The photographic portrait democratized the "face" of history, moving identity from the painted canvas to the accessible studio print. Luminous-Lint documents this evolution from the earliest daguerreotype portraits to the highly stylized celebrity photography of the modern age.
| Introduction |
| 1 | Introduction to the portrait |
| 2 | Early examples of portraiture |
| 3 | Early stylistic choices with portraiture |
| Having a portrait taken |
| 4 | Portrait factory on Broadway, New York |
| 5 | Visit to Plumbe's Gallery, New York (1846) |
| 6 | Daguerreotypes: Occupations and roles |
| 7 | Daguerreotypes: Occupations and roles of women |
| 8 | Interesting group posed for a Daguerreotype by a friend of the family / Interesting and valuable result (1855) |
| 9 | Letter from W.L. Marcy, Secretary of War, to Major General Z. Taylor, Commanding Army of Occupation, Monterey, Mexico (5 October 1846) |
| Guidelines for sitters |
| 10 | Introduction for guidelines for sitters |
| 11 | Guidelines for sitters - Southworth & Hawes (1852) |
| 12 | Albert S. Southworth: Suggestions to Ladies Who Sit for Daguerreotypes (1854 and 1855) |
| 13 | Guidelines for sitters - Mons. Blume (Ireland) |
| 14 | William Notman: Photography. Things You Ought to Know (1866) |
| 15 | Guidelines for sitters - Jesse Gostick (1860) |
| 16 | Tintype: Hints for dress |
| 17 | Guidelines for sitters on cartes de visite |
| 18 | R. Goebel (St. Charles, Mo.): Suggestions to Sitters |
| 19 | Hints to Sitters and Visitors - Ross' Photographic Gallery, Petaluma, California (1886) |
| 20 | Hints to Sitters - Newcombe & Baird, Halifax, Nova Scotia (1888) |
| 21 | Guidelines for sitters - American Journal of Photography (1890) |
| 22 | When being Photographed (1896) |
| Sitting for photography |
| 23 | Photographs taken during the same sitting |
| Complaints about quality |
| 24 | Complaints about portraiture |
| The risks of portraiture |
| 25 | The risks of portraiture to the sitter and the photographer |
| Daguerreotype portraits |
| 26 | W. & F. Langenheim: Daguerreotype portraits |
| 27 | Robert Cornelius: Daguerreotype portraits |
| 28 | Jeremiah Gurney: Daguerreotype portraits |
| 29 | Samuel Broadbent: Daguerreotype portraits |
| 30 | Southworth and Hawes: Daguerreotype portraits |
| 31 | Rufus P. Anson: Daguerreotype portraits |
| 32 | J.E. Mayall: Daguerreotype portraits |
| 33 | Antoine Claudet: Daguerreotype portraits |
| 34 | William Edward Kilburn: Daguerreotype portraits |
| 35 | Richard Beard: Daguerreotype portraits |
| 36 | Louis-Adolphe Humbert de Molard: Daguerreotype portraits |
| 37 | Joseph T. Zealy: African American slaves |
| 38 | Lorenzo G. Chase: Anthropological studies |
| Salt print portraits |
| 39 | Salt prints: Portraits |
| 40 | Hill & Adamson: Portraits |
| Ambrotype portraits |
| 41 | Ambrotypes: Portrait |
| 42 | Japanese ambrotypes |
| Studio portraits |
| 43 | Nadar: Portraits |
| 44 | Studio portraits in North Africa and the Middle East |
| The "Artistic" portrait |
| 45 | The "artistic" portrait |
| 46 | Julia Margaret Cameron (1815-1879): Portraits |
| 47 | Lady Clementina Hawarden: Photographic studies |
| So few smiles |
| 48 | Smiling in photography |
| The "helping hand" and the "hidden mother" |
| 49 | The "helping hand", "hidden mother" and "hidden father" portraits |
| Front and back views |
| 50 | Front and back - point of view portraits |
| Carte de visite portraits |
| 51 | Introduction to cartes de visite portraits |
| 52 | André Adolphe-Eugène Disdéri: Uncut carte de visite sheets |
| 53 | Andre Adolphe-Eugene Disderi: Portraits of The Second Empire |
| 54 | Camille Silvy: Carte de visite portraits |
| 55 | Cartes de visite: Celebrities |
| 56 | Giuseppe Garibaldi, Italian general, revolutionary and republican (1807-1882) |
| Cabinet card portraits |
| 57 | Cabinet cards: Portraits |
| 58 | Cabinet cards: Celebrities |
| 59 | Thomas Houseworth: Houseworth's Celebrities |
| Tintype portraits |
| 60 | Tintypes: Portraits |
| 61 | Tin Type Album: Little gem tintypes |
| Galleries of the famous |
| 62 | Introduction to galleries of the famous |
| Galleries of the famous |
| 63 | Thompson Cooper, Lock & Whitfield: Men of Mark (1876-1883) |
| 64 | Lock and Whitfield (attributed): The Theatre (1877-1897) |
| 65 | Galerie Contemporaine, Litteraire, Artistique |
| 66 | Nadar: Galerie Contemporaine, Littéraire, Artistique |
| 67 | Paris - Artiste |
| 68 | Paris-Theatre / Paris-Portrait |
| 69 | Figaro-Album |
| 70 | Herbert Rose Barraud: Portraits |
| Pictorialism |
| 71 | Pictorialism and the portrait |
| 72 | Pictorialism and the innocence of children |
| 73 | Clarence H. White: Portraits |
| The start of the colour portrait |
| 74 | Autochromes: Portrait |
| Modernism and the portrait |
| 75 | The move from Pictorialism to Modernism in portraiture |
| 76 | August Sander: Portraits |
| 77 | Helmar Lerski: Portraits |
| 78 | Erwin Blumenfeld: The concealed portrait |
| The portraiture of celebrity |
| 79 | Yousuf Karsh: Portraits |
| 80 | Eikoh Hosoe: Barakei (Ordeal by Roses) |
| 81 | Irving Penn: Corner portraits |
| Vernacular portraits |
| 82 | Photobooth portraits |
| 83 | Mike Disfarmer: Heber Springs portraits |
| 84 | Joseph Selle's Fox Movie Flash: Mid-Century Street Vendor Photography |
| Bust portraits |
| 85 | Bust portraits |
| Humanistic portraiture |
| 86 | The Family of Man Exhibition (1955) |
| 87 | Gabriele and Helmut Nothhelfer: The first exhibition "Bali-Kino" Berlin (October 1974) |
| 88 | Gabriele and Helmut Nothhelfer: What's our Concern with Strangers? |
| Diversity in portraiture |
| 89 | Photographers who photograph representations of people |
| Post-modernism |
| 90 | Philip-Lorca diCorcia: Street hustlers |
| 91 | Ruud van Empel: Portraits |
| 92 | The contemporary portrait |
| Defacing portraits |
| 93 | The defacing and destruction of portraits |
| Conclusions |
| 94 | Keeping abreast of changes in portraiture |
