A. Horsley Hinton British, 1863-1908 Born in London, Alfred Horsley Hinton studied painting before taking up photography in the 1880s. After working for several years in a London photographic supply store, from 1891-93 he managed the Guildford branch studio of Ralph Robinson, son of well-known photographer Henry Peach Robinson. Hinton was a founding member of the Linked Ring and exhibited regularly in their group shows, as well as in photographic salons in Europe and America (including those of the Royal Photographic Society, the first and second Philadelphia Photographic Salons, and the 1904 St. Louis Louisiana Purchase Exposition). Known for his landscape photographs, Hinton was also an accomplished master of the composite print. Two of his photographs were published in the July 1905 issue of Camera Work. In his position as editor of London's weekly Amateur Photographer (a post he held from 1893 until his early death), Hinton did much to popularize pictorial photography. He contributed numerous articles to his own magazine, as well as to several London newspapers, various art journals, and both Camera Notes and Camera Work. He also lectured on pictorial photography and wrote a number of books on the subject. M.M.

Photographer, writer, publisher, gallery owner, leader of the Photo-Secession, and mentor to numerous other photographers, Alfred Stieglitz was a pivotal force during the late 19th and 20th centuries in promoting photography in America and gaining its acceptance as an art form. He also pioneered in bringing modern art to this country through the avant-garde European and American work presented in the pages of his well-known journal, Camera Work, and at his gallery, "291." Stieglitz (born in Hoboken, New Jersey) first became interested in photography in the early 1880s while studying mechanical engineering in Germany at the polytechnic institute in Charlottenburg (now a suburb of Berlin). Following a class with the great photochemist Hermann Wilhelm Vogel, Stieglitz turned his attention to photography and soon began writing technical articles on the subject for European journals. In 1887 he won a prize for a photograph submitted to the Holiday Work Competition sponsored by Amateur Photographer magazine. When he returned to the United States three years later, Stieglitz became a partner in the Photochrome Engraving Company; running a business did not interest him, however, and his association with the company lasted only five years. In addition to pursuing his own photographic work and writing articles on pictorial photography for various American journals during the 1890s, Stieglitz became editor of the American Amateur Photographer in 1893. Four years later he took on the editorship of Camera Notes, the journal of the newly formed Camera Club of New York. In 1902 Stieglitz organized the first Photo-Secession exhibition at the National Arts Club in New York, launching an organization that was to play a major role in the fight for recognition of photography as an art form. At the end of the year he began publishing Camera Work, the journal of the Photo-Secession, which soon became one of the premier photographic publications of the day (the first issue, dated January 1903, was published in December 1902). In 1905, with the assistance of painter and photographer Edward Steichen, Stieglitz opened the Little Galleries of the Photo-Secession at 291 Fifth Avenue. The gallery, which soon became known as "291," provided Stieglitz with a center from which to promote art photography and exhibit the work of its finest practitioners. In addition to presenting work by the most advanced American and European pictorial photographers, Stieglitz began showing the work of modern European artists, including Henri Matisse, Pablo Picasso, and Paul Cézanne. He also organized numerous exhibitions of art photography for museums and expositions in this country and in Europe, including the famous 1910 International Exhibition of Pictorial Photography at the Albright Art Gallery, Buffalo. After closing "291" in 1917, Stieglitz focused on his own work, beginning a series of portraits of artist Georgia O'Keeffe (whom he married in 1924) and a series of cloud pictures called Equivalents, which he exhibited in the 1920s at the Anderson Gallery in New York. During these years he also produced a group of photographs of New York City skyscrapers, as well as images of Lake George, New York. Stieglitz continued to photograph into the 1930s. He also ran two galleries from the mid-1920s until his death: the Intimate Gallery (1925-29) and An American Place (1929-46). Both galleries presented the work of a small group of American modernists, including O'Keeffe, Charles Demuth, Arthur Dove, Marsden Hartley, John Marin, and Paul Strand, as well as Stieglitz's photographs. M.M.

Alice M. Boughton American, 1866-1943 A New Yorker by birth who studied painting in Paris and Rome, and worked as a studio assistant to photographer Gertrude Käsebier, Alice Boughton was one of the best known and most successful of the Photo-Secessionists. In 1890 she opened her own New York studio, which operated until her retirement in 1931. Boughton's work was shown frequently, both nationally and internationally, and was represented in the first exhibition at Alfred Stieglitz's gallery "291" (1905). Two years later she showed there again along with William B. Dyer and C. Yarnall Abbott. In 1909 she was published in Camera Work. In addition to portrait work, often with eminent sitters (clients included Maxim Gorky and William Butler Yeats), Boughton photographed children and nudes, as well as allegorical and natural scenes. Her book Photographing the Famous appeared in 1928. T.W.F.

Alvin Langdon Coburn British and American, b. United States, 1882-1966 Born in Boston and later naturalized a British citizen, Alvin Langdon Coburn received his first camera at age eight. Ten years later, encouraged by his cousin -- the idiosyncratic, yet highly talented photographer F. Holland Day-Coburn showed his work in a major London exhibition. In 1902-3 he was a founding member of the Photo-Secession and the Linked Ring, two of the most important photographic organizations of their time. His work in the medium continued at a high level for the next quarter century. Coburn was influenced not only by Day, but also by painter James Abbott McNeill Whistler, the impressionists, and Japanese woodblock prints, championed by his teacher Arthur Wesley Dow and Boston scholar Ernest Fenellosa. His artistic background allowed him to accept modernism as well. Although a founding member of the Pictorial Photographers of America in 1916 with Gertrude Käsebier and Clarence H. White, the following year Coburn made some of the first abstract photographs as a part of the vorticist movement, through which he became associated with Wyndham Lewis and Ezra Pound. Coburn produced a wide range of work, both in subject and style. Technically proficient, he excelled at the gravure process, producing large editions of original prints for portfolios and books. Among his collaborators were Henry James and H. G. Wells. Although Coburn abandoned photography from the mid-1920s to the mid-1950s, his work continued to be influential, and he took up the medium again near the end of his life. T.W.F. Note: Coburn emigrated to the United Kingdom in 1912 and became a naturalized British citizen in 1932. Coburn was a founding member of the Photo Secession, New York City, in 1902, and of the Pictorial Photographers of America in 1916. Coburn was associated with the Linked Ring in 1903, and the Royal Photographic Society in the United Kingdom. American photographer, became a naturalized British citizen. -Barbara Tannenbaum

Anne W. Brigman American, b. Hawaii, 1869-1950 Anne W. Brigman was born in Honolulu, where she lived until her family moved to California in the 1880s. Around 1900 she became interested in photography and in 1902 exhibited five of her prints in the Second San Francisco Photographic Salon. The following year Brigman joined Alfred Stieglitz's Photo-Secession, becoming one of the few West Coast members of this elite New York-based group. Her images were reproduced in three issues of Camera Work (1909, 1912, 1913), and her photographs were included in many of the Photo-Secession exhibitions organized by Stieglitz in this country and abroad. Brigman also exhibited her work in numerous salons of pictorial photography and in 1909 was elected to membership in the Linked Ring. Active in the Bay Area, Brigman made one trip east in 1910 to meet Stieglitz and other Photo-Secession members associated with the gallery "291." While on the East Coast she took part in Clarence White's first summer school of photography in Maine. During the first two decades of the 20th century Brigman became known for her allegorical images of nude or classically robed female figures frequently posed in trees in the California Sierra. Following her move from Oakland to Long Beach in 1929, Brigman turned to photographic studies of the seaside. During the 1930s she began writing poetry and in 1949 published Songs of a Pagan, a book combining her photographs and poems. She died in 1950 while working on a second book, Child of Hawaii. M.M.

