Camera, December 1972. Volume 51, No. 12. Photography, An Iconographic Chronological History by Allan Porter.

Photography 1839-1972. Camera, 1922-1972. Stunning compilation of images and textual information, 80 illustrations, two to a page. Photographs by the outstanding photographers from Niepce to the 1970s. Near fine copy with front cover curling, as common with these magazines. Summary:

The December 1972 issue of Camera (Volume 51, No. 12) is a special monographic edition titled "Photography: An Iconographic Chronological History." Written and curated by editor Allan Porter, this issue serves as an ambitious, single-volume reference guide that attempts to codify the evolution of the medium from its inception through the early 1970s.

Structure and Approach

Rather than a traditional magazine layout, this issue is organized as a chronological timeline. Porter utilizes an "iconographic" approach, selecting definitive images that represent pivotal shifts in technology, aesthetics, and social utility.

• The Early Pioneers: It traces the invention of the medium through the works of Niepce, Daguerre, and Talbot, emphasizing the transition from scientific curiosity to artistic tool.

• The Aesthetic Shift: The history moves through the era of Pictorialism, the rise of the "Straight Photography" movement (Group f/64), and the birth of modern photojournalism.

• Technological Milestones: Porter highlights how the development of the Leica, high-speed film, and color processes fundamentally altered what photographers chose to capture.

Core Philosophical Argument

Porter argues that photography is not a series of isolated events but a continuum. By placing contemporary 1970s work at the end of a 150-year-old lineage, he validates photography as a mature art form with its own distinct historical cycles. The issue acts as a "museum in print," providing readers with a curated visual literacy of the medium's most influential moments.

Key Sections

• The Invention (1839–1870): Focus on the physical chemistry and the portraiture boom.

• The Transition (1870–1920): The emergence of the handheld camera and the fight for photography to be recognized as fine art.

• The Modern Era (1920–1972): The rise of conceptualism, fashion photography, and the subjective documentary style.

This issue remains one of the most sought-after editions of Camera for students and historians, as it functions more like a concise textbook than a monthly periodical.