1926 / Gelatin silver print / 8 3/4″x9″ / Imogen Cunningham Archives, Imogen Cunningham Trust, Berkeley, CA
In 1932, with this unsentimental, straightforward approach in mind, Cunningham became one of the co-founders of the Group f/64, which aimed to “define photography as an art form by a simple and direct presentation through purely photographic methods”. ~Lumière On Line
c.1925-1927 / Platinum print / 8 1/16″x6″
Various collections including The J. Paul Getty Museum, Los Angeles, CA
Her photographs helped change the way we perceive and therefore represent the people she photographed, from quaint, picturesque peasants to individuals with dignity and purpose in the modern world. ~Prints & Photographs Reading Room, LOC
c.1900-1904 / Platinum print / Image: 8 1/4″x6 1/4″ / Smithsonian American Art Museum, DC
Because her photographic activity was not reported in Selma newspapers and was completely unknown outside her family at her death, her images were apparently not intended to influence Alabamians’ ideas about race and culture. Instead, they are most appropriately viewed as Keipp’s personal appreciation of rural and small-town Alabama life and a means of artistic and perhaps social discovery.
~Encyclopedia of Alabama
1917 / Digital image found online / National Geographic Image Collection, DC
[Harriet Chalmers Adams] traversed Asia and attended Haile Selassie’s coronation as emperor of Ethiopia. During World War I, she was the first female journalist allowed to photograph the French trenches, where she stayed for months. ~nationalgeographic.co.uk
1909 / Photo print / 10″x12″ / National Anthropological Archives, Smithsonian Institution
Between 1905 and 1909, Gurrey produced a series of fifty portraits of Native Hawaiians and other young men and women of mixed-race heritage, largely depicting people from the Kamehamaha School. These portraits were exhibited at the 1909 Alaska-Yukon-Pacific Exposition in Seattle, Washington, and some were shown at the San Francisco Exposition (1915).
~Smithsonian National Anthropological Archives
1905, 1909, 1912, 1914 / From The Rubaiyat of Omar Khayyam translated by Edward FitzGerald,
illustrated with photographs by Adelaide Hanscom Leeson and Blanche Cumming
In late 1903 she began working on a series of photographs to illustrate the classic selection of poems, The Rubaiyat of Omar Khayyam. The concept of illustrating a literary work with fine art photographs was new at that time, and The Rubaiyat was one of the very first American books in this genre.
~Wikipedia
c.1914 / Photographic print from copy neg
Library of Congress Prints and Photographs Division, DC
The Gerhards began their photography careers as young women. They studied for three years with Fitz W. Guerin, the best-known St. Louis portraitist and a photographer of staged scenes. When Guerin retired in January 1903, the Gerhards acquired his studio and negatives.
~Prints & Photographs Reading Room, LOC
c.1899 / Photographic print from copy neg
Library of Congress Prints and Photographs Division, DC
The Tonnesen sisters are credited with the creation of modern commercial photography in 1897. “One day we thought up a fine scheme. We would make advertising pictures using live models. It had never been done before,” she later recalled…The photographs she made were marketed to large companies in Chicago who purchased the rights to use them in their advertisements.
~ ©Scott Cross, beatricetonnesenart.com/
On the life and work of photographer Beatrice Tonnesen~
https://www.chicagomag.com/Chicago-Magazine/March-2010/On-the-life-and-work-of-photographer-Beatrice-Tonnesen/
c.1909 / Autotype print / Austrian National Library, Vienna, Austria
A native of Minneapolis, Minnesota, she performed as a zither soloist and was a well known artist. For a number of years, she was designated as the official photographer for the court of Franz Josef, former Emperor of Austria.
~A Snapshot of Pauline Kruger
From the book The American Annual of Photography, 1911
Matthews used that big bellows-style camera with glass plate negatives, black hood, and tripod for the rest of her life. She experimented with cameras that captured snapshots via automatic shutters, but she considered her photography an art and preferred to control light exposure with a lens cap. She also controlled every step of the development process in her own darkroom.
~Kate Matthews Collection, Photographic Archives, University of Louisville, KY
The Misty Miss Christy 