Where would we be without our cameras?
c. 1827–now
Where would we be without our cameras?
c. 1827–now
"To collect photographs is to collect the world."
—Susan Sontag, On Photography (1977)
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Profile and frontal portrait photographs were used by police stations in France, Great Britain, Germany, and the United States in the late nineteenth century to help police and victims try to identify repeat offenders—but also point to implicit biases in policing.
Santu Mofokeng's Train Churches shows people preaching, praying, healing, dancing, and making music while commuting on train cars in South Africa.
Fun and festive, Nuit de Noël (Happy Couple) is exemplary of Malick Sidibé’s best known body of work: photographs of young people at social gatherings and events during the 1960s and 1970s.
László Moholy-Nagy's Photogram forces the viewer to question what a photograph is.
Can we ever really see and experience a site without comparing it to the photographs of that same scene?
On This Site reminds us of the many tragedies that have marked American history and yet remain unmarked, on-site and in the present.
Niépce's heliograph is the earliest surviving camera-made photograph.
Achieving clear daguerreotypes from the unprecedented process of photographing through a telescope was anything but easy.
The Bechers captured industrial forms with stunning austerity and incredible consistency.
The Ottoman Sultan Abdülhamid II understood the power of photographic representation.
Paglen’s photographs of the CIA’s black sites speak to an enduring quality of photography as a means of visual testimony.
Sunburn GSP #166 (Mohave/Winter Solstice Day) traces the arc of the Sun over four hours as it moved across the sky in the Mojave Desert during the Winter solstice
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