Ansel Adams At Piano by Martha Casanave
1978 / Gelatin silver print / 11″x14″ / Photography West Gallery, Carmel, CA
1978 / Gelatin silver print / 11″x14″ / Photography West Gallery, Carmel, CA
2013 / Digital image / Project 562, Matika Wilbur
1998 / CibaChrome print / 60″x48″ / Copyright ©Renee Cox
Gelatin silver print / 5 3/4″x5 3/4″ / Various collections
1930 / Platinum print / 9 13/16″x7 7/8″ / Various collections,
including Toledo Museum of Art, OH
The art critic <<<Elizabeth McCausland sought out Berenice>>> in 1934 and transformed her life. For
thirty years, until McCausland’s death, the two women were devoted companions and professional soul mates. ~The Paris Review
In 1937 the Museum of the City of New York mounted an exhibition, Changing New York, of Abbott’s photographs for the FAP. This prompted interest in publishing a Changing New York book that would include both the photographs and captions written by Elizabeth McCausland, a writer, art critic, and Abbott’s longtime partner.
~MCNY Blog: New York Stories

McSorley’s Ale House, 15 East 7th Street, Manhattan by Berenice Abbott
1937 / Silver gelatin print / from the Book Changing New York

The creative alliance between Cahun and Moore formed in provincial Nantes, where, in 1909, the fifteen-year-old Lucie Schwob (who would later adopt the pen name Claude Cahun) encountered the seventeen-year-old beaux-arts student Suzanne Malherbe (Marcel Moore) in what they both described as “une rencontre foudroyante.” [an electric encounter] ~Acting Out: Claude Cahun and Marcel Moore
Self-portraits by Marcel Moore and Claude Cahun
c.1920 / Gelatin silver print / Jersey Heritage Collections/Jersey Heritage
Fashion illustrations by Marcel Moore
1916 & 1915 / Sketch on paper / Jersey Heritage Collections/Jersey Heritage


Je Tends les Bras by Claude Cahun
1931 or 1932 / Gelatin silver print / Tate Britain, London, UK

Around the time she turned thirty, Fannie met Mattie Edwards Hewitt, the then-wife of the St. Louis photographer Arthur Hewitt — a marriage the arrangements of which remain unclear, but appear to have been largely for practical purposes. Mattie worked in her husband’s darkroom and was herself passionate about photography, so when Johnston first encountered Hewitt’s work, she was impressed and complimented it effusively. This mutuality of creative admiration soon blossomed into romantic love… ~brainpickings.org/
Puritan Simplicity in the Loomis Chapel by Mattie Edwards Hewitt
c.1917 / Gelatin silver print / New York Public Library Prints & Photographs
Albert Herter house, Georgica Pond, East Hampton, New York
by Johnston-Hewitt Studio
1913 / Digital file from original gelatin silver print

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