Willard D Morgan
Encyclopedia
Willard D Morgan
, and was the first to exhibit the Farm Security Administration
photographers. Morgan was also a writer and editor of technical publications on photography (from the Leica Manual, to Ansel Adams
’ Basic Photo Series, Photo-Lab-Index, Encyclopedia of Photography, to Encyclopædia Britannica), and was a photo editor at LIFE magazine and later a photo editor at LOOK
.
Willard Morgan was born in Snohomish, Washington on May 30, 1900 to Morgan and Marie Detering. Known to his friends as Herc, short for Hercules, Morgan was a very large man who stood 6’7” with a corresponding athletic build. Willard died September 18, 1967 at Lawrence Hospital in Bronxville, New York of lung cancer.
CALIFORNIA
As a teenager living in Pomona, California, Morgan operated a small press out of his home- writing articles, photographing, and editing small journals for youth groups.
After graduating from Pomona College in 1923 with a degree in English, Morgan earned his living by writing freelance magazine articles, illustrating the articles with his photographs. He married Barbara Brooks Johnson
, a painter on the art faculty of UCLA in 1925. While she helped him with composition, he taught her photography. Barbara Morgan would eventually use these lessons to produce photographs of Martha Graham, which would earn her a place as a significant twentieth century photographer.
Willard contacted Richard Neutra
to discuss the influence of the automobile on architecture. The relationship would last a lifetime, with Willard photographing all aspects of construction of the Lovell house
in the 1920s, writing articles about it, and publishing Richard Neutra on Building: Mystery & Realities of the Site in 1951.
35mm PHOTOGRAPHY AND THE SOUTHWEST
Morgan first saw the 35mm Leica model A camera in 1928. He wrote to E. Leitz in New York City and proposed a trade of two cameras and other necessary equipment in exchange for articles that would feature photographs made by the Leica camera, and would highlight the possibilities of its small size.
In 1928, Barbara and Willard Morgan set out to capture the Southwest landscape on film. Morgan used these images to illustrate his articles, becoming the first American photographer to use the 35mm Leica as a professional camera. Morgan was offered a position at E. Leitz, Inc. as a 35mm camera promoter. The couple moved to New York City in 1930.
In 1931, Morgan lectured throughout the United States on the use of the 35mm Leica camera for E. Leitz. During this time, he also redesigned a Leica projector- originally fit to project large format lantern slides or continuous film strips- to accommodate a new 2 by 2 in (50.8 by 50.8 mm) slide that would become the standard. He created the E. Leitz publication Leica Photography in 1932 and continued to publicize the Leica camera. He also patented the FocoSlide, a copying device, which was manufactured by E. Leitz. The FocoSlide attachment greatly improved the Leica’s performance in copy and macro applications by allowing the photographer to view exactly what the lens would see without parallax error. In 1933, Morgan produced and curated the First Annual Leica Photographic Salon, one of the first 35mm exhibitions to be held outside of a camera club.
Morgan & Lester (Henry M. Lester), Publishers was founded in 1934. Leica Manual was the firm’s first book, published in 1935. Morgan edited the Leica Manual, written and illustrated by specialists in the miniature field. Leica Manual went through 15 editions with over a million copies sold. Gran Manual, a Spanish translation of the Leica Manual, was printed in 1954.
Willard Morgan was also a founding member of the The Circle of Confusion, the first organized group of professional miniature camera workers.
MORGAN AT LIFE
From the onset of LIFE magazine in 1936, Morgan worked as the Contributions Editor for two years. With only four staff photographers, LIFE originally based the majority of photo-illustrations on reader contributions, and Willard’s department solicited and selected those images. He recalls one photographer who came into his office: “Weegee
was one that I first found through the contributor department. And I remember he came in there with a pack of pictures under his arm one day and his old worn-out overcoat, and I thought he was a Bowery bum.” Edward Weston
and Carl Mydans
, were also selected through Willard’s office – the latter would soon become a staff photographer.
In 1938, as “Director of Exhibits, LIFE Magazine,” Morgan was responsible for the first showing of the Farm Security Administration photographs in the First International Photographic Exposition at Grand Central Palace in New York City. FSA photographers Russell Lee
and Arthur Rothstein
assembled the photographs. In correspondence with Roy Stryker, Willard reflects on the reaction to the exhibit: “Turned out that I had plenty of criticism and some violent reactions from the public. The pictorial and Oval Table Society bunch were down on me and wanted to remove the FSA photos as not being worthy of the Show… Yes, Mr. Bing, the father of the Oval Table Society threatened to pull out of the exhibition because I hung the FSA photos in the next gallery to his pictorial, mostly soft-focus pictures. He could see one of our big enlargements over the partition…so I smoothed out his feathers by lowering your photo so he couldn’t see it from his booth. Even then he kept grumbling about the FSA photos not being worthy of showing.” Edward Steichen wrote an article for U.S. Camera Annual in 1939 commending the show.
