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This selection of more than 700 mostly black-and-white photographs by Camilla McGrath is from a collection of 60,000 in 100 white leather bound albums covering the years 1948-1999. Camilla, one of four children of Count and Countess Pecci-Blunt, grew up with a mother who was passionate about the arts: she painted, had a small theater, an art gallery, La Cometa, in Rome, and one in New York, and collected celebrated artists, writers, dancers and choreographers who often visited Marlia, the grand palazzo they owned outside Lucca where she took pictures of them displayed at the pool house. Camilla started taking her own pictures in the late 40s. She was fluent in English and Italian since at the beginning of the war the family had fled first to Santa Barbara and later moved to 9 East 84th Street in New York where Camilla went to Spence. Once they returned to Italy, there were attempts to marry Camilla off to a well-to-do Italian but she rebelled against that life. These photographs document McGrath's life in the 50s on and off boats in the Mediterranean, at the Agnelli wedding outside Strasberg, skiing in the Italian alps or in New York with Cy Twombly to witness his marriage at City Hall. After meeting Earl McGrath in 1958 at the opening of Gian Carlo Menotti's Festival of the Two Worlds where they both were working, they would marry in 1963. Six years younger, Earl was handsome, very funny and outgoing, a survivor of a rough childhood in Wisconsin and the Merchant Mariner.

Celebrities --- Vernacular photography --- McGrath, Camilla,

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With increasingly accessible camera technology available, crowdsourced collective histories of everyday life, harnessing amateur photographers to secure a snapshot of a single day, abound like never before. 'Mass photography' assesses the potential of these popular moment-intime projects by examining their historical predecessors. For the first time, it views the vast photographic collections resulting from such projects, analysing their structures and systems, their aims and objectives, and their claims and promises. The central case study is of 55,000 photographs submitted to One Day for Life in 1987, which aimed, in its own time, to be 'the biggest photographic event the world had ever seen'. 'Mass photography' also makes a new and valuable contribution by taking a fresh look at amateur photographic practice on an unprecedented scale.

Vernacular photography --- Photography --- History --- Social aspects. --- History.

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Daughters --- Photography, Artistic --- Photography of children --- Vernacular photography

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We are all stickybeaks to some extent. Many of my fictional heroes and heroines spend their time sleuthing or, at the very least, nosing around in other people’s business; Miss Marple, Lieutenant Columbo, Margo Leadbetter. There are even tales of espionage in my not so distant family history. Anyone with a social media account engages in a bit of stickybeakery – it’s human nature to be inquisitive. The works in this book were made over a period of twelve years, some one-off experiments, others part of ongoing series that I add to over time. Each piece began with the search for the perfect image, setting some vaguely rigorous parameters for myself. I selected used postcards, old photographs, foxed bookplates and my own childhood drawings. And each of these foundlings had a different history, an unknown or forgotten story to tell. By submitting to my interventions, they transformed from silent, redundant, orphans into material objects with a regenerated heartbeat. I see this book as a continuation of that process. The publishers rooted through the hundreds of images in my archive in the same way I sift through pages of online marketplaces or the jumbled tables at car boot fairs. My industrious hand embroidery and intricate collages are given a light touch here, the sequence of the images alluding to a gentle, humorous narrative. We will all read it differently, pausing on those pieces that speak the loudest to us, in our own preferred language. But broadly, this whittled selection, our chosen game of consequences, investigates how we see ourselves and each other, and the multi-layered ambiguity of life. -- artist statement on publisher website

Photocollage --- Vernacular photography --- Found objects (Art) --- Appropriation (Art) --- Postcards --- Altered prints --- Color

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"In 1888, the Eastman Dry Plate and Film Company offered the first portable camera that allowed users to conveniently take photos, using leisure travel as a primary marketing feature to promote it. The combination of portability, ease of use, and mass advertising fed into a national trend of popular photography that drew on Americans' increasing mobility and leisure time. The Kodak Company and the first generation of tourist photographers established new standards for personal archiving that amplified the individual's role in authoring the national narrative. But not everyone had equal access to travel and tourism, and many members of the African American, Native American, and gay and lesbian communities used the camera to counter the racism, homophobia, and classism that shaped public spaces. In this groundbreaking history, Tammy S. Gordon tells the story of the camera's emerging centrality in leisure travel across the late nineteenth and early twentieth centuries and its role in "the mass production of memory," a process in which users crafted a visual archive attesting to their experiences, values, and circumstances, setting the stage for the customizable visual culture of the digital age"--

Photography --- Vernacular photography --- Travel photography --- Tourism --- Social aspects --- History --- History --- History --- History --- Eastman Kodak Company --- History