Relevant bibliographies by topics / African American photographers

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'African American photographers'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 July 2024

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Journal articles on the topic "African American photographers"

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Quirke, Carol. "Imagining Racial Equality." Radical History Review 2018, no. 132 (2018): 96–125. http://dx.doi.org/10.1215/01636545-6942440.

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Abstract Local 65 United Warehouse Workers Union (1933–1987), which became District 65 United Auto Workers, promoted photography with a camera club, and a member-edited newspaper New Voices, featuring photographs taken by members. This left-led, New York City distributive industry union began in 1933 on the Lower East Side, and it became the city’s second largest local. The union utilized photography to normalize the role of African American members within the union and to advance a civil rights and anti-racism agenda. This article includes photographs taken by member-photographers, and photo-reproductions of New Voices. New Voices’ photographs included African Americans in the everyday life of the union, challenged race-based labor segmentation, supported community struggles, and defied racial norms in midcentury America.
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Ainsworth, Alan John. "“A Private Passion”." Southern California Quarterly 101, no. 3 (2019): 317–38. http://dx.doi.org/10.1525/scq.2019.101.3.317.

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Photographer Bob Douglas’s 1940s–1990s career illustrates the race-based constraints experienced by African American photographers. Analyses of his images of jazz performers bring to light his rapport with the musicians and his sensitivity to their music and the differences between his practice and from that of white jazz photographers. His oeuvre is an important contribution to the history of both jazz and photography.
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Mason, Matthew D., and John Vincent Jezierski. "Enterprising Images: The Goodridge Brothers, African American Photographers, 1847-1922." Michigan Historical Review 29, no. 2 (2003): 172. http://dx.doi.org/10.2307/20174046.

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Lavernhe, Margaux. "Re-encoding Glamour from Ghana to England: Illustrated Magazines, Gender Norms and Black Identities through the Lens of James Barnor (1950s–1980s)." Sources 6 (2023): 183–217. http://dx.doi.org/10.4000/11tba.

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How have gender and racial norms conveyed by illustrated magazines—whose circulation exploded in Africa in the 1960s—affected photographers’ local practices? And how, in turn, have they themselves generated this gendered visual order? This article aims to shed light on this two-fold question by proposing a diachronic analysis of the influence of models of femininity transmitted by the illustrated press on the visual imagination of a Ghanaian photographer—as seen in his photographs taken between the 1950s and the 1980s. It explores the links between the publications of the pan-African magazine Drum (the most widely circulated magazine in English-speaking Africa at the time) and its translation into the art of portraiture as practiced by James Barnor (1929-), a photographer with a transnational career, between Ghana and England. Because his professional and personal career path tracked the evolution of these gendered norms, James Barnor became both the repository and the instigator of an idealized vision of “the” African woman.By means of an intersectional focus, the issues of gender norms and of racial biases are examined in parallel to better understand how the photographer appropriated throughout his career the shifting codes of a “female glamour” reinvented for Africa during the post-independence period. While numerous studies have examined the modalities of this codification, in the present paper they are addressed through an in-depth exploration of the photographer's archives, now held in Paris, and combined with an analysis of early issues of Drum. The aim is to juxtapose images intended for publication, i.e. public, with private images in order to consider how the standards of fashion photography infused Barnor’s practices which lie at the crossroad of different social worlds. The corpus composed of portraits of young women is also informed by numerous interviews with the photographer and some of his models, which provide behind-the-scenes insights relative to the published images by exploring their political and social contexts.We first look at Drum’s editorial strategy from its launch in South Africa to its expansion throughout West Africa. While the magazine initially borrowed from white Western references such as Life, it gradually became, to some extent, a showcase for black pride on the continent and in the global diaspora. Then, we study Barnor’s early studio practice as already acutely aware of the codes of femininity enacted by the magazine: this is shown through his “recycling” of the poses and the composition of the images. During the ten years he spent in England, from 1959 to 1969, his collaboration with Drum gave rise to a gallery of portraits of anonymous young women, who became ordinary icons for an ideal African femininity in the context of the diaspora. Finally, in the 1970s, Barnor’s return to Ghana saw the reuse of these codes inherited from the globalized fashion industry combined with the emerging iconography produced by African-American models as a means to create social documentary. In this way, he contributed to an aesthetic of blackness that was constructed within a transnational framework.
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Saretzky, Gary D. "Exceptional Cameraworkers: Early Black Photographers in New Jersey." New Jersey Studies: An Interdisciplinary Journal 9, no. 2 (2023): 196–254. http://dx.doi.org/10.14713/njs.v9i2.331.