MORGAN AT MoMA
In 1943, the Museum of Modern Art appointed Morgan the first Director of Photography and the newly established Photography Center. In the October/November MoMA bulletin introducing the Center and its new Director, Willard writes, “Photography has been a natural development of the mechanical age. It is man’s way of showing a world image. With such readily expressive medium, anyone can use the camera- for casual snapshots, for commercial gain, or for the photographs which have more than a transitory value…something possessing greater depth of perception and meaning. It is not my intention to force photography in a narrow or precious direction, but here at the Photography Center to encourage its varied possibilities and affirm its simple honesty. The purpose of the Photography Center is to watch and encourage the best in all photography.” As Director, Morgan focused on an expanded sense of photography with an abiding interest in education. Morgan organized an extensive lecture series. The first, “Standards of Photographic Criticism,” attended by some 250 people was a discussion by critics Bruce Downes, Elizabeth McCausland, and John Adams Knight about the nature and standards of the photo critic’s task. Weegee presented a lecture at the Center entitled “Realism in Photography”; Barbara Morgan spoke on “Imagination in Photography”; and a panel consisting of Charles Sheeler
, Hyatt Mayer, Paul Strand
, and Ben Shahn
discussed “Photography and the Other Arts.”
Willard scheduled Ansel Adams to deliver five lectures at the Center. With notes taken at the Adams lectures, Willard convinced Adams to write the books that Morgan & Lester would begin publishing in 1948.[4] The lectures became the basis for The Basic Photo Series, which are the first of Adams’ publications to include the Zone System
principles.
Morgan established a lantern slide collection for loans to museums, lecturers and school departments with specific mimeographed notes on “The History of Photography” and “What is Photography.”
In the museum proper, Morgan curated the controversial exhibition entitled “The American Snapshot,” of which a U.S. Camera review states: “Whether we call them snapshots or some other name, these pictures constitute the most vital, most dynamic, and most interesting and worthwhile photographic exhibition ever assembled by the Museum of Modern Art.”
During Willard’s tenure, he actively expanded on the museum’s print collection, adding significant holdings of Farm Security Administration images and Scientific photography, which he found revealed new possibilities to artistic photographers through their technical experiments.
In 1964, in a letter to Barbara Morgan
, Nancy Newhall
states, “At least it will go on record – something too often forgotten – that Herc was the first Director of Photography at the Museum of Modern Art and helped create the first Center. And whatever mistakes we made, there hasn’t yet been a Center that meant so much to photographers.”
PUBLISHING
Morgan & Lester (Henry M. Lester) Publishers was founded in 1934. Leica Manual was the firm’s first book, published in 1935. Morgan edited the Leica Manual, written and illustrated by a distinguished list of specialists in the miniature camera field. Leica Manual was so successful that it went through 15 editions with over a million copies sold. Gran Manual, a Spanish translation of the Leica Manual, was printed in 1954.
The first Photo-Lab-Index, with quarterly supplements, was published by Morgan & Lester in 1939. The new development of synchronizing flash and shutter was first fully explained in Synchroflash Photography, authored by Morgan. In 1940, Morgan published and edited the first edition of Graphic Graflex Photography, a technical book on the press camera, which eventually saw its 10th Edition edited by both Morgan and Lester in 1954.
From 1941 until 1943, Morgan was the General Editor of The Complete Photographer, the ten-volume Encyclopedia of Photography published by the National Educational Alliance. The encyclopedia was published as a magazine and led to The Complete Photographer Quarterly, and eventually to The Encyclopedia of Photography. The Complete Photographer was an all-inclusive look at the field of photography, from the technical to the artistic. The contributors to the magazine were "experts" in their fields, and The Complete Photographer today remains a who’s who listing in the field of photography during the 1940s.