Arthur Radclyffe Dugmore American, 1870-? Arthur Dugmore, who lived in Newfoundland, New Jersey, exhibited at the Royal Photographic Society in London in the early 1900s and with the Camera Club of New York. His photographs of nature subjects were also represented in the Lewis and Clark Exposition in Portland (1905), curated by Alfred Stieglitz, and in the January 1903 and January 1907 issues of Camera Work. T.W.F.

Baron Aldoph de Meyer American, b. France, 1868 - 1949 Born Adolph Edward Sigismund Meyer-Watson in Paris to a Jewish father and a Scottish mother, de Meyer was educated in Dresden. The King of Saxony conferred the title of baron so that de Meyer and his wife, Donna Olga Alberta Caraccio, could attend the 1901 coronation of England's King Edward VII. Olga was Edward's goddaughter and was reputed also to have been his illegitimate child. De Meyer's work falls into two distinct phases. Until 1914 the photographer and his elegant wife led a privileged and stylish life, intimates of European royalty and of accomplished artists. De Meyer produced society portraits as well as photographs of the avant-garde -- including his famous images of Nijinsky and the Ballet Russe. A member of the Linked Ring (1898 - 1909), his work was shown at Stieglitz's gallery "291" and published in Camera Work (the subject of the entire October 1912 issue). Due to the stirrings of the First World War and de Meyer's ties to Germany, in 1914 he and Olga moved to the United States, where he put his familiarity with high society and expertise in photography and art to use for Condé Nast's publications. He was among the first professional photographers of fashion and is considered a preeminent practitioner. His work for Vogue, Vanity Fair, and later Harper's Bazaar pioneered a new and expanding field. De Meyer later returned to Europe, and then again to America, settling in Hollywood during World War II. The baroness died in Europe in 1929. De Meyer died in Hollywood after the war, when interest in his work had subsided substantially. T.W.F.

C. Yarnall Abbott American, 1870-1938 Although little known today, in his time Yarnall Abbott was one of the most important and widely exhibited American photographers. Besides working as a lawyer in Philadelphia, Abbott was a painter, author, and photographer, best known for his nude studies made using gum bichromate and glycerine-developed platinum prints. His work was recognized by such key figures as Alfred Stieglitz and Peter Henry Emerson. At the height of his career during the first decade of this century, Abbott showed his images nationally and internationally in both solo and group exhibitions, including a one-person invitational at the Royal Photographic Society in London. He served as president of the Photographic Society of Philadelphia and was a member of the Linked Ring, an amateur photographic club formed in London in 1892 to promote expressive and aesthetic concerns in the camera arts. T.W.F.

Clarence H. White American, 1871-1925 Born in Carlisle, Ohio, Clarence Hudson White moved to the town of Newark in 1887. He began to photograph as a hobby in 1893, quickly becoming quite skilled, and by 1896 his works were recognized by the Ohio Photographers Association. Entirely self-taught, his mastery of the medium was based on his ability to create balanced compositions and to render the subtle effects of natural light. He explored various materials for their aesthetic possibilities, including platinum and gum bichromate prints, and, after 1906, palladium prints. In 1898 White showed his work in Philadelphia, where it came to the attention of Alfred Stieglitz and Joseph Keiley. His images were included in the 1899 Photographic Salon in London, which had been organized by the Linked Ring. From 1900-10 White exhibited in every national and international photographic show in London, Paris, Glasgow, Berlin, and Vienna. Moving to New York City in 1906, he began a career as an educator, lecturing on photography at Columbia University Teachers College (1907-25) and the Brooklyn Institute of Arts and Sciences (1908-21). In 1910 White began teaching summer classes in Seguinland, Maine, which led him to open the Clarence H. White School of Photography in New York in 1914. During summer he continued to teach workshops in New York, Connecticut, and Maine. Among his accomplished students were Margaret Bourke-White, Dorothea Lange, Paul J. Outerbridge, Ralph Steiner, and Karl F. Struss. Named a member of the Linked Ring in 1900, White was nominated to the Photo-Secession in 1902. He was the first president of the Pictorial Photographers of America, helping to found it with Gertrude Käsebier and others in 1916. Influenced by Japanese art, the work of James Abbott McNeill Whistler, and other progressive sources, White's style is imaginative and gentle, often underscored by his use of platinum papers. He believed that the photograph was a work of fine art in its own right. Although deeply involved and influential in New York's competitive world of photography, White produced his best work from 1893-1906, photographing simple, open scenes of his family and friends in their domestic, midwestern environment. T.W.F.

David Octavius Hill British, b. Scotland, 1802-1870; and Robert Adamson British, b. Scotland, 1821-1848 Brought together out of necessity, David Octavius Hill and Robert Adamson proved to be collaborators whose work was as inspired as its impact has been long lasting. Hill was born in Perth to a family in the printing and publishing business. Trained as a painter, an occupation pursued throughout his life, Hill also was an illustrator and lithographer. His earliest work, Sketches of Scenery in Perthshire Drawn from Nature and on Stone (1821), published before he was 20, was one of the first in Britain to employ the new medium of lithography. In 1829 he helped found the Royal Scottish Academy, serving as secretary from 1830-70. Hill turned to photography as an aid for a large group portrait of the 474 ministers who formed the new Free Church of Scotland. Noting the difficulties of such a monumental task, photographic pioneer Sir David Brewster, an associate of William Henry Fox Talbot, introduced Hill to Robert Adamson (born in Brunswick). Trained as an engineer, Adamson had learned the technique of photography from his brother John, whom Brewster had taught. The portraits necessary for Hill's work were the beginning of their collaboration, the two working in Adamson's Edinburgh studio in 1843. Hill is generally thought to be the artistic mind behind their images, while Adamson served as the technician responsible for the camera. This opinion among scholars, however, is shifting toward greater recognition of Adamson's artistic skill. After Adamson's early death in 1848, Hill stopped working entirely for 10 years before continuing in collaboration with A. McGlashan of Glasgow at a considerably diminished level. The portraits by Hill and Adamson are known for their painterly, Old Master quality and exceptional use of light and shadow. Other images include architecture, landscape, and a series on the small fishing village of Newhaven. T.W.F.

