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Modern Photography Collage

Modern Photography

Started: 1910

Ended: 1960

Modern Photography Timeline


"Let me speak the truth in all honesty about our age."
August Sander
"The camera sees more than the eye, so why not make use of it?"
Edward Weston
"No photographer is as good as the simplest camera."
Edward Steichen
"Photography, as a powerful medium...offers an infinite variety of perception, interpretation and execution."
Ansel Adams
"I've always wanted to be aware of what's going on around me, and I've wanted to use photography as an instrument of research into and reporting on the life of my own time."
Paul Strand
"Objectivity is of the very essence of photography, its contribution and at the same time its limitation..."
Paul Strand
"I cannot solve the problem of life by losing myself in the problem of art."
Tina Modotti
"Utter truth is essential, and that is what stirs me when I look through the camera."
Margaret Bourke-White
"Seeing is no longer believing. The very notion of truth has been put into crisis. In a world bloated with images, we are finally learning that photographs do indeed lie."
Barbara Kruger


Alfred StieglitzAlfred Stieglitz
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Paul StrandPaul Strand
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Tina ModottiTina Modotti
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Man RayMan Ray
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Edward WestonEdward Weston
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August SanderAugust Sander
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"Photographers must learn not to be ashamed to have their photographs look like photographs."

Alfred Stieglitz Signature

Laying the Foundations: Early Photography

Although Nicephore Niepce is credited as the inventor of photography he experimented with early photography techniques throughout the 1820s (the earliest surviving photograph dates from around 1826), his photographs required an extremely long exposure time and the results were imperfect. Louis Daguerre refined Niepce's work during the 1830s resulting in the creation of the daguerreotype which only needed a few minutes of exposure and produced a sharp, clear image. The details of this process were released in 1839 and this date is considered to be the start of photography as a viable medium. Subsequent discoveries and developments, including those by Henry Fox Talbot, continued to make photography easier and more affordable.

In its earliest forms, photography was seen as a scientific tool and its first practical usage was in botany and archeology. Despite innovations in the fields of artistic photography this use remained important with photographers such as Eadweard Muybridge, known for his studies of movement in the 1870s, continuing to exploit its scientific applications. As the medium spread and became more accessible, photographers began to experiment, producing portraits as well as tableaux, the latter often inspired by historical and literary works. There were a number of key figures in this move including John Edwin Mayall, Julia Margaret Cameron, Charles Dodgson (Lewis Carroll), and Oscar Rejlander in the UK. In the United States photographers such as F. Holland Day, Alfred Stieglitz, and Edward Steichen led the way with Stieglitz notably introducing photography into museum collections and art galleries.

As part of an attempt to have their work recognized alongside other, more established, art forms, these photographers adopted the language and values of fine art. This can be seen in Henry Fox Talbot's book The Pencil of Nature (1844). This was one of the first collections of photographs to be published commercially and each image was accompanied by a short description explaining the scene and the processes involved in its capture. The book utilizes art terminology and clearly demonstrates how Talbot understood the photograph in terms of the painted image.

Pictorialism: Photography as Art

Between 1889 and 1914, the international Pictorialist movement developed. Pictorialists emphasized beauty over factual accuracy, producing soft focus images with painterly qualities. To achieve this they invented a variety of darkroom techniques to alter the image during the developing process often adding color, visible brushstrokes, or other surface manipulation.

Frank Eugene's Pictorialist photograph<i> Frank Eugene, Alfred Stieglitz, Heinrich Kuhn and Edward Steichen admiring the work of Eugene</i> (1907)
Frank Eugene's Pictorialist photograph Frank Eugene, Alfred Stieglitz, Heinrich Kuhn and Edward Steichen admiring the work of Eugene (1907)

New photographic societies, focusing on the Pictorialist style helped to define and spread the movement. Groups included the Linked Ring Society (1892) in England, the Club de Paris (1894) in France, and the Vienna Camera Club (1891) in Austria. The Photo-Secession group (1902) in New York became one of the most influential Pictorialist groups and counted Edward Steichen, Alfred Stieglitz, Clarence H. White, Frank Eugene, F. Holland Day, and Gertrude Käsebier amongst its members.

Pictorialism Movement Page

Straight Photography

Originating around 1904, Straight Photography sought to make a truthful record of what the photographer saw. It is usually considered the first movement of Modern Photography and the point at which photographers ceased trying to imitate established artistic modes. On the whole, images were neither manipulated in the taking or by post-production darkroom processes (although there is some significant variation relating to this point). Images tended to emphasize careful framing, sharp focus, and clear detail, utilizing these traits to distinguish photography from other visual media. Photographers took pictures of the world around them. And industrialization led to an increase in urban photography, particularly a great variety of street scenes.