While Morgan & Lester were publishing the 10th Edition of Graphic Graflex Photography, they were also publishing Graflex 22, a manual on the 2¼ x 2¼ reflex camera written by John S. Carroll. The Stereo Realist Manual was published the following year in 1955. Edited by both Morgan and Lester, the book was the first to contain actual examples of stereo images in both color and black & white. The images could then be experienced with the enclosed optical viewer. In 1951, Morgan published Richard Neutra on Building: Mystery & Realities of the Site, illustrated with architectural photographs by Julius Shulman. Morgan wrote the photography section for the Encyclopædia Britannica, Book of the Year supplements from 1959 until his death in 1967.
Morgan was General Editor of the Encyclopedia of Photography, a 20-volume edition, published by Greystone Press in 1963.
TYPE AND PRINTING
Morgan also made significant contributions to the field of printing. A member of the Typophiles Club from 1942 until his death, he was not only interested in photographic publishing, but also by fonts and book formats. Morgan collected Americana type fonts of 1800-1900, contemporary fonts and European type (historical and modern) for 25 years. He studied style and designs of wood and foundry fonts historically, technically and esthetically. Morgan’s collection was perhaps the most comprehensive collection in the U.S.A. of American typefaces. It was cosidered to be an inspiration to a new generation of graphic designers when John Alcorn and colleagues at Pushpin Studios embraced the old type for exciting new designs while working with Willard’s sons at their printing company, Morgan Press, founded in 1958. The collection is now housed at the Smithsonian National Museum of American History.
Willard Morgan was the Director of Photography at LOOK magazine through 1945.
FAMILY and FRIENDS
Willard and Barbara Morgan had their first child, Douglas Oliver Morgan, on May 7, 1932, while living in Gramercy Park. A second son, Lloyd Brooks Morgan, was born on August 3, 1935. The couple lived at 1 Lexington Avenue until 1941 when they moved into a modern house in Scarsdale, New York, designed by Swiss architect John Weber. With a photographic studio and darkroom for Barbara Morgan, a study for Willard, space for a print shop and museum, and a barn, chicken coop and rabbit house, the new house satisfied the diverse needs of the Morgan family. Morgan maintained relationships with Beaumont
and Nancy Newhall
, Ansel Adams
, Margaret Bourke-White
, Berenice Abbott
, Albert Boni, Julien Byran and many others in the fields of photography and publishing. Willard Morgan died in 1967 and Barbara Morgan died in 1992.
Biography
Willard Detering Morgan was a man of wide accomplishments in the field of photography and publishing, and his career spanned some of the most influential developments in the history of photography. He was instrumental in introducing the first 35mm camera in the US, was an early Director of Photography at MOMAMoma
Moma may refer to:* Moma , an owlet moth genus* Moma Airport, a Russian public airport* Moma District, Nampula, Mozambique* Moma River, a right tributary of the Indigirka River* Google Moma, the Google corporate intranet...
, and was the first to exhibit the Farm Security Administration
Farm Security Administration
Initially created as the Resettlement Administration in 1935 as part of the New Deal in the United States, the Farm Security Administration was an effort during the Depression to combat American rural poverty...
photographers. Morgan was also a writer and editor of technical publications on photography (from the Leica Manual, to Ansel Adams
Ansel Adams
Ansel Easton Adams was an American photographer and environmentalist, best known for his black-and-white photographs of the American West, especially in Yosemite National Park....
’ Basic Photo Series, Photo-Lab-Index, Encyclopedia of Photography, to Encyclopædia Britannica), and was a photo editor at LIFE magazine and later a photo editor at LOOK
Look (American magazine)
Look was a bi-weekly, general-interest magazine published in Des Moines, Iowa from 1937 to 1971, with more of an emphasis on photographs than articles...
.
Willard Morgan was born in Snohomish, Washington on May 30, 1900 to Morgan and Marie Detering. Known to his friends as Herc, short for Hercules, Morgan was a very large man who stood 6’7” with a corresponding athletic build. Willard died September 18, 1967 at Lawrence Hospital in Bronxville, New York of lung cancer.
CALIFORNIA
As a teenager living in Pomona, California, Morgan operated a small press out of his home- writing articles, photographing, and editing small journals for youth groups.
After graduating from Pomona College in 1923 with a degree in English, Morgan earned his living by writing freelance magazine articles, illustrating the articles with his photographs. He married Barbara Brooks Johnson
Barbara Morgan (photographer)
Barbara Morgan was an American photographer best known for her work in dance. She was a co-founder of the photography magazine Aperture.- Biography :...
, a painter on the art faculty of UCLA in 1925. While she helped him with composition, he taught her photography. Barbara Morgan would eventually use these lessons to produce photographs of Martha Graham, which would earn her a place as a significant twentieth century photographer.