E. M. Bane American, active 1900s Little is known about the life and work of E. M. Bane, whose photographs of shells and fossils were published in the April 1905 issue of Camera Work. K.L.C.

Edward Steichen American, b. Luxembourg, 1879-1973 His long and illustrious career places Edward Steichen among the major figures of 20th-century photography. Born Eduard Jean Steichen in Luxembourg, Steichen moved with his family to the United States in 1881, was naturalized a citizen in 1900, and changed the spelling of his first name in 1918. Educated in Wisconsin, he showed an early interest in art. He studied at the Milwaukee Art Students League and was an apprentice lithographer; later he studied painting at the Académie Julian in Paris. Steichen took his first photograph in 1896. Early recognition came in the Second Philadelphia Salon of 1899, and he was encouraged by Clarence H. White. Shortly thereafter, while on his way to Europe, he met Alfred Stieglitz, who bought three of his prints. In 1900 he participated in the New School of American Photography exhibition in London. Steichen's first one-person show, which included paintings as well as photographs, was held in Paris in 1902. He helped to found the Photo-Secession and played an important role in the life and design of its galleries, programs, and publications, including the decision to exhibit international works in a variety of media. Steichen was the commander of aerial photography for the American Expeditionary Forces during the First World War. After the war, he became chief photographer for Vogue and Vanity Fair, and a well-known portraitist. During World War II he was in charge of all navy combat photography and was also responsible for the exhibitions Road to Victory (1942) and Power in the Pacific (1945) at the Museum of Modern Art, New York. These, along with his 1955 show, The Family of Man, established a new, more popular form of photographic exhibition. In 1947 he was made director of the museum's department of photography, a position he held until 1962. In 1961 the Museum of Modern Art mounted a retrospective of Steichen's work. The following year he received the Medal of Freedom from President John F. Kennedy. His photographs have been represented in many exhibitions and publications, including the book Steichen the Photographer, with a text by his brother-in-law, Carl Sandburg. T.W.F.

Ema Spencer American, 1857-1941 A native of Newark, Ohio, Ema Spencer is perhaps best remembered today for her encouragement of the young Clarence H. White. Nevertheless, she was a talented photographer in her own right, exhibiting nationally and internationally, winning awards in Italy and Germany, and participating in several of the most important exhibitions of her day. Spencer founded the Newark Camera Club and was a member of the Photo-Secession; her photographs were published in the January 1909 issue of Camera Work. The calm, quiet quality of her work links her not only to White, with whom she studied, but also to Gertrude Käsebier and others whose images often had a domestic focus and informal tone. In addition to her interest in photography, Spencer was a columnist for the Newark Advocate and a trustee of the New York Public Library. T.W.F.

Eva Watson-Schütze American, 1867-1935 Eva Watson-Schütze (born Eva Lawrence Watson in Jersey City, New Jersey) was a pictorial photographer who initially studied painting and drawing with Thomas Eakins at the Pennsylvania Academy of Fine Arts. Turning to photography, she shared a studio in Atlantic City with Amelia Van Buren (a former academy student) from 1894-96. In 1897 Watson-Schütze opened her own studio in Philadelphia and the following year showed her work in the first Philadelphia Photographic Salon. In 1900 she served as a juror for the salon and also took part in two major exhibitions in Europe: F. Holland Day's New School of American Photography, which was shown in London and Paris, and Frances Benjamin Johnston's show of American women photographers organized for the 1900 Paris Exposition. In 1901 Watson-Schütze was elected to membership in the Linked Ring and the following year became a founding member of the Photo-Secession. After her marriage to Professor Martin Schütze in 1901, she moved to Chicago and opened a professional portrait studio. In January 1905, four of her photographs were published in Camera Work. She continued to exhibit her photographs though the first decade of the 20th century, but eventually returned to painting. M.M.

F. Benedict Herzog American, about 1859-1912 Felix Benedict Herzog, a patent attorney, inventor, and pictorial photographer known for his elaborate, multifigure images, was born in New York City. An 1881 graduate of Columbia University, Herzog invented many electrical devices, telephone accessories, and improvements for telephone switchboards, including a police call system. Notices of his activity as a photographer appear in the years following 1900. In 1904 he joined the Camera Club of New York and in 1905, 1908, and 1910 took part in members exhibitions there. Five of Herzog's images were reproduced in Camera Work in October 1905 and January 1907. In 1905 his photographs also were displayed at the Lewis and Clark Exposition in Portland as well as in two international exhibitions. Two years later his work was discussed in The Century Magazine (May 1907) and Wilson's Photographic Magazine (December 1907). Noted for his great skill in handling drapery and posing groups of models, Herzog maintained a studio on upper Broadway where he created idealized compositions such as The Tale of Isolde, The Banks of Lethe, and Two Maids of St. Ives. Working in what critic Christian Brinton called the "grand style," Herzog often drew upon literature for his subject matter and sometimes combined negatives to achieve the desired effect in the final print. M.M.

Francis Bruguière American, 1879-1945 Born into a wealthy San Francisco banking family, Francis Bruguière studied painting in Europe. He developed an interest in photography after meeting Alfred Stieglitz and Frank Eugene during a 1905 trip to New York, where he remained to study with Eugene and became a member of the Photo-Secession. In 1906 Bruguière returned to San Francisco and opened a photography studio. Thirteen years later he was back in New York to begin work as a commercial photographer for Vogue, Harper's Bazaar, Vanity Fair, and the Theatre Guild. During the 1920s Bruguière experimented with "light abstractions" -- images filled with abstract patterns of light and shade made from dramatically lit cut-paper designs. In 1929 his photographs were included in the Film und Foto exhibition in Stuttgart, a show featuring the work of the most experimental and progressive photographers. The following year he collaborated with Oswell Blakeston, a writer and film critic, to produce an abstract film, Light Rhythms. Moving to England in 1928, Bruguière worked in advertising and continued his photographic experiments with light and multiple exposures. He retired from photography in 1940. M.M.

Frank Eugene German, b. United States, 1865-1936 Pictorial photographer Frank Eugene was known for his skillful hand-manipulation of images. Born Frank Eugene Smith in New York City, he attended City College of New York, then studied at the Royal Bavarian Academy of Fine Arts in Munich. Initially trained as a painter, Eugene took up photography in the mid-1880s and by the turn of the century was exhibiting his work widely. In 1899 he took part in exhibitions at the London Salon and at the Camera Club of New York, and the following year was elected to membership in England's Linked Ring. In 1902 Eugene became a founding member of the Photo-Secession and was selected by Alfred Stieglitz to be among the group of American photographers displaying work at the Esposizione Internationale d'Arte Moderna in Turin, Italy. That same year he was also included in the first Photo-Secession exhibition at the National Arts Club in New York. He subsequently participated in numerous photographic salons and shows, including the well-known 1910 exhibition of pictorial photography organized by Stieglitz for the Albright Art Gallery, Buffalo. Eugene's work was also featured in several issues of Camera Work between 1904-16 (Stieglitz having earlier reproduced his photographs in Camera Notes). In 1906 Eugene moved to Germany, where he worked as a painter and continued to take photographs. Known as a "painter-photographer," he often manipulated a photographic image by drawing on the negative or marking it with an etching needle in order to achieve a desired effect in the final picture. In 1913 he was appointed to the world's first chair in pictorial photography at the Royal Academy of Graphic Arts in Leipzig. M.M.