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The few known African American photographers in the nineteenth and early twentieth centuries faced significant challenges, including racial prejudice and competition from white photographers for both white and the relatively few Black customers. The New Jersey photographers examined here were no exception and this may help explain why images by an artist with a long career, William M. Dutton, are so hard to find today and why others, like Isaiah Burton and Levi Bankson, worked only briefly in the medium before moving on to other, more remunerative occupations. Beginning his photographic career at the end of the 1800s, Albert Thomas Moore achieved considerable success in the first part of the twentieth century in New Brunswick and South River but less so in Atlantic City. For additional illustrations to this article, see http://saretzky.com/download/black-photographers-keynote.pdf.
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Verheul, Jaap. "On Social Media Photography." Afterimage 51, no. 2 (2024): 80–113. http://dx.doi.org/10.1525/aft.2024.51.2.80.

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This article looks at the photography of Kris Graves and the circulation of the artist’s images on his social media accounts as a way of promoting social progress and racial justice, with a focus on his 2016 A Bleak Reality photoseries for Vanity Fair. The series consists of eight images that address the haunting specters of police brutality against eight African American male citizens who lost their lives at the hands of the state. Looking at Instagram, I posit a threefold claim about the social media photograph. First, I argue against the association of the social photo with the everyday. I examine a photoseries that initially participated in an economy of art but then migrated across a network of social relations in order to enhance its visibility—its dissemination ushering in the social life of the photograph that undergirds Black Lives Matter. Second, I suggest that the affective residues of Instagram’s content linger in an indexical trace that transcends the transplatform network’s digitally composited, modified, duplicated, and distributed images. This dual focus illuminates how social media function, on the one hand, as a technology of race while they allow Graves, on the other hand, to document instances of police brutality against African Americans. Third, in so doing, this article locates A Bleak Reality within a genealogy of civic media in order to explore how the co-optation of photography’s reproductive affordances by African American photographers, artists, scholars, intellectuals, and abolitionists has allowed them to construct a counter-archive of Black cultural production around historical movements for racial justice.
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Kim, William, and Torunn Sivesind. "Patient Perceptions of Dermatologic Photography: Scoping Review." JMIR Dermatology 5, no. 1 (2022): e33361. http://dx.doi.org/10.2196/33361.

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Background Medical photography is used extensively in dermatology to record disease progression, measure treatment response, and help teach patients about skin disease; such photos are also commonly utilized in teledermatology, medical education, research, and medical reference websites. Understanding patient perceptions of medical photographs obtained during dermatologic care in the clinic or hospital setting is critical to enable the delivery of high-quality, patient-centered medical care. Objective The aims of this study were to elucidate patient perceptions of skin photos in dermatology and to explore possible next steps in improving the patient experience with medical photography in the hospital or clinic setting. Methods A scoping review of the literature was performed using the PubMed database, with clinic- or hospital-based full-text publications in English spanning the last 10 years considered for inclusion. Results The majority of included studies (10/11, 91%) found positive patient attitudes toward medical photographs. The majority of patients (1197/1511, 79.2%) felt that medical photographs could improve medical care in the clinic setting. Written consent detailing all photo uses, including secondary uses (such as research or teaching), was preferred, apart from in 1 study. Patients preferred or found it acceptable for the photographer of their medical photos to be a physician (1301/1444, 90.1%). Clinic-owned cameras with departmental record storage were the preferred modality. Latinx and African American patients expressed less trust in the utility of medical photographs to improve care, compared with Asian and White patients. The minimal number of available publications on this topic and the inclusion of articles older than 5 years are limitations, since patient perceptions of medical photography may have rapidly changed during this time span, particularly in light of the COVID-19 pandemic and the subsequent increase in teledermatology visits. Conclusions Patients reported positive perceptions of dermatologic photography for improving their medical care. Ethnic disparities in patient perceptions require further exploration to better elucidate nuances and develop interventions to improve the experience of marginalized patients. Building patient trust in nonphysician photographers may enhance clinic efficiency. Although clinic-owned cameras are well-accepted by patients, improved patient education surrounding the safety of electronic medical record phone applications is needed.
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Gleaton, Tony. "Manifesting Destiny." Boom 5, no. 2 (2015): 12–21. http://dx.doi.org/10.1525/boom.2015.5.2.12.