Willard contacted Richard Neutra
Richard Neutra
Richard Joseph Neutra is considered one of modernism's most important architects.- Biography :Neutra was born in Leopoldstadt, the 2nd district of Vienna, Austria Hungary, on April 8, 1892. He was born into both-Jewish wealthy family...
to discuss the influence of the automobile on architecture. The relationship would last a lifetime, with Willard photographing all aspects of construction of the Lovell house
Lovell House
The Lovell House or Lovell Health House is an International style modernist residence designed and built by Richard Neutra between 1927-29. The home, located at 4616 Dundee Drive in Los Angeles, California, was built for the physician and naturopath Philip Lovell...
in the 1920s, writing articles about it, and publishing Richard Neutra on Building: Mystery & Realities of the Site in 1951.
35mm PHOTOGRAPHY AND THE SOUTHWEST
Morgan first saw the 35mm Leica model A camera in 1928. He wrote to E. Leitz in New York City and proposed a trade of two cameras and other necessary equipment in exchange for articles that would feature photographs made by the Leica camera, and would highlight the possibilities of its small size.
In 1928, Barbara and Willard Morgan set out to capture the Southwest landscape on film. Morgan used these images to illustrate his articles, becoming the first American photographer to use the 35mm Leica as a professional camera. Morgan was offered a position at E. Leitz, Inc. as a 35mm camera promoter. The couple moved to New York City in 1930.
In 1931, Morgan lectured throughout the United States on the use of the 35mm Leica camera for E. Leitz. During this time, he also redesigned a Leica projector- originally fit to project large format lantern slides or continuous film strips- to accommodate a new 2 by 2 in (50.8 by 50.8 mm) slide that would become the standard. He created the E. Leitz publication Leica Photography in 1932 and continued to publicize the Leica camera. He also patented the FocoSlide, a copying device, which was manufactured by E. Leitz. The FocoSlide attachment greatly improved the Leica’s performance in copy and macro applications by allowing the photographer to view exactly what the lens would see without parallax error. In 1933, Morgan produced and curated the First Annual Leica Photographic Salon, one of the first 35mm exhibitions to be held outside of a camera club.
Morgan & Lester (Henry M. Lester), Publishers was founded in 1934. Leica Manual was the firm’s first book, published in 1935. Morgan edited the Leica Manual, written and illustrated by specialists in the miniature field. Leica Manual went through 15 editions with over a million copies sold. Gran Manual, a Spanish translation of the Leica Manual, was printed in 1954.
Willard Morgan was also a founding member of the The Circle of Confusion, the first organized group of professional miniature camera workers.
MORGAN AT LIFE
From the onset of LIFE magazine in 1936, Morgan worked as the Contributions Editor for two years. With only four staff photographers, LIFE originally based the majority of photo-illustrations on reader contributions, and Willard’s department solicited and selected those images. He recalls one photographer who came into his office: “Weegee
Weegee
Weegee was the pseudonym of Arthur Fellig , a photographer and photojournalist, known for his stark black and white street photography....
was one that I first found through the contributor department. And I remember he came in there with a pack of pictures under his arm one day and his old worn-out overcoat, and I thought he was a Bowery bum.” Edward Weston
Edward Weston
Edward Henry Weston was a 20th century American photographer. He has been called "one of the most innovative and influential American photographers…" and "one of the masters of 20th century photography." Over the course of his forty-year career Weston photographed an increasingly expansive set of...
and Carl Mydans
Carl Mydans
Carl Mydans was an American photographer who worked for the Farm Security Administration and Life magazine....
, were also selected through Willard’s office – the latter would soon become a staff photographer.
In 1938, as “Director of Exhibits, LIFE Magazine,” Morgan was responsible for the first showing of the Farm Security Administration photographs in the First International Photographic Exposition at Grand Central Palace in New York City. FSA photographers Russell Lee
Russell Lee (photographer)
Russell Lee was an American photographer and photojournalist.Lee had trained as a chemical engineer, and in the fall of 1936 became a member of the team of photographers assembled under Roy Stryker for the federally sponsored Farm Security Administration documentation project...
and Arthur Rothstein
Arthur Rothstein
Arthur Rothstein was an American photographer.Rothstein is recognized as one of America’s premier photojournalists. During a career that spanned five decades, he provoked, entertained and informed the American people...
assembled the photographs. In correspondence with Roy Stryker, Willard reflects on the reaction to the exhibit: “Turned out that I had plenty of criticism and some violent reactions from the public. The pictorial and Oval Table Society bunch were down on me and wanted to remove the FSA photos as not being worthy of the Show… Yes, Mr. Bing, the father of the Oval Table Society threatened to pull out of the exhibition because I hung the FSA photos in the next gallery to his pictorial, mostly soft-focus pictures. He could see one of our big enlargements over the partition…so I smoothed out his feathers by lowering your photo so he couldn’t see it from his booth. Even then he kept grumbling about the FSA photos not being worthy of showing.” Edward Steichen wrote an article for U.S. Camera Annual in 1939 commending the show.