Frederick H. Evans British, 1853-1943 Born in Whitechapel, London, Frederick Evans was the preeminent architectural photographer of his day, known particularly for his views of British cathedrals. He was also known for portraiture, with sitters such as George Bernard Shaw and Aubrey Beardsley. Originally a London bookseller, Evans retired in 1898 to devote himself full-time to photography. He was a passionate devotee of straight, or pure, photography. His elegant, unaltered platinum prints relied on form and light to probe the spiritual elements of architectural space and to reveal the character and nuance of the subjects of his portraits. Evans, who exhibited his work widely, extended his aesthetic beliefs to the realm of display; he is credited with transforming British exhibition practice -- the crowded Victorian salon giving way to a venue where prints were shown singly and clearly, out of competition with one another. Alfred Stieglitz was a great admirer of Evans's work, which was published in Camera Work (1903) and shown at the Little Galleries of the Photo-Secession in New York (1906). A member of the Royal Photographic Society, Evans was named an Honorary Fellow in 1925 and was elected to the Linked Ring in 1900. T.W.F.

Frederick H. Pratt American, active early 1900s Frederick Pratt was a pictorial photographer active in New York in the early 20th century. A member of the Photo-Secession, he took part in the 1905 members' exhibition at Alfred Stieglitz's "291" gallery. The following year he was elected a Fellow of the Photo-Secession and participated in an exhibition organized by the group for the Pennsylvania Academy of Fine Arts in Philadelphia. In 1906 he also helped organize a show of pictorial photography at the Worcester Art Museum in which the Photo-Secession exhibited as a group. Four years later Pratt's work was included in the well-known International Exhibition of Pictorial Photography organized by Alfred Stieglitz for the Albright Art Gallery, Buffalo. In 1914 Stieglitz reproduced one of Pratt's landscape images in the April issue of Camera Work. M.M.

George Davison British, 1856-1930 George Davison is known as the founder of impressionistic photography, a movement he initiated in 1890 as an extension of the naturalistic theories of Peter Henry Emerson. This, however, infuriated Emerson, who subsequently renounced earlier statements regarding photography as art. Davison was an amateur who had been an audit clerk at the English Treasury before going to work in 1897 for Kodak, Ltd., where he became managing director and a board member. In 1913 he was forced out as a consequence of his strong Christian Socialist convictions. He used his personal wealth (gained from early purchase of Kodak stock) for altruistic purposes organizing weekend seminars to teach workers about socialism and, during World War II, providing a home in northern Wales for children from London's East End. Early on, Davison worked in a straightforward photographic manner (Kodak used several of his photographs in their advertisements), but after 1890 he also began to produce impressionistic images in a more pictorial style. He joined the London Camera Club in 1885, serving as secretary in 1886, and was also affiliated with the Royal Photographic Society and was a founding member of the Linked Ring. From 1888-1914 Davison exhibited his work in Europe and the United States. He died at his winter home in Antibes. T.W.F.

Famed playwright, novelist, and critic George Bernard Shaw was born in Dublin and moved to England in 1876. He first took up photography in 1898, pursuing it with enthusiasm for the rest of his life. His earliest images, taken with a Kodak box camera, were casual shots of people, places, and pets, pictures characteristic of many amateur photographers. He soon moved on to a Sanderson field camera and over the years experimented with a variety of cameras and lenses. During the first decade of the 20th century, Shaw was especially active in the field of photog-raphy, producing platinum prints and writing essays in support of the medium as an art form. Most of these articles originally appeared in Amateur Photographer magazine between 1901-9. They were often reprinted in other publications, including Alfred Stieglitz's journal Camera Work. Stieglitz also reproduced one of Shaw's portraits of photographer Alvin Langdon Coburn in the July 1906 issue. Earlier, Shaw had written two short reviews of photographic exhibitions for the World (in 1887 and 1888, when he was the publication's art critic). He also delivered many lectures on photography and became close friends with Coburn and another leading British photographer, Frederick H. Evans. Over the years Shaw produced thousands of images, most of which were never published or exhibited. Several exceptions include his auto-chromes of the ruins of a 14th-century church in his village of Ayot St. Lawrence, which was in-cluded in a special summer number (Color Pho-tography and Other Recent Developments of the Camera) of the Studio (1908), a group of eight photographs reproduced in the Countryman (April 1937), a collection of more than 30 pic-tures that appeared in F. E. Loewenstein's book Bernard Shaw Through the Camera (1948), and Shaw's views of his village, which he published in a guidebook shortly before his death.

George H. Seeley American, 1880-1955 The reclusive photographer George Henry Seeley spent virtually his entire life in his native Stockbridge, Massachusetts. Unlike many of his peers, he sought neither notoriety nor public adulation. His only extended absence was during his enrollment in the Massachusetts Normal Art School in Boston, where he briefly studied painting and modeling. Returning in 1902, Seeley became supervisor of art in the Stockbridge public schools, and later a correspondent for a regional newspaper, the Springfield Republic. He devoted himself to photography and painting, becoming a notable still-life painter in his later years. He also held a longstanding proprietary role in the local Congregational church and was an authority on birds, maintaining a landing station and recording migratory patterns for the Biological Survey, based in Washington D.C. As a photographer, Seeley turned down several professional offers that would have required him to move. He had presumably experimented with photography by 1902, when he visited the studio of F. Holland Day, who further encouraged him. The following year he received several substantial awards from Photo-Era magazine. In 1904 his 20 prints shown at the First American Salon in New York drew considerable praise, notably that of Alvin Langdon Coburn, who is believed to have introduced Seeley's work to Alfred Stieglitz. Seeley was a member of both the Photo-Secession and the Salon Club of America. Although shown and published by Stieglitz, he preferred the attitudes and subjects of small-town life over the shifting politics of the world of organized photography. T.W.F.

Gertrude Käsebier American, 1852-1934 One of the most well-known pictorial photographers of the early 20th century, Gertrude Käsebier was born in Fort Des Moines (now Des Moines), Iowa. In 1889 she entered the Pratt Institute in New York to study portrait painting. Photography, however, which she took up on her own, became her primary artistic focus. After working with a professional Brooklyn photographer to gain business experience, Käsebier opened her own portrait studio in New York City in late 1897 or early 1898. It was a great success, and she was soon busy producing commercial portraits in addition to her personal work. Her pictorial images, mostly portraits and figure studies, were exhibited widely in the United States and Europe during the early 20th century and were reproduced in both Camera Notes and Camera Work. She was a founding member of the Photo-Secession in 1902 and one of the first two women elected to membership in the Linked Ring (1900). In 1912 Käsebier resigned from the Photo-Secession, breaking her long association with Alfred Stieglitz after several disagreements. Four years later she became associated with Clarence H. White's Pictorial Photographers of America. Retiring in the 1920s, Käsebier continued to serve as a source of inspiration for younger photographers such as Laura Gilpin, Consuelo Kanaga, and Clara Sipprell. M.M.

