¹ Alan Trachtenberg, Introduction to Maren Stange, ed., Paul Strand: Essays on His Life and Work (New York: Aperture, 1990), 1–17, 2.

² Paul Strand and Nancy Newhall, Time in New England (New York: Oxford University Press, 1950), 248.

³ Lili Corbus Bezner, “‘Where Do We Go from Here?’: The Demise of the Photo League, 1947–1951,” in Bezner, Photography and Politics in America: From the New Deal into the Cold War (Baltimore: Johns Hopkins University Press, 1999), 16–72, 22.

⁴ Ibid., 55; Beaumont Newhall, The History of Photography From 1839 to Present (New York: MoMA, 1964).

⁵ Amanda N. Bock, “‘The Artist Who Is Also a Citizen’: Paul Strand's Photography, Film, and Politics, 1930–1950,” in Peter Barberie and Amanda N. Bock, eds., Paul Strand: Master of Modern Photography (Philadelphia: Philadelphia Museum of Art, 2014), 144–69, 159.

⁶ Strand and Newhall, 24.

⁷ For more on the layout and history of TINE's publication see John Rohrbach's “Time in New England: Creating a Usable Past,” in Stange, 161–77. A brief summary of how the text in TINE has been examined, or overlooked, can be found in Laura Wexler's “The Puritan in the Photograph,” in Nan Goodman and Michael Kramer, eds., The Turn Around Religion: American Literature, Culture and the Work of Sacvan Bercovitch (London: Ashgate, 2011), 123–57.

⁸ Rohrbach, “Time in New England,” 162.

⁹ Strand, Introduction to Strand and Newhall, vii.

¹⁰ William Alexander discusses Strand's trajectory as a political filmmaker in “Paul Strand as Filmmaker, 1933–1942,” in Stange, 148–61.

¹¹ Blinder, Caroline outlines some of the connections between transcendentalist rhetoric and writing on photography in “The Transparent Eyeball: Emerson and Walker Evans,” Mosaic: A Journal for the Interdisciplinary Study of Literature, 37, 4 (Dec. 2004), 149–65Google Scholar.

¹² Lincoln Kirstein, “Photographs of America: Walker Evans,” in Walker Evans, Walker Evans: American Photographs (New York: MoMA, 1938), 189–98, 193.

¹³ Ralph Waldo Emerson, “Historic Notes of Life and Letters in New England,” Atlantic Monthly, Oct. 1883, quoted in Strand and Newhall, 187.

¹⁴ Nancy Newhall, Editor's Foreword, in Strand and Newhall, vi.

¹⁵ Nancy Newhall, “The Caption: The Mutual Relation Between Words/Photographs” (originally printed in Aperture 1 (1952)), in Newhall, From Adams to Stieglitz: Pioneers of Modern Photography (New York: Aperture, 1999), 136–45, 136.

¹⁶ Notes for the Introduction in the Nancy Newhall Files, Center for Creative Photography, Tucson, Arizona.

¹⁷ Olga Owens, “The True Christmas Spirit Survives in New England,” Boston Sunday Post, 3 Dec. 1950.

¹⁸ The Nancy Newhall Files, Center for Creative Photography, Tucson, Arizona.

¹⁹ Ibid.

²⁰ Ruth Chapin, “Which Lives in All That Is Free, Noble, and Courageous,” Christian Science Monitor, 18 Nov. 1950, quoting Ralph Waldo Emerson, “The Spirit of the Times” (1850).

²¹ Beaumont Newhall, Focus: Memoirs of a Life in Photography (New York: Bullfinch, 1993). By moving from a regional perspective to a humanistic worldview, Steichen – according to his critics – took the idea of democracy and made it subservient to an American ideology of good neighbourliness across continents and cultures. Steichen's rise to prominence at MoMA was instrumental in putting precisely this perspective at the forefront, an irony that would not have been lost on Nancy Newhall.

²² See Nancy Newhall's later collaborations with Ansel Adams: Ansel Adams and Nancy Newhall, This Is the American Earth (San Francisco: Sierra Club, 1960); Adams and Newhall, Fiat Lux (New York: McGraw-Hill, 1967); Adams and Newhall, Eloquent Light (New York: Aperture 1963).

²³ Nancy Newhall, “Paul Strand: Photographs, 1915–1945” (MoMA, 1945), reprinted in Newhall, From Adams to Stieglitz, 71–77, 76.

²⁴ Ibid.

²⁵ Paul Strand, Tir a'Mhurain: Outer Hebrides, text by Basil Davidson (London: McGibbon and Kee, 1962); Strand, Ghana: An African Portrait, text by Basil Davidson (New York: Aperture, 1976); Strand, Living Egypt, text by James Aldridge (New York: Horizon Press, 1969).

²⁶ Paul Strand and Cesare Zavattini, Un Paese: Portrait of an Italian Village (New York: Aperture, 1997; first published 1955). For more on the interaction between text and images in Un Paese see Elena Gualtieri, ed., Paul Strand Cesare Zavattini: lettere e immagini (Bologna: Bora, 2005).

²⁷ The ways in which the use of multiple voices in Strand's photo-texts relay a modernist literary heritage as much as a political–democratic one is examined in “Past and Present: A Roundtable Discussion about Paul Strand's Later Projects,” in Barberie and Bock, Paul Strand: Master of Modern Photography, 278–97.

²⁸ Strand and Newhall, 136, quoting a piece originally delivered as a lecture on “Education” in 1847 and reprinted in Ralph Waldo Emerson, The Journals and Miscellaneous Notebooks, ed. Alfred R. Ferguson (Cambridge, MA: Harvard University Press, 1960–1982), Volume IV, 41.

²⁹ Hollis Frampton, “Mediations around Paul Strand” (1972), in Frampton, Circles of Confusion: Film, Photography, Video: Texts, 1968–1980 (Visual Studies Workshop, 1983), 128–38, 134.

³⁰ The persona of Strand as a politically concerned activist sits rather uncomfortably with the photographer whose argument with Ansel Adams in the 1960s was precisely about artists and elitism. Strand insisted that Adams's choice of large print runs, a decision in line with Adams's desire to democratize photography, was unethical. By taking high prices for his own limited editions, according to Strand, he was signaling univocally that photography was, indeed, art.

³¹ Alan Sekula, “On the Invention of Photographic Meaning,” in Victor Burgin, edc., Thinking Photography (London: Macmillan, 1982), 84–110, 87.

³² Milton Brown, “Photography Year Book 1963,” in Paul Strand, Paul Strand: A Retrospective Monograph 1971 (New York: Aperture, 1971), 370.