MORGAN AT MoMA
In 1943, the Museum of Modern Art appointed Morgan the first Director of Photography and the newly established Photography Center. In the October/November MoMA bulletin introducing the Center and its new Director, Willard writes, “Photography has been a natural development of the mechanical age. It is man’s way of showing a world image. With such readily expressive medium, anyone can use the camera- for casual snapshots, for commercial gain, or for the photographs which have more than a transitory value…something possessing greater depth of perception and meaning. It is not my intention to force photography in a narrow or precious direction, but here at the Photography Center to encourage its varied possibilities and affirm its simple honesty. The purpose of the Photography Center is to watch and encourage the best in all photography.” As Director, Morgan focused on an expanded sense of photography with an abiding interest in education. Morgan organized an extensive lecture series. The first, “Standards of Photographic Criticism,” attended by some 250 people was a discussion by critics Bruce Downes, Elizabeth McCausland, and John Adams Knight about the nature and standards of the photo critic’s task. Weegee presented a lecture at the Center entitled “Realism in Photography”; Barbara Morgan spoke on “Imagination in Photography”; and a panel consisting of Charles Sheeler
Charles Sheeler
Charles Rettew Sheeler, Jr. was an American artist. He is recognized as one of the founders of American modernism and one of the master photographers of the 20th century.-Early life and career:...
, Hyatt Mayer, Paul Strand
Paul Strand
Paul Strand was an American photographer and filmmaker who, along with fellow modernist photographers like Alfred Stieglitz and Edward Weston, helped establish photography as an art form in the 20th century...
, and Ben Shahn
Ben Shahn
Ben Shahn was a Lithuanian-born American artist. He is best known for his works of social realism, his left-wing political views, and his series of lectures published as The Shape of Content.-Biography:...
discussed “Photography and the Other Arts.”
Willard scheduled Ansel Adams to deliver five lectures at the Center. With notes taken at the Adams lectures, Willard convinced Adams to write the books that Morgan & Lester would begin publishing in 1948.[4] The lectures became the basis for The Basic Photo Series, which are the first of Adams’ publications to include the Zone System
Zone system
The Zone System is a photographic technique for determining optimal film exposure and development, formulated by Ansel Adams and Fred Archer. Adams described how the Zone System was developed: "I take this opportunity to restate that the Zone System is not an invention of mine; it is a codification...
principles.
Morgan established a lantern slide collection for loans to museums, lecturers and school departments with specific mimeographed notes on “The History of Photography” and “What is Photography.”
In the museum proper, Morgan curated the controversial exhibition entitled “The American Snapshot,” of which a U.S. Camera review states: “Whether we call them snapshots or some other name, these pictures constitute the most vital, most dynamic, and most interesting and worthwhile photographic exhibition ever assembled by the Museum of Modern Art.”
During Willard’s tenure, he actively expanded on the museum’s print collection, adding significant holdings of Farm Security Administration images and Scientific photography, which he found revealed new possibilities to artistic photographers through their technical experiments.
In 1964, in a letter to Barbara Morgan
Barbara Morgan (photographer)
Barbara Morgan was an American photographer best known for her work in dance. She was a co-founder of the photography magazine Aperture.- Biography :...
, Nancy Newhall
Nancy Newhall
Nancy Wynne Newhall was an American photography critic. She is best known for writing the text to accompany photographs by Ansel Adams and Edward Weston, but was also a widely published writer on photography, conservation, and American culture.Newhall was born Nancy Wynne in Lynn, Massachusetts,...
states, “At least it will go on record – something too often forgotten – that Herc was the first Director of Photography at the Museum of Modern Art and helped create the first Center. And whatever mistakes we made, there hasn’t yet been a Center that meant so much to photographers.”
PUBLISHING
Morgan & Lester (Henry M. Lester) Publishers was founded in 1934. Leica Manual was the firm’s first book, published in 1935. Morgan edited the Leica Manual, written and illustrated by a distinguished list of specialists in the miniature camera field. Leica Manual was so successful that it went through 15 editions with over a million copies sold. Gran Manual, a Spanish translation of the Leica Manual, was printed in 1954.