Guido Rey Italian, 1860-1935 Guido Rey began photographing mountain landscapes around 1885. Although influenced by photographers Emilio Gallo, Vittorio Besso, and his cousin, Vittorio Sella, Rey turned to the classical world for inspiration around 1893, studying antique architecture, furniture, and costumes to give his work an authenticity and spirit that would impress photographers Wilhelm von Gloeden and Baron von Pluschkow. Rey exhibited his classically inspired work in 1898, winning a gold medal at the National Exposition in his native Turin. By 1902, however, having internalized the paintings of Jan Vermeer, he began to incorporate a new poeticism in his photographs, creating luminescent and strong chiaroscuro effects within intimate, domestic arrangements. That year, in the exhibition Fotografia Artistica, he was lauded by his contemporaries for his fresh approach. Through his written contributions to the Studio, exhibitions in New York, Chicago, and London, and inclusion of two photographs in Camera Work in 1908, Rey became of the best known Italian pictorialists. K.L.C.

Hans Watzek Austrian, 1848-1903 Born Johann Josef Watzek in Bohemia, Hans Watzek was a pictorial photographer specializing in gum bichromate prints. After studying at art academies in Leipzig and Munich, Watzek became a professor of drawing in 1874. He joined the Vienna Camera Club in 1891 and two years later was elected to membership in the Linked Ring. Around 1894 Watzek befriended fellow Austrian pictorialists Hugo Henneberg and Heinrich Kuehn, and they began working closely. The group traveled, photographed, and exhibited together, becoming known as the Trifolium (Das Kleeblatt). Experimenting with the gum bichromate process, the three began making large-scale prints, often producing images measuring 2 x 3 feet. Watzek, the most innovative member of the group, built his own camera and wrote technical articles for the magazine Wiener Photographische Blätter. After his death, Watzek's work was reproduced in Camera Work (January 1906) and was exhibited by Alfred Stieglitz in his New York City gallery as well as in the 1910 International Exhibition of Pictorial Photography in Buffalo. M.M.

Born in Weatherhead, England, Harold Mortimer-Lamb immigrated to Victoria, British Columbia, in 1889. He worked as an editor for several Canadian newspapers before becoming editor (and then managing director) of the B.C. Mining Record in 1896. His interest in photography probably began around this time, and in 1904 he contributed an article on "Pictorial Photography in B.C." to Photograms of the Year, which also published one of his platinum prints. The following year Mortimer-Lamb moved to Montreal to serve as secretary of the Canadian Mining Institute and editor of the Canadian Mining Review. In 1907 he participated in the important Photo-Club of Canada exhibition in Montreal and in 1910 was elected to membership in the Royal Photographic Society. Two years later one of his images aas reproduced in Alfred Stieglitz's prestigious journal, Camera Work (July 1912). Mortimer-Lamb's interest in photography continued until the mid to late 1940s, after which he turned to painting.

Harry Rubincam American, 1871-1940 Although Harry Cogswell Rubincam worked as a grocer, was elected president of a small oil drilling company, and tried his hand at ranching, he worked principally in the insurance business. Originally from Philadelphia, he lived in New York and later moved to Denver after contracting tuberculosis. A serious amateur, Rubincam became interested in photography in the early 1890s, receiving instruction from a retired professional photographer. He wrote frequently on the medium, including articles for Camera Work, and his work was widely shown in the first decade of the 20th century in the United States and Europe, including exhibitions in London, St. Petersburg, and The Hague. Rubincam is best known for his circus series. These images of motion, produced in 1902, are characterized by an intensity that has drawn admirers for nearly a century. Rubincam became an associate of the Photo-Secession in 1903. T.W.F.

Heinrich Kuehn Austrian, b. Germany, 1866-1944 Carl Christian Heinrich Kuehn (also spelled Kühn) was a key figure in the aesthetic movement in photography, as well as a teacher, writer, and theoretician. Born in Dresden, he studied medicine and science in Innsbruck, Leipzig, Berlin, and Freiburg before beginning to photograph in 1883. In Austria and Germany, Kuehn's role was not unlike that of Alfred Stieglitz in the United States. Not surprisingly, after the two men met in 1904, they remained close friends for many years. Kuehn believed in the artistic manipulation of the photographic image and was responsible for refinements in the gum bichromate process, through which a photograph could be made to resemble paintings and prints more closely. Among his influences were the early Scottish calotypists David Octavius Hill and Robert Adamson, who were also acknowledged by Stieglitz, and whose prints combined the softness conveyed by their paper negatives with a formality of composition and depth of tone derived from painting. Kuehn had a long, productive career, during which he worked with Hans Watzek and Hugo Henneberg on multiple gum bichromate processes. Besides exhibiting and publishing widely, he founded and directed the Schule für Kunstlerische Photographie in Innsbruck (1914-20) and formed the Viennese Trifolium (Das Kleeblatt). He wrote and published two technical manuals and many articles. An inventor and designer of photographic processes and equipment, Kuehn was elected into the Linked Ring in 1895, was a member of the Vienna Camera Club, and received numerous awards and recognition for his work. T.W.F.

Herbert G. French American, 1872-1942 Herbert G. French, a prominent Cincinnati businessman and top executive at the Proctor & Gamble Company, was active as a pictorial photographer during the first decade of the 20th century and began exhibiting his work around 1900. During the first year of operation of the Little Galleries of the Photo-Secession (1905-6), Alfred Stieglitz invited him to exhibit a series of his photographs illustrating portions of Tennyson's Idylls of the King. In 1906 French was instrumental in organizing Exhibition of Photographic Art at the Cincinnati Art Museum, and three years later Stieglitz reproduced five of French's images in Camera Work (July 1909). French (born in Covington, Kentucky) was a member of the Photo-Secession and exhibited his work nationally and internationally, but only until about 1910. His interest in the arts continued, however, and he bequeathed a sizable collection of Old Master and modern prints to the Cincinnati Art Museum. M.M.

Hugo Henneberg Austro-Hungarian, 1863-1918 Born in Vienna, Hugo Henneberg received his doctorate in physics in the late 1880s. About 1890 he became interested in photography and the following year took part in Vienna's Ausstellung Kunstlerischer Photographien, the first international exhibition of artistic amateur photography. Around the time of his acceptance into the Linked Ring (1894), Henneberg developed a friendship with fellow Austrian pictorialists Heinrich Kuehn and Hans Watzek. They exhibited together under the name the Trifolium (Das Kleeblatt), becoming known for their large-scale gum bichromate prints. Henneberg's photographs, primarily of landscapes, were included in numerous European exhibitions throughout the 1890s and into the first decade of the 20th century. His work was reproduced in Camera Notes and Camera Work and was included in a 1906 showing of Austrian and German photographers at "291," as well as in the 1910 International Exhibition of Pictorial Photography at the Albright Art Gallery, Buffalo. Around 1911 he turned from photography to painting. M.M.

