.

This biographical dictionary of some 3,000 photographers (and workers in related trades), active in a vast area of North America before 1866, is based on extensive research and enhanced by some 240 illustrations, most of which are published here for the first time. The territory covered extends from central Canada through Mexico and includes the United States from the Mississippi River west to, but not including, the Rocky Mountain states. Together, this volume and its predecessor, Pioneer Photographers of the Far West: A Biographical Dictionary, 1840-1865, comprise an exhaustive survey of early photographers in North America and Central America, excluding the eastern United States and eastern Canada. This work is distinguished by the large number of entries, by the appealing narratives that cover both professional and private lives of the subjects, and by the painstaking documentation. It will be an essential reference work for historians, libraries, and museums, as well as for collectors of and dealers in early American photography. In addition to photographers, the book includes photographic printers, retouchers, and colorists, and manufacturers and sellers of photographic apparatus and stock. Because creators of moving panoramas and optical amusements such as dioramas and magic lantern performances often fashioned their works after photographs, the people behind those exhibitions are also discussed.

Joseph Smith, founding prophet and martyr of the Church of Jesus Christ of Latter-day Saints, personally wrote, dictated, or commissioned thousands of documents. Among these are several highly significant sources that scholars have used over and over again in their attempts to reconstruct the founding era of Mormonism, usually by focusing solely on content, without a deep appreciation for how and why a document was produced. This book offers case studies of the sources most often used by historians of the early Mormon experience. Each chapter takes a particular document as its primary subject, considering the production of a document as an historical event in itself, with its own background, purpose, circumstances, and consequences. The documents are examined not merely as sources of information but as artifacts that reflect aspects of the general culture and particular circumstances in which they were created. This book will help historians working in the founding era of Mormonism gain a more solid grounding in the period's documentary record by supplying important information on major primary sources.

In the aftermath of the Civil War, New Mexico Territory endured painful years of hardship and ongoing strife. During this turbulent period, a U.S. military officer stationed in the territory assembled an album of photographs, a series of still shots taken by one or more anonymous photographers. Now, some 150 years later, Hardship, Greed, and Sorrow reproduces the anonymous officer’s “souvenir album” in its totality. Offering an important glimpse of the American Southwest in the mid-1860s, the book opens with a thoughtful foreword by Jennifer Nez Denetdale, who considers the varied and lingering effects that settlement, conquest, and nineteenth-century photography had on the Apaches and Navajos. In her insightful introduction accompanying the photographs, curator and scholar Devorah Romanek places the photographs in historical context and explains their unusual provenance. As she points out, the 1866 album integrates a number of important themes in connection to the Civil War and Reconstruction periods, including the French intervention in New Mexico and the internment of Navajos at the Bosque Redondo Indian Reservation. The story of the album’s provenance reads like a mystery: some loose ends remain untied and some questions remain unanswered. In addition to containing what may be the earliest extant photographs of Navajo Indians, the album features both studio and field images of U.S. Army officers, Mexican politicians, and various sites throughout New Mexico. According to Romanek, a number of the album’s photographs have appeared in other publications but with scant attention to their original context or purpose. This compelling book reveals what we know about the collection, its compiler, and the photographer—or photographers—who captured such a fraught and complex moment in the history of the American Southwest.

This work is an explanation of the role of the nineteenth-century photographer as a conscious historian of the West - a recorder of events, people, and places as surely as they were the diary-keepers, journalists, and writers. Like them, he exercised choice in what he recorded; unlike them, he documented aspects of reality that we can know in no other way. Photographers as documenters are too often casually, even carelessly, regarded. Photography And The Old West is intended to convey as clearly as possible how people learned to use a camera and became camera-wise in an individual way; how tools and materials affected photographic seeing; and what a few of the many photographers hoped to express. This work is not a comprehensive survey but rather a selective look at some of the imagery of the West that a few conscious photographers produced.

Whether at UFW picket lines in California’s Central Valley or capturing summertime street life in East Harlem Latinx photographers have documented fights for dignity and justice as well as the daily lives of ordinary people. Their powerful, innovative photographic art touches on family, identity, protest, borders, and other themes, including the experiences of immigration and marginalization common to many of their communities. Yet the work of these artists has largely been excluded from the documented history of photography in the United States. Through individual profiles of more than eighty photographers from the early history of the photographic medium to the present, Elizabeth Ferrer introduces readers to Latinx portraitists, photojournalists, and documentarians and their legacies. She traces the rise of a Latinx consciousness in photography in the 1960s and '70s and the growth of identity-based approaches in the 1980s and '90s. Ferrer argues that in many cases a shared sense of struggle has motivated photographers to work purposefully, driven by a deep sense of resistance, social and political commitments, and cultural affirmation, and she highlights the significance of family photos to their approaches and outlooks. Works range from documentary and street photography to narrative series to conceptual projects. Latinx Photography in the United States is the first book to offer a parallel history of photography, one that no longer lies at the margins but rather plays a crucial role in imagining and creating a broader, more inclusive American visual history.

A New York Times Notable Book Winner of the National Book Critics Circle Award for Criticism, The Mark Lynton History Prize, and the Sally Hacker Prize for the History of Technology “A panoramic vision of cultural change” —The New York Times Through the story of the pioneering photographer Eadweard Muybridge, the author of Orwell's Roses explores what it was about California in the late 19th-century that enabled it to become such a center of technological and cultural innovation The world as we know it today began in California in the late 1800s, and Eadweard Muybridge had a lot to do with it. This striking assertion is at the heart of Rebecca Solnit’s new book, which weaves together biography, history, and fascinating insights into art and technology to create a boldly original portrait of America on the threshold of modernity. The story of Muybridge—who in 1872 succeeded in capturing high-speed motion photographically—becomes a lens for a larger story about the acceleration and industrialization of everyday life. Solnit shows how the peculiar freedoms and opportunities of post–Civil War California led directly to the two industries—Hollywood and Silicon Valley—that have most powerfully defined contemporary society.