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Manifesting Destiny is a work in progress by photographer Tony Gleaton. It is a historical examination of African-descended people in the greater Trans-Mississippi West, and an attempt to counter the notion that Africans in North America, both enslaved and free, owe their historical beginnings and foothold on this continent solely to the settlements along the eastern seaboard of the United States. In this article, Gleaton chronicles the interactions, failures, accomplishments, and misdeeds of people who were part of the African diaspora in California. Through photographs and accompanying text he identifies the locations of particular events and explains what transpired there.
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Newbury, Darren. "Through a lens darkly: Black photographers and the emergence of a people directed by Thomas Allen Harris Civil rights childhood: Picturing liberation in African American photobooks by Katharine Capshaw." Visual Studies 31, no. 4 (2016): 356–60. http://dx.doi.org/10.1080/1472586x.2015.1123957.

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Muttalib, Fuad. "The Characters of Children in Alice Walker’s “Everyday Use” and Eudora Welty’s “A Worn Path”: A Comparative Study." International Journal of Language and Literary Studies 3, no. 2 (2021): 166–74. http://dx.doi.org/10.36892/ijlls.v3i2.567.

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This article tries to compare between two well-known American short stories, “A Worn Path” by Eudora Welty and “Everyday Use” by Alice Walker, from a comparative perspective. The author of the first of these stories is an African-American novelist, short story writer, poet, and social activist. Alice Walker and the other story is written by an American short story writer, novelist and photographer, who wrote about the American South, Audra Welty. The specific reasons behind choosing these two short stories because they are written by women writers from different cultures, both deal with racial issues, but more importantly is that both include children characters that can add an attribution to be representations of the new African- American generation. Walker’s story includes the characters of two African- American daughters; Maggi and Dee, each of these characters behave in a different way, a behavior which consequently represents a special attitude towards the new generation of African- Americans. While in Welty’s story, we find the character of the grandson of the protagonist, Phoenix, who has a disease which deprived him from his ability to speak. This study analyses how these three characters provide different angles of seeing how the new generation of African- Americans is represented through a comparative outlook.
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Dissertations / Theses on the topic "African American photographers"

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Piper, William Brian. "Cameras at Work: African American Studio Photographers and the Business of Everyday Life, 1900-1970." W&M ScholarWorks, 2016. https://scholarworks.wm.edu/etd/1477068187.

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This dissertation examines the professional lives of African American studio photographers, recovering the history of an important industry in African American community life during segregation and the long Civil Rights Movement. It builds on previous scholarship of black photography by analyzing photographers’ business and personal records in concert with their images in order to more critically consider the circumstances under which African Americans produced and consumed photographs every day. During the first half of the twentieth century, urban photography studios constituted essential spaces where African Americans considered ideas of commerce, art, labor, leisure, class, gender, and group identity; “Cameras at Work” situates studio photographers in the history of photography, twentieth-century black cultural politics, and the trajectory of African American business history. The rich records of the Scurlock Studio in Washington, DC center and focus my analysis, which I develop via close comparison of the Scurlocks with a number of other professionals including Morgan and Marvin Smith, Austin Hansen, Louise Martin, and Ernest Withers. These men and women acted locally while empowering African Americans to share their own images nationally, thus contributing to the creation of a wholly American visual culture. Throughout, I treat photographs as objects through which camera operators, consumers, and viewers articulated an understanding of themselves as well as the historical moment in which they negotiated the making of the photograph.
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Flach, Katherine E. ""Eliot Elisofon: Bringing African Art to LIFE"." Case Western Reserve University School of Graduate Studies / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=case1427999641.

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Cass, Taryn May. "A comparison of the views of South African and American photojournalists to the digital manipulation of news photographs." Thesis, Rhodes University, 1999. http://hdl.handle.net/10962/d1002873.

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Digital technology has now become pervasive at most publications in South Africa and in America. Pictures are routinely digitised by publications for ease of handling in the layout process, and this makes it relatively easy to alter or manipulate the pictures using computer software programmes. This thesis attempts to gauge the views of South African photojournalists about the digital manipulation of news photographs, and compare these to the views of American photojournalists. It is based on the hypothesis that South African and American photojournalists have different views of what is acceptable manipulation of news photographs, and that their reasons for this will also be different. This thesis also suggests that the manipulation of news photographs is ethically problematic and can damage the credibility of both the photojournalist and the publication in which the photographs appear. The study involves a comparison of the results from a questionnaire given to South African photojournalists and a similar questionnaire given to American photojournalists. The questionnaires were then supplemented by interviews with six South African photojournalists. The thesis then draws conclusions from the responses to the questionnaires and interviews. These conclusions partially support the initial hypothesis, in that there are some differences between the views of South African and American photojournalists, but, on the whole, these are remarkably similar. Photojournalists do seem to find the manipulation of news photographs to be ethically problematic, but they may find the manipulation of other kinds of images (eg fashion or soft news) to be acceptable. South African photographers also find the manipulation of images by other means (eg different lenses or darkroom techniques) to be more acceptable than Americans do. Although the underlying reasons for these views may differ, maintaining the credibility of the photographer and the publication does seem to be the major issue for avoiding digital manipulation. South African photographers seemed to think that if the photographer had done his or her job well, there would be no need for manipulation, and both groups (but especially the Americans) felt that manipulation could often be equated to lying to the reader, and that this might damage their reputation, and that of their publications.
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Rehman, Sadia. "This is My Family: An Erasure." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492399220029598.