J. Craig Annan British, b. Scotland, 1864-1946 J. Craig Annan was the son of Thomas Annan (1829-1887), one of Scotland's important early photographers who was known especially for his documentary work in Glasgow's slums. Thomas Annan was a master of the gravure process and a friend of pioneering photographer David Octavius Hill. Both father and son learned the techniques of photogravure in Vienna from its inventor, Karel Kli . Bringing the process back to Britain, they became photographers and photoengravers to Queen Victoria. Along with his brother John, also a photographer, J. Craig worked at the family's successful printing business, T. & R. Annan and Sons, for some 35 years. Inspired by impressionism, James Abbott McNeill Whistler, and Japanese prints, Annan embraced pictorialism in his own work and was one of the first to experiment with a hand-held camera. He corresponded with Alfred Stieglitz, sending examples of the work of David Octavius Hill and Robert Adamson, which led to their publication in Camera Work. He also supplied his own photogravures, as well as those of other British photographers, for inclusion in Stieglitz's magazines. A leading professional portrait photographer, Annan was also known for his outdoor figures and pastoral settings influenced by the Barbizon School. He exhibited widely, including a one-person retrospective at London's Royal Photographic Society. He was a member of the Linked Ring and first president of the International Society of Pictorial Photographers, as well as an active member of many other photographic and cultural organizations. He was made an Honorary Fellow of the Royal Photographic Society in 1924. T.W.F.

John Francis Strauss American, active 1900s Through the Camera Club of New York, which he joined in 1898, John Francis Strauss became a close associate of Alfred Stieglitz. He served on the editorial board of Camera Notes, the club journal that Stieglitz edited from 1897-1902, and then acted as associate editor of Stieglitz's new publication, Camera Work, from 1903-10. Strauss took part in exhibitions at the club and, as one of the original Fellows of the Photo-Secession, participated in many of that group's early exhibitions, including A Collection of American Pictorial Photographs, organized by Stieglitz in 1904 for the Corcoran Art Galleries, Washington, D.C. Stieglitz also reproduced one of Strauss's images in the July 1903 issue of Camera Work. M.M.

Joseph T. Keiley American, 1869-1914 Joseph Turner Keiley, a partner in the Manhattan law firm of Keiley and Haviland, was an amateur photographer and close associate of Alfred Stieglitz. Born in Maryland and raised in Brooklyn, Keiley took up photography in the mid-1880s and began exhibiting his work in 1898. The following year he joined the New York Camera Club, soon becoming one of its most active members. He served on the prints and the publications committees, and also as an associate editor of the club's journal, Camera Notes, developing a close friendship with editor Alfred Stieglitz. Keiley contributed numerous articles and reviews to Camera Notes and later joined Stieglitz's new publication, Camera Work, as an associate editor. During the first decade of the 20th century, Keiley participated in many exhibitions and became a founding member of the Photo-Secession. He also experimented with glycerine-developed platinum prints, collaborating with Stieglitz to perfect a process that allowed photographers better control in the development of a platinum print. Their method involved coating an exposed print with a layer of glycerine and then selectively painting the image with a brush dipped in developer to bring out certain areas. Keiley used this technique frequently in his work until his early death from Bright's disease. M.M.

Julia Margaret Cameron British, 1815-1879 Born in Calcutta to a French mother and an English father employed by the East India Company, Julia Margaret Cameron was a key figure in the development of photography both in Britain and abroad. She was sent, under the care of her grandmother, to France for her education. Marriage to jurist Charles Hay Cameron took her back to India in 1838, and to England in 1848, where in 1860 the family finally settled on the Isle of Wight. Three years later Cameron received her first camera, a gift from her daughter, as a way to pass the time while her husband was away on an extended trip to Ceylon. For the next 15 years, Cameron's passion for photography, and her fortunate position among Britain's cultural elite, allowed her to produce a series of portraits, allegories, and illustrations that are among the most admired and influential of photographic images. Frequently marked by a loose, soft style, her portraits of well-known figures, such as Sir John Herschel, Thomas Carlyle, and Ellen Terry, reveal her subject's character in an unusually forceful manner. Her allegories and tableaux often include neighbors and friends like Lord Tennyson and her artistic mentor, the Pre-Raphaelite painter G. F. Watts. In 1874 she illustrated Tennyson's popular long poem Idylls of the King. In 1875, after the death of her daughter, Cameron returned to Ceylon with her husband, joining their five sons. There she continued to photograph until her death in 1879. A later generation was introduced to Cameron's work by Alfred Stieglitz, who reproduced a selection from it in Camera Work. T.W.F.

Karl F. Struss American, 1886-1981 Born and raised in New York City, Karl Fischer Struss was an important early pictorialist and a cofounder of the Pictorial Photographers of America. He was also a member of the Photo-Secession, publishing his works in Camera Work (April 1912), and a photographer for publications such as Vogue, Vanity Fair, and Harper's Bazaar. A student of Clarence H. White, Struss was influenced by both White and Alvin Langdon Coburn. He developed his own style, however, an elegant synthesis of random qualities with formal composition. Struss experimented with various technical processes. He developed multiple platinum printing to enhance the depth of shadows and in 1909 designed the Struss Pictorial lens, which entered commercial production in 1915. Shortly after the First World War, Struss moved to Hollywood, where he became a successful cinematographer. He worked first for Cecil B. De Mille and later freelanced for both independent and major studios until his retirement in 1970. Among his film credits are Ben Hur (1926), Dr. Jekyll and Mr. Hyde (1932), and the Chaplin classics The Great Dictator (1940) and Limelight (1952). In 1928 Struss received an Academy Award for his work on De Mille's film Sunrise. T.W.F.

Marshall R. Kernochan American, active 1900s Marshall Kernochan was a pictorial photographer active in New York during the early 20th century. He joined the Camera Club of New York in 1900 and the following year took part in the members exhibition at the club. He also belonged to the Photo-Secession and participated in the group's 1904 exhibition, A Collection of American Pictorial Photographs, at the Art Galleries of the Carnegie Institute in Pittsburgh. The next year he was included in a show of members' work at Alfred Stieglitz's gallery "291" in New York and in 1910 exhibited his photographs in the important International Exhibition of Pictorial Photography organized by Stieglitz for the Albright Art Gallery, Buffalo. Stieglitz also reproduced one of Kernochan's images in the October 1909 issue of Camera Work. M.M.

