History of Photography. Shadow and Substance. Essays on the History of Photography in Honor of Heinz K. Henisch.

Edited by Kathleen Collins. Amorphous Institute Press, 1990. ISBN 0-910331-01-4. 1st ed., second printing. Four tributes to Henisch by Estelle Jussim, Hellmut Hager, Felicity Ashbee, and Bernd Lohse, and a remembrance of William Culp Darrah by Jay Ruby. Followed by 51 illustrated essays by noted photo historians such as Robert E. Lassam, “Fox Talbot’s Original Iron Press”; Paolo Costantini, "Photography in Venice, 1839-1846"; Floyd and Marion Rinhart, “Art and the American Daguerreotype”; William Culp Darrah (“Nineteenth Century Women Photographers” with a list of 272 American women photographers before 1900); Ann Wilsher, “Photographic Felonies”; Rolf H. Krauss, “Nadar, Kodak, and the Importance of Being Modest”; David Mattison, “The Claudets of British Columbia”; Hans Christian Adam, “Der Karlsbader Sprudel”; Margaret F. Harker, “Henry Peach Robinson and the Great Hall Studio, Tunbridge Wells”; Michael Hallett, “The Grand View in England: Worcester Cathedral from the Southwest”; Naomi Rosenblum, “Adolphe Braun: Art in the Age of Mechanical Reproduction”; Lee Fontanella, "Views in Wales"; Estelle Jussim, “Thinking about Stieglitz, Once More with Feeling”; Gilliam B. Greenhill Hannum, “The Salon Club of America and the Popularization of Pictorial Photography”; Jay Ruby, “... Industrialization of the Picturesque”; Mark Haworth-Booth, “Cecil Beaton: Photographer as Curator”; Kathleen Collins, Simmons College cooking school photo and essay on fugitive slaves in Canada; William B. Becker, "... Edwin Hale Lincoln”; Ulrich Keller, Photojournalism around 1900; John Taylor, “Atrocity Propaganda in the First World War”; Steven Joseph and Tristan Schwilden, News Photography; Peeter Tooming, “About the Birth of the Minox”; Joan M. Schwartz, “Fearful Catastrophe on the Great Western Railway." Other essay topics include James David Forbes and the Early History of Photography; Ivan Szabo: a Hungarian Photographer in Scotland; An Early Picture Narrative by David Octavius Hill and Robert Adamson; Hans Thoger Winther: Norwegian Pioneer of Photography; Lerebours’ Excursions Daguerriennes; Russell Sedgfield; 69 Istanbul photographers; Major James Waterhouse; Felix, Adrien, and Roger Bonfils; Francis Frith (two essays); Joseph Zacharia: New Zealand Postcard Photographer; Trude Fleischmann: Vienna in the Thirties; Leland Rice’s Photographs of the Berlin Wall Graffiti, and others. Wraps, near fine with crimps in cover, small bump rear top corner. 361 pages. Summary:

Shadow and Substance: Essays on the History of Photography in Honor of Heinz K. Henisch, edited by Kathleen Collins and published in 1990 by the Amorphous Institute Press, is a monumental festschrift (a celebratory collection of scholarly writings). The volume was created to honor Dr. Heinz K. Henisch—a physicist, Penn State professor, and the founding editor of the influential international peer-reviewed journal History of Photography.

Rather than following a single chronological narrative, the book brings together 56 previously unpublished, illustrated essays written by roughly 50 prominent photohistorians, curators, and critics representing 15 countries.

1. An International Scholarly Brain Trust

Because the book honors a man who institutionalized international photography research, its contributor list reads like a global "who's who" of mid-century and late-20th-century photographic scholarship. The volume features an introduction by Estelle Jussim and compiles analytical papers from heavyweights such as:

• Naomi Rosenblum (author of standard history textbooks).

• Ulrich Keller (renowned visual culture historian).

• Mark Haworth-Booth (then-curator at the Victoria and Albert Museum).

• Margaret Harker (the UK's first female professor of photography).

2. Radical Theoretical and Subject Breadth

The collection is characterized by its wide-ranging, non-linear approach to the medium. Because each author contributed their own specialized, localized research, the topics are heavily varied, spanning from photography's optical prehistory to late-20th-century contemporary artwork:

• 19th-Century Evolution: Technical and cultural micro-histories charting the earliest daguerreotypists, the rise of the albumen print, and forgotten regional practitioners.

• Vernacular Forms: Essays analyzing everyday photography, commercial advertisements, cartes-de-visite, and architectural recordings, looking at how non-art objects hold historical meaning.

• Social & Media History: Critical examinations of early photojournalism, how pictures shape social memory, and the aesthetic dialogue between standard painting and the mechanical print.

Shadow and Substance is a highly valued resource for researchers because it functions as an eclectic, deeply analytical encyclopedia of micro-histories. By compiling over 50 hyper-focused investigations into a single volume, the anthology serves as a direct reflection of Henisch's academic legacy: proving that the study of photography is an expansive, multi-disciplinary territory that requires rigorous chemical, cultural, and historical interrogation.