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Brubacher, Sara Beth. "African American working class clothing as photographed by William E. Wilson and Robert E. Williams : 1872 to 1898." 2002. http://purl.galileo.usg.edu/uga%5Fetd/brubacher%5Fsara%5Fb%5F200205%5Fms.

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Books on the topic "African American photographers"

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1825-1904, Ball James Presley, and Willis Deborah 1948-, eds. J.P. Ball, daguerrean and studio photographer. Garland Pub., 1993.

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Parks, Gordon. A choice of weapons. Minnesota Historical Society Press, 1986.

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1908-1998, Harris Teenie, Glasco Laurence Admiral, and Trotter Joe William 1945-, eds. Teenie Harris, photographer: Image, memory, history. University of Pittsburgh Press, 2011.

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George, Sullivan. Black artists in photography, 1840-1940. Cobblehill Books, 1996.

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Berry, S. L. Gordon Parks. Chelsea House Publishers, 1991.

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Deborah, Willis. Reflections in Black: A history of Black photographers, 1840-1999. W.W. Norton, 2000.

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1955-, Huie Wing Young, ed. A choice of weapons. Minnesota Historical Society Press, 2010.

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1955-, Huie Wing Young, ed. A choice of weapons. Minnesota Historical Society Press, 2010.

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1955-, Huie Wing Young, ed. A choice of weapons. Minnesota Historical Society Press, 2010.

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1955-, Huie Wing Young, ed. A choice of weapons. Minnesota Historical Society Press, 2010.

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Book chapters on the topic "African American photographers"

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Sills, Vaughn. "Places for the Spirit, Photographs of Traditional African American Gardens." In Women and the Collaborative Art of Gardens. Routledge, 2023. http://dx.doi.org/10.4324/9781003381549-6.

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Ainsworth, Alan John. "Expressive Realism: African American Photography." In Sight Readings: Photographers and American Jazz, 1900-1960. Intellect Books, 2021. http://dx.doi.org/10.1386/9781789384215_7.

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Ainsworth, Alan John. "Document and Realism: Early African American Jazz Photography." In Sight Readings: Photographers and American Jazz, 1900-1960. Intellect Books, 2021. http://dx.doi.org/10.1386/9781789384215_6.

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Gonzalez, Aston. "Freedom and Citizenship." In Visualizing Equality. University of North Carolina Press, 2020. http://dx.doi.org/10.5149/northcarolina/9781469659961.003.0007.

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The sixth chapter analyzes the technological revolutions that influenced representations of black people during the Civil War. Illustrated periodicals visually cataloged the war and depicted the trauma and uncertainties experienced by African Americans. At the same time, black photographers advanced their own views and ideas about the possibilities of emancipation, citizenship, and African American military service. Their images ran counter to racial stereotypes that dominated the visual landscape at the start of the Civil War. The production of these views coincided with numerous black leaders planning a national exhibition of African American art and industry. They proposed an unprecedented display of black artistic and mechanical production to convince people of all races of black intellect and to improve race relations. The exigencies and opportunities seized by fugitive slaves and enlisting black men created by the Civil War appeared in the visual production of African American activists.
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Falck, Susan T. "“Picture Makers”." In Remembering Dixie. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496824400.003.0005.

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This chapter examines the photographs shot by Henry C. Norman and amateur photographer Mary Britton Conner of Natchez African Americans in the postwar era. Norman, a highly-skilled white photographer, created hundreds of magnificent portraits of African-American men, women and children, leaving a priceless record of how these people wanted to be remembered. At a time when American popular culture frequently ridiculed African Americans, Norman’s portraits gave his black customers a means to define themselves in the face of negative racist stereotypes. The images shot by Conner reveal the social climate of early twentieth century Natchez as seen through the eyes of a prominent white woman raised in an environment suffused in Lost Cause romanticism and Jim Crow racism. In stark contrast to the narrative visible in Norman’s portraits of black consumers, Conner’s photographic images reflect the depth of white southerners’ nostalgia for antebellum notions of race, dependency and paternalism.
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Hudson, Berkley. "O. N. Pruitt." In O. N. Pruitt's Possum Town. University of North Carolina Press, 2022. http://dx.doi.org/10.5149/northcarolina/9781469662701.003.0002.