The style was widely promoted by Alfred Stieglitz as a more pure form of photography than Pictorialism (which he first heralded, but later moved away from). Other key figures of the movement included Paul Strand (who produced some of the first, iconic images and influenced Stieglitz), Ansel Adams and Edward Weston who founded Group f/64 in the early 1930s and produced images with a focus on the American West. Ultimately, Straight Photography served as the foundation for the majority of photographic innovations over the next 60 years, encompassing Photojournalism, Documentary Photography, Street Photography and "The Snapshot Aesthetic".

Straight Photography Movement Page

Dada and Surrealist Photography

Driven by the devastating effects of World War I, the large and international movements Dada and Surrealism sought to create a new kind of art that reflected the chaos and absurdity of modern life. More preoccupied with concepts than aesthetics, they broke down the traditional barriers between different types of art, utilizing photography as an important medium for expression. Photographs followed the tenets of the movements presenting objects which had been disassociated from their usual context, distorted human forms, and photographic composites. These images aimed to invert viewers' understanding of what was normal and offer new perspectives on social and political issues.

Working in Paris between 1897 and 1927, Eugene Atget viewed himself as a documentary photographer, capturing the sights of the old city. His work, however had a profound impact on many Surrealists from Andre Breton to Pablo Picasso. Man Ray purchased a number of his photographs in the 1920s and was inspired by his use of light and reflection and his images of shop mannequins. As one of the most prolific photographers of the Surrealist movement, Man Ray created some of its most famous photographs including Le Violon d'Ingres (1924). Additionally, he experimented with a range of techniques including solarization and photograms (which he called Rayographs) in which objects were laid directly onto light sensitive paper.

Photomontage also became an important technique and this was pioneered by artists including George Grosz, John Heartfield, and Hannah Hoch who were all associated with the Berlin Dada branch. Photomontage first appeared in 1916 and early works pointed out the futility of war; the medium continued to be used for political and social comment throughout World War I. Photomontage was, later, adopted by the Surrealists and can be seen in the work of Salvador Dali. Other photographers associated with Surrealism include Brassaï, Dora Maar, Raoul Ubac, Claude Cahun, and, Manuel Álvarez Bravo.

Dada and Surrealist Photography Movement Page

Fashion Photography

Edward Steichen's photos were placed next to fashion designs by artists Paul Iribe and Georges Lepape in two luxury, limited-edition fashion albums.
Edward Steichen's photos were placed next to fashion designs by artists Paul Iribe and Georges Lepape in two luxury, limited-edition fashion albums.

Although there are earlier examples of high fashion being depicted in photographs, the first modern fashion shoot is attributed to Edward Steichen, who photographed gowns designed by Paul Poiret for the April 1911 issue of the magazine Art et Decoration. These images were genre defining in that they did not just record the appearance of the clothing but also conveyed a sense of the garment and its wearer. The field of fashion photography grew rapidly during the 1920s and '30s, with magazines such as Vogue and Harper's Bazaar leading the way and employing famous in-house photographers including Horst P. Horst, George Hoyningen-Huene, Cecil Beaton and Martin Munkacsi.

In the post-war period new names in the field emerged such as Lillian Bassman, Norman Parkinson, Richard Avedon, Irving Penn and David Bailey with many of these photographers favoring a more spontaneous and energetic approach. Irving Penn noted his role was "selling dreams not clothes" and consequently images became increasingly focused on modern women and their activities. Penn's statement also captures the tension between art and commerce which is apparent in fashion photography and this overlap continues to drive creativity and innovation within the field.


The early photojournalist Robert Capa went on infamous adventures to tell his stories in photographs and films. Photograph by Gerda Taro
The early photojournalist Robert Capa went on infamous adventures to tell his stories in photographs and films. Photograph by Gerda Taro

The golden age of Photojournalism began in the 1930s in Europe and became associated, in the post-World War II period with magazines such as Paris Match and Life. Photojournalists relied on photography to document and tell a news story, sometimes as part of a journalistic written account and sometimes independently in a photo-essay. Proponents adhered to strict standards of honesty and objectivity to record events. Noted early photojournalists include Henri Cartier-Bresson, Robert Capa, Margaret Bourke-White, Agustí Centelles, Tony Vaccaro, and Erich Salomon.

Documentary Photography

Documentary Photography has close links with Photojournalism, bearing many of the same hallmarks with both terms being used to describe photography that chronicles people or places, recording significant historical events. Documentary photographers, however, tended to be less influenced by the need to capture breaking news or to explain and entertain through their photographs. This enabled them to engage in longer term projects, recording what they saw and experienced over a period of time and this often allowed them to highlight the need for reform in some capacity.

Although in existence much earlier (there is a large body of documentary photographs relating to the American Civil War), this style of photography came to popular attention around 1935, when the Farm Security Administration in the USA recruited notable photographers including Walker Evans, Dorothea Lange, Gordon Parks, Russell Lee, and Jack Delano to document the American way of life. The program ran until 1944 and amassed an extensive pictorial record of Americans during the Great Depression.

