The notes for the Preface (pp. viii–xi) and Transformational Imagemaking (pp. 1–17) appear at the end of their respective sections.


  1  Ansel Adams, as quoted in Andy Grundberg and Kathleen McCarthy Gauss, Photography and Art, Interactions Since 1945 (Los Angeles: Los Angeles Museum of Art, 1987), 105.

  2  Robert Heinecken, in Keith Davis, An American Century of Photography: From Dry-Plate to Digital, Second Edition (Kansas City, MO: Hallmark Cards, Inc., in association with Harry N. Abrams, 1999), 310. Also, Mia Fineman, Faking It (New York: Metropolitan Museum of Art, 2012), 40. Additionally, essays by Heinecken, Uelsmann, and Ralph Hattersley in Contemporary Photographer, Vol. V, No. 4 (1967).

  3  Ironically, in ...

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