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For his postage stamp of soil of Lowndes County, Mississippi, where race, class, and gender mattered greatly, Pruitt was a de facto documentarian. As a studio and commercial photographer, he took pictures throughout Mississippi and nearby Alabama, but he focused on the crossroads town of Columbus, the county seat. By photographing the familial and communal, sacred and profane, Pruitt shows us a range of community life filtered through his perspective, that of a white man in a segregated society made up of Anglo-Americans and African Americans. Pruitt was unusual as a white hometown photographer in the segregated South by photographing African Americans and inviting everyone into his studio or visiting their homes and churches. As a white man, Pruitt easily moved in both worlds, unlike most Black photographers of the time. His photojournalism appeared in local, regional, and national newspapers, magazines, and books. This chapter includes images from glass-plates and depicts Pruitt with large format cameras.
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Gonzalez, Aston. "Epilogue." In Visualizing Equality. University of North Carolina Press, 2020. http://dx.doi.org/10.5149/northcarolina/9781469659961.003.0009.

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The epilogue shows how the democratization of photography allowed black people to produce images of themselves and their communities when a massive wave of racial caricatures flooded homes in the United States at the turn of the twentieth century. Visual technologies of the nineteenth century vastly expanded access to cameras which enabled more people to record African American communities and challenge racist ideas. W. E. B. Du Bois exhibited hundreds of photographs taken by Thomas Askew, the African photographer, at the Paris Exposition of 1900. These scenes of black life in Georgia conveyed the power of the ordinary and Du Bois himself wrote that they challenged “conventional American ideas” of black people.
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Newell, Quincy D. "Isaac James, Wife and Children." In Your Sister in the Gospel. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780199338665.003.0006.

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In Salt Lake, the Jameses initially worked for Brigham Young. Their family continued to grow, eventually including seven living children. The Utah Territorial Legislature passed “An Act in Relation to Service,” requiring that those brought to Utah in slavery be made indentured servants. Although the James family was not directly affected by this act, it illustrated the race-based social hierarchy in which they lived. By the mid-1850s, the Jameses owned property and were prospering. A small African American community developed in the Salt Lake Valley. The US Civil War had little immediate impact, though Jane James’s oldest son enlisted in the local militia. Mormons largely remained outside the conflict, but some African Americans in Utah were more open about their hope that the Union would win. In the late 1860s, Isaac James and a woman believed to be Jane James posed for photographs by a Salt Lake photographer.
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HART, D. "African Americans as Photographers and Photographic Subjects." In The Focal Encyclopedia of Photography. Elsevier, 2007. http://dx.doi.org/10.1016/b978-0-240-80740-9.50026-x.

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HART, D. "African Americans as Photographers and Photographic Subjects." In The Concise Focal Encyclopedia of Photography. Elsevier, 2007. http://dx.doi.org/10.1016/b978-0-240-80998-4.50020-7.

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Conference papers on the topic "African American photographers"

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KUTIL, EMILY. "Black Bottom Street View: Mobilizing a City Archive." In 2021 AIA/ACSA Intersections Research Conference. ACSA Press, 2021. http://dx.doi.org/10.35483/acsa.aia.inter.21.26.

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This paper discusses Black Bottom Street View, an immersive representation of an historic African American neighborhood in Detroit that was destroyed during Urban Renewal. The exhibit recreates Black Bottom’s street grid and envelops visitors within panoramic views constructed from stitched archival photographs of the neighborhood. The exhibit’s light- weight, tensile, and flat-packed structures allow the project to be deployed across the city and region. In spatializing the photographs, Black Bottom Street View transforms the archive from a stack of disconnected snapshots into a shifting but cohesive whole: a public spectacle, a transient monument, a social platform for connection with the archive. Black Bottom Street View also helps to augment the city’s fragmented, incomplete record of Black Bottom by working with a local organization, Black Bottom Archives, to collect, preserve, and provide digital access to oral histories that tell the story of Black Bottom from the perspective of its former residents. Through collaborative means, the Black Bottom Street View exhibit visualizes, spatializes and mobilizes a city archive in order to amplify ongoing efforts to preserve Black Bottom’s history and help connect its legacy with the present.
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