Abstract Photography

Abstract photography refers to non-objective images that can be created by using photographic materials, processes, or equipment. Like all works of abstract art, the resulting images do not represent the object world, yet may have associations with it. The earliest examples of abstract photography appeared in the mid-19th century in images of scientific experiments that were later viewed from an artistic standpoint. The first intentionally abstract photographs were Alvin Langdon Coburn's Vortographs in 1916. László Moholy-Nagy's photograms and Man Ray's Rayographs are noted examples of abstract photography in the 1920s. Abstract photography became a more defined movement following World War II, due to photographers such as Aaron Siskind, Henry Holmes Smith, Lotte Jacobi, and Minor White.

Abstract Photography Movement Page

Street Photography

Street photography depicts spontaneous encounters or situations on the city street. An early pioneer of the genre was Paul Martin who shot unposed images of people in London during the late-19th and early 20th century. This idea of spontaneity and capturing people's daily activities was further developed during the 1930s by the Mass Observation Project which sought to record life on the streets of Britain through transcripts of conversations and candid photographs. In the early 1950s Henri Cartier-Bresson developed the concept of 'the decisive moment'. This was the point when "form and content, vision and composition merged into a transcendent whole" and he applied this idea to his both his street and Documentary Photography. Other key practitioners of the style were Helen Levitt, who captured life in New York City's close-knit neighborhoods in the 1940s and 1950s, and Joan Colóm, who explored the Raval neighborhood of Barcelona in the 1960s.

Snapshot Aesthetic

The Snapshot Aesthetic is closely associated with Street Photography and developed with the introduction of the hand-held camera, which enabled photographers to capture a precisely observed instant of everyday life. Early practitioners include Lisette Model and, most famously, Robert Frank whose book The Americans (1958) was hugely influential in post-war American photography. The Museum of Modern Art's 1963 exhibition of Henri Lartique's previously unknown snapshots was pivotal in the acceptance of the genre into mainstream photographic circles. Other photographers such as Garry Winogrand, Joel Meyerowitz, Nan Goldin, and Wolfgang Tillmans subsequently adopted the snapshot aesthetic to emphasize everyday, even banal, subject matter and images - images that were often blurry, askew, or erratically framed - resembling the snapshots of an amateur photographer.

Postmodern and Conceptual Photography

Photographic innovations have often been simultaneous and co-existent with art movements, and just as postmodernism took over where modern art left off, a similar phenomenon occurred within photography. Postmodern photography avails itself of all previous photographic styles while also becoming the tool of artists that use a variety of different media in their artistic practices. Similarly, conceptual art practices, that dominated the art world from the 1970s, had an impact on photography. Conceptual photography values the photographic document or video recording of artworks such as Land Art or "happenings" as a work of art in itself and this is evident in the archives created by the likes of Cindy Sherman, John Hilliard, Sherrie Levine, John Baldessari, and Ed Ruscha.

As a result of the steady innovation of modern photographers, the photograph is now almost universally accepted as a work of art and most American and European art museums have a photographic department, devoted to collecting and exhibiting photography. That said, some institutions have been slower to acknowledge the importance of Modern Photography; for instance, the Tate in London only began seriously growing its collection in 2009, having previously viewed photography as an applied art.

Most Important Art

Modern Photography Famous Art

The Steerage (1907)

Artist: Alfred Stieglitz
Stieglitz promoted this photograph as his first truly "modernist photograph" and it is this image that marks his departure from the Pictorialist style and his abandonment of the idea that photographs should imitate paintings. The photograph depicts steerage (lower class) passengers aboard a ship sailing from New York to Europe, which Stieglitz was also travelling on. The majority of those shown are likely to have been skilled migrant workers who had entered the US on temporary visas to work in the construction industry and were now returning home. It was probably taken whilst anchored at Plymouth, England and was developed in Paris some days later.

In the photograph, Stieglitz creates an image that is as much a study in line and form as a straightforward depiction, with the decks, passageways, and ladders creating a series of bold, intersecting lines and spaces. Later, Stieglitz stated of the image that "I saw shapes related to each other. I saw a picture of shapes and underlying that, the feeling I had about life". Due to this emphasis of geometric shapes the photograph has been cited as one of the first proto-Cubist works of art.

Although taken in 1907, Stieglitz did not immediately see the potential of the work. He later realized its importance and published it in Camera Work in 1911 in a special issue devoted to his own art and its modernist focus. In the issue he also included a Cubist drawing by Picasso, drawing his own parallels between the two and arguing that the photograph as a medium could be as innovative and as modern, as any work of avant-garde art. Picasso himself also acknowledged the similarities, noting that "this photographer is working in the same spirit as I am".
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Content compiled and written by Rebecca Seiferle

Edited and revised, with Synopsis and Key Ideas added by Kate Stephenson

" Movement Overview and Analysis". [Internet]. . TheArtStory.org
Content compiled and written by Rebecca Seiferle
Edited and revised, with Synopsis and Key Ideas added by Kate Stephenson
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