Callahan, Harry. "An Interview with Harry Callahan" by Jim Alinder in Exposure 14: 2. May 1976, pages 12-14.

Entire issue, 40 pages, of the journal of the Society for Photographic Education, which at the time had 662 members. Issue also includes 1976 Conference Report with photographs of Chairman Peter C. Bunnell, Ellen Land-Weber, Les Krims, and Douglas Davis (keynote speaker); call by Harvey S. Zucker for a meeting of daguerreotypists; Essay on Video by John Randolph Carter; and photography news, including new books, fellowships, meetings, workshops, etc. Includes full page photo of Paul Strand, and photos by Don Worth, Dru Shipman, Frederick Sommer, Paul L. Barron, Les Krims (cover), Boone Morrison, David Mandel, et al. Good with crimps and a short closed tear at top edge of back cover. Summary:

Published in May 1976 by the Society for Photographic Education (SPE), Exposure (Volume 14, Number 2) is a scholarly journal issue dedicated to photographic education, history, and critical theory. The highlight of the issue is an in-depth interview with master photographer Harry Callahan, in which he reflects on his intuitive creative process, his influential teaching tenure at the Institute of Design in Chicago and Rhode Island School of Design (RISD), and his personal evolution across four decades of image-making. Alongside the Callahan centerpiece, the publication features academic essays addressing contemporary photographic pedagogy, historical portfolio reviews, and critical discussions surrounding the expanding institutional footprint of fine-art photography in higher education.

Harry Callahan (1912–1999) was an American photographer and educator who became one of the most influential figures in modern American photography. Self-taught initially, his path transformed after attending a 1941 workshop led by Ansel Adams, which inspired him to explore strict visual formalisms and the expressive potential of the camera. Recruited by László Moholy-Nagy in 1946 to teach at the Institute of Design in Chicago, and later heading the photography department at the Rhode Island School of Design, Callahan shaped generations of artists while maintaining a intensely personal creative practice. Known for his elegant experiments with high contrast, double exposures, light trails, and intimate portraits of his wife Eleanor and daughter Barbara, his work seamlessly bridged formal abstraction with deeply felt personal narrative, establishing him as a master of 20th-century American photography.