Theodor Hofmeister German, 1868-1943; and Oskar Hofmeister German, 1871-1937 Theodor Hofmeister, a wholesale merchant, and his brother Oskar, a secretary of the county court, were born in Hamburg. Around 1895 they became amateur photographers, specializing in figure studies and landscapes. Working as a team, they exhibited their prints under joint authorship and soon became leading members of the local amateur photographic society. By 1897 they had begun to produce gum bichromate prints almost exclusively. In July 1904 six of the Hofmeister brothers' photographs were reproduced in Camera Work, and two years later Alfred Stieglitz included them in a show of Austrian and German photography at the Photo-Secession Galleries in New York. They were elected to membership in the Linked Ring in 1908, and in 1910 their work appeared in the important International Exhibition of Pictorial Photography at the Albright Art Gallery, Buffalo. M.M.

Paul Strand American, 1890-1976 Paul Strand (born in New York City) was an influential advocate of the straight approach in creative photography. While a student at the Ethical Culture School in New York, Strand studied photography with Lewis Hine (1907-8). In 1908 he joined the Camera Club of New York and three years later traveled through Europe, making softly focused, manipulated photographs in the popular pictorial style. In the fall of 1911 Strand established himself as a freelance commercial photographer in New York and two years later began visiting the exhibitions of modern art at Alfred Stieglitz's Photo-Secession galleries. Between 1914-17, stimulated by his contact with Stieglitz and avant-garde American and European art, Strand abandoned pictorialism for images that expressed an interest in formal concerns and the dynamism of contemporary urban life. He experimented with abstraction and movement and candid portraiture of people on the street. Excited by Strand's innovative work, Stieglitz exhibited his pictures at "291" in 1916 and featured them in the final two issues of Camera Work (October 1916; June 1917). In 1917 Strand expressed his belief in a pure photographic aesthetic, stressing the objectivity of the medium and its ability to produce "a range of almost infinite tonal values which lie beyond the skill of the human hand." The following year Strand served as an x-ray technician in the Army Medical Corps. After his year of service, he returned to New York and in 1920 collaborated with painter/photographer Charles Sheeler on the avant-garde film Manhatta (originally titled New York the Magnificent). Throughout the 1920s Strand made his living as a filmmaker, only occasionally making photographs. He pursued both film and creative photography in the 1930s and early 1940s; by 1945, however, when his images were featured in a one-person exhibition at the Museum of Modern Art, New York, still photography had once more become his primary focus. After visiting France in 1950 he decided to settle there, and over the following two decades traveled and photographed in Europe and Africa. Strand's work has been widely exhibited. Retrospectives have been mounted by the Museum of Modern Art, New York (1945), the Philadelphia Museum of Art (1971, and tour), and the Metropolitan Museum of Art, New York (1973), and numerous traveling exhibitions have been organized, including Paul Strand: An American Vision by the National Gallery of Art, Washington, D.C. (1990). He was named an Honorary Member of the American Society of Magazine Photographers (1963) and a Fellow of the American Academy of Arts and Sciences (1973). M.M.

Paul B. Haviland French, 1880-1950 During the years 1908-15, Paul Burty Haviland was a close associate of Alfred Stieglitz and a strong supporter of the Little Galleries of the Photo-Secession, popularly known as "291." A collector, photographer, businessman, and writer, Haviland was born and raised in Paris, the son of the china manufacturer Charles Haviland, and grandson of art critic and collector Philippe Burty. Following his graduation from Harvard University in 1901, Haviland joined the family business, serving as the New York representative of Haviland & Company of Limoges. After visiting "291" in 1908, he became an enthusiastic supporter of Stieglitz and the ideals of the Photo-Secession. In 1909 he began contributing articles to Camera Work and by 1910 was serving as the journal's assistant editor. Haviland's close association with Stieglitz and "291" stimulated his artistic talent and prompted him to begin seriously experimenting with photography. From 1908-15 he produced a number of photographic portraits, figure studies, and city views. His images appeared in several issues of Camera Work (1909, 1912, 1914), and in 1910 he took part in the important exhibition of pictorial photography at the Albright Art Gallery, Buffalo. Returning to France in 1915, Haviland was preoccupied with business concerns, finding little opportunity for art. Later in life, however, he did pursue photographic portraiture for a time. M.M.

Prescott Adamson American, 1866-1933 Possibly born in Germantown, Pennsylvania, Prescott Adamson lived in Philadelphia from 1897-1911, where he worked as a business manager. As a photographer, he was active in the Photo-Secession, his work appearing in both Camera Notes and Camera Work. From the late 1890s into the early 1900s, Adamson exhibited not only in Pennsylvania but also in salons in New York, Chicago, Washington, D.C., and other U.S. cities, as well as in England and Italy. He was a member of the Photographic Society of Philadelphia and, in 1900, gave at least two lectures to the group, one on platinotype toning and another on lantern slides. T.W.F.

René Le Bègue French, 1857-1914 René Le Bègue was an amateur photographer in Paris who specialized in studies of women, especially nudes. His work, done principally in the gum bichromate process, had an artistic orientation. Amateurs, he wrote, through "personal intervention" in their prints, could lift photography toward art, overcoming the "mechanical and servile" way in which the lens copies nature. Le Bègue's images were widely published and shown. He was a founder of the Photo Club of Paris, participating in its first exhibition, and was the first French photographer admitted to the Linked Ring. Le Bègue frequently worked with his uncle, Paul Bergon (1863-1912), and their careers are closely intertwined. He also worked with Constant Puyo and Robert Demachy, other exponents of an artistic approach to photography. It is believed that Le Bègue stopped photographing upon the death of Bergon. His work was introduced to the United States in a 1906 group exhibition at the Little Galleries of the Photo-Secession in New York, and through publication of two of his photographs in Camera Work that same year. T.W.F.

David Octavius Hill British, b. Scotland, 1802-1870; and Robert Adamson British, b. Scotland, 1821-1848 Brought together out of necessity, David Octavius Hill and Robert Adamson proved to be collaborators whose work was as inspired as its impact has been long lasting. Hill was born in Perth to a family in the printing and publishing business. Trained as a painter, an occupation pursued throughout his life, Hill also was an illustrator and lithographer. His earliest work, Sketches of Scenery in Perthshire Drawn from Nature and on Stone (1821), published before he was 20, was one of the first in Britain to employ the new medium of lithography. In 1829 he helped found the Royal Scottish Academy, serving as secretary from 1830-70. Hill turned to photography as an aid for a large group portrait of the 474 ministers who formed the new Free Church of Scotland. Noting the difficulties of such a monumental task, photographic pioneer Sir David Brewster, an associate of William Henry Fox Talbot, introduced Hill to Robert Adamson (born in Brunswick). Trained as an engineer, Adamson had learned the technique of photography from his brother John, whom Brewster had taught. The portraits necessary for Hill's work were the beginning of their collaboration, the two working in Adamson's Edinburgh studio in 1843. Hill is generally thought to be the artistic mind behind their images, while Adamson served as the technician responsible for the camera. This opinion among scholars, however, is shifting toward greater recognition of Adamson's artistic skill. After Adamson's early death in 1848, Hill stopped working entirely for 10 years before continuing in collaboration with A. McGlashan of Glasgow at a considerably diminished level. The portraits by Hill and Adamson are known for their painterly, Old Master quality and exceptional use of light and shadow. Other images include architecture, landscape, and a series on the small fishing village of Newhaven. T.W.F.