The first Photo-Lab-Index, with quarterly supplements, was published by Morgan & Lester in 1939. The new development of synchronizing flash and shutter was first fully explained in Synchroflash Photography, authored by Morgan. In 1940, Morgan published and edited the first edition of Graphic Graflex Photography, a technical book on the press camera, which eventually saw its 10th Edition edited by both Morgan and Lester in 1954.
From 1941 until 1943, Morgan was the General Editor of The Complete Photographer, the ten-volume Encyclopedia of Photography published by the National Educational Alliance. The encyclopedia was published as a magazine and led to The Complete Photographer Quarterly, and eventually to The Encyclopedia of Photography. The Complete Photographer was an all-inclusive look at the field of photography, from the technical to the artistic. The contributors to the magazine were "experts" in their fields, and The Complete Photographer today remains a who’s who listing in the field of photography during the 1940s.
While Morgan & Lester were publishing the 10th Edition of Graphic Graflex Photography, they were also publishing Graflex 22, a manual on the 2¼ x 2¼ reflex camera written by John S. Carroll. The Stereo Realist Manual was published the following year in 1955. Edited by both Morgan and Lester, the book was the first to contain actual examples of stereo images in both color and black & white. The images could then be experienced with the enclosed optical viewer. In 1951, Morgan published Richard Neutra on Building: Mystery & Realities of the Site, illustrated with architectural photographs by Julius Shulman. Morgan wrote the photography section for the Encyclopædia Britannica, Book of the Year supplements from 1959 until his death in 1967.
Morgan was General Editor of the Encyclopedia of Photography, a 20-volume edition, published by Greystone Press in 1963.
TYPE AND PRINTING
Morgan also made significant contributions to the field of printing. A member of the Typophiles Club from 1942 until his death, he was not only interested in photographic publishing, but also by fonts and book formats. Morgan collected Americana type fonts of 1800-1900, contemporary fonts and European type (historical and modern) for 25 years. He studied style and designs of wood and foundry fonts historically, technically and esthetically. Morgan’s collection was perhaps the most comprehensive collection in the U.S.A. of American typefaces. It was cosidered to be an inspiration to a new generation of graphic designers when John Alcorn and colleagues at Pushpin Studios embraced the old type for exciting new designs while working with Willard’s sons at their printing company, Morgan Press, founded in 1958. The collection is now housed at the Smithsonian National Museum of American History.
Willard Morgan was the Director of Photography at LOOK magazine through 1945.
FAMILY and FRIENDS
Willard and Barbara Morgan had their first child, Douglas Oliver Morgan, on May 7, 1932, while living in Gramercy Park. A second son, Lloyd Brooks Morgan, was born on August 3, 1935. The couple lived at 1 Lexington Avenue until 1941 when they moved into a modern house in Scarsdale, New York, designed by Swiss architect John Weber. With a photographic studio and darkroom for Barbara Morgan, a study for Willard, space for a print shop and museum, and a barn, chicken coop and rabbit house, the new house satisfied the diverse needs of the Morgan family. Morgan maintained relationships with Beaumont
Beaumont Newhall
Beaumont Newhall was an influential curator, art historian, writer, and photographer. His The History of Photography remains one of the most significant accounts in the field and has become a classic photo history textbook...
and Nancy Newhall
Nancy Newhall
Nancy Wynne Newhall was an American photography critic. She is best known for writing the text to accompany photographs by Ansel Adams and Edward Weston, but was also a widely published writer on photography, conservation, and American culture.Newhall was born Nancy Wynne in Lynn, Massachusetts,...
, Ansel Adams
Ansel Adams
Ansel Easton Adams was an American photographer and environmentalist, best known for his black-and-white photographs of the American West, especially in Yosemite National Park....
, Margaret Bourke-White
Margaret Bourke-White
Margaret Bourke-White was an American photographer and documentary photographer. She is best known as the first foreign photographer permitted to take pictures of Soviet Industry, the first female war correspondent and the first female photographer for Henry Luce's Life magazine, where her...
, Berenice Abbott
Berenice Abbott
Berenice Abbott , born Bernice Abbott, was an American photographer best known for her black-and-white photography of New York City architecture and urban design of the 1930s.-Youth:...
, Albert Boni, Julien Byran and many others in the fields of photography and publishing. Willard Morgan died in 1967 and Barbara Morgan died in 1992.