Robert Demachy French, 1859-1936 Born in Saint-Germain-en-Laye, Robert Demachy was a banker of independent means whose rarefied and varied interests ranged from racing cars to music, literature, and art. His American wife, Julia Adelia Delano, was related to Franklin Roosevelt. In the field of photography, Demachy was both practitioner and theoretician, writing five books and more than 1,000 articles on aesthetic and technical issues. He was a leader in the manipulative style in which the negative was used as the basis for producing prints that approached aquatint and other intaglio media in their overtly artistic, handworked qualities. He was especially known for his work with the gum bichromate and oil printing processes, the latter of which he pioneered and developed with Alfred Maskell. He later abandoned photography for sketching and drawing. Demachy's photographs often have the quality of paintings, drawings, or intaglio prints and are frequently printed in color. His varied subject matter is often treated in an idealized manner, characteristic of the pictorialism prevalent during the time he worked (roughly 1880-1914). Demachy was a member of the Société française de photographie, the Linked Ring, and the Photo-Secession. In 1894 he helped to found the Photo Club de Paris. He was also a member of honor of the Royal Photographic Society and a chevalier of the Légion d'honneur. T.W.F.

Sarah C. Sears American, 1858-1935 Sarah Sears (born Sarah Choate in Cambridge, Massachusetts) was an amateur painter and photographer active in the late 19th and early 20th centuries. After studying painting at the Cowles Art School and the School of the Museum of Fine Arts, Boston, Choate married Joshua Montgomery Sears, a wealthy Boston real estate owner, in 1881. A talented watercolorist, she won prizes at the 1893 World's Columbian Exposition in Chicago, the 1900 Exposition Universelle in Paris, and the 1904 Louisiana Purchase Exposition in St. Louis. In the 1890s Sears took up photography and soon began exhibiting her work in photographic salons in the United States and Europe. Her work was included in two major European exhibitions: the show of American women photographers organized by Frances Benjamin Johnston for the Exposition Universelle in Paris (held in conjunction with the International Photographic Congress, 1900) and F. Holland Day's New School of American Photography, which was shown in London (1900) and Paris (1901). Sears became a member of the Photo-Secession and the Linked Ring in 1904, and in 1907 her work was reproduced in Camera Work. M.M.

Theodor Hofmeister German, 1868-1943; and Oskar Hofmeister German, 1871-1937 Theodor Hofmeister, a wholesale merchant, and his brother Oskar, a secretary of the county court, were born in Hamburg. Around 1895 they became amateur photographers, specializing in figure studies and landscapes. Working as a team, they exhibited their prints under joint authorship and soon became leading members of the local amateur photographic society. By 1897 they had begun to produce gum bichromate prints almost exclusively. In July 1904 six of the Hofmeister brothers' photographs were reproduced in Camera Work, and two years later Alfred Stieglitz included them in a show of Austrian and German photography at the Photo-Secession Galleries in New York. They were elected to membership in the Linked Ring in 1908, and in 1910 their work appeared in the important International Exhibition of Pictorial Photography at the Albright Art Gallery, Buffalo. M.M.

W. W. Renwick American, 1864-1933 William W. Renwick (born in Lenox, Massachusetts) was active as an amateur photographer during the early years of the 20th century. After receiving a degree in mechanical engineering from Stevens Institute of Technology in New Jersey, Renwick began architectural training in the New York office of his uncle, James Renwick, designer of St. Patrick's Cathedral and Grace Church, and also spent time studying painting and sculpture in Europe. He assisted in the design of several New York churches and after 1900 worked on his own, specializing in ecclesiastical architecture and decoration. During his career, Renwick became known for his development of "fresco relief," a type of mural decoration combining painting and sculpture. Renwick's involvement with photography seems to have begun around the turn of the century. A member of the Camera Club of New York, he was given a one-person show there in 1901. In 1902 Alfred Stieglitz included his work in the display of American photography at the Esposizione Internationale d'Arte Decorativa Moderna in Turin, Italy. That same year Stieglitz also included Renwick in the first Photo-Secession exhibition at the National Arts Club in New York. Although never a member of the Photo-Secession, in 1904 Renwick took part in the group's sponsored exhibition of American pictorial photographs, which appeared first at the Corcoran Art Galleries in Washington, D.C., and then traveled to the Carnegie Institute in Pittsburgh. Little information is available about Renwick's photographic career after this, although his image Nude was reproduced in Camera Work in 1907. M.M.

William B. Dyer American, 1860-1931 In 1895, a year after moving to Chicago, William Buckingham Dyer (born in Racine, Wisconsin) bought a camera and soon became an enthusiastic pictorial photographer. By 1899 he was exhibiting in photographic salons in New York and Philadelphia and had provided illustrations for James Whitcomb Riley's popular Love Lyrics. The following year Dyer illustrated Margaret E. Sangster's book Winsome Womanhood. Clarence H. White and Alfred Stieglitz were both early supporters of Dyer. White exhibited Dyer's work at the Newark Camera Club in Ohio (1899-1900); Dyer's friendship with Stieglitz led him to become a founding member of the Photo-Secession in 1902, and his work was included in many of the group's exhibitions. In 1907 Stieglitz reproduced two of Dyer's images in Camera Work and featured his photographs, along with those of Alice M. Boughton and C. Yarnall Abbott, in an exhibition at the Little Galleries of the Photo-Secession. While in Chicago Dyer also worked as a professional photographer, specializing in portraiture. In 1908 he moved to Oregon to become a fruit farmer; he later moved to California, where he lived until his death. M.M.

William B. Post American, 1857-1925 Born in New York City, William B. Post was a member of the Photo-Secession and one of only 10 lifetime members of New York's Society of Amateur Photographers. Today, he is perhaps best known for introducing Alfred Stieglitz to the hand camera in 1892. In the decades around the turn of the century, Post exhibited his photographs frequently in the United States, Canada, and Europe. His images were reproduced in Camera Notes (1901) and Camera Work (1904), and he assembled one of the earliest collections of the work of his pictorialist peers. Post's own photographs show a special interest in winter scenes, often taken in the vicinity of his home in Fryeburg, Maine. T.W.F.

William E. Wilmerding American, 1858-1932 Pictorial photographer William Wilmerding was active in New York during the early 20th century. In 1896 he joined the newly formed Camera Club of New York and from 1899-1903 served as the club's treasurer as well as head of the smoker and dinner committees. He was also a member of the Photo-Secession; in 1908 Alfred Stieglitz included Wilmerding's image of New York City, Over the House-Tops New York, in the October issue of Camera Work. M.M.