1. See Lincoln Kirstein, ed., The Hampton Album (New York: Museum of Modern Art, 1966); Laura Wexler, “Black and White in Color: American Photographs at the Turn of the Century,” Prospects: An Annual of American Cultural Studies 13 (1988): 341-90; Laura Wexler, Tender Violence: Domestic Visions in an Age of U.S. Imperialism (Chapel Hill: University of North Carolina Press, 2000); James Guimond, “Frances Johnston’s Hampton Album: A White Dream for Black People,” in his American Photography and the American Dream (Chapel Hill: University of North Carolina Press, 1991). Text

2. Verna Posever Curtis, “Frances Benjamin Johnston in 1900: Staking the Sisterhood’s Claim in American Photography,” in Ambassadors of Progress: American Women Photographers in Paris, 1900-1901, ed. Browyn A. E. Griffith (Giverny, France: Musée d’Art Américain Giverny, 2001). See also Jeanne M. Przyblyski, “American Visions at the Paris Exposition 1900: Another Look at Frances Benjamin Johnston’s Hampton Photographs,” Art Journal 57:3 (Fall 1998). W. E. B. Du Bois said Johnston’s works were “an especially excellent series of photographs illustrating the Hampton idea of ‘teaching by doing.’” (Quoted in Curtis, “Frances Benjamin Johnston in 1900,” 33). Text

3. Curtis, “Frances Benjamin Johnston in 1900,” 26. Text

4. Pete Daniel and Raymond Smock, A Talent for Detail: The Photographs of Miss Frances Benjamin Johnston 1889-1910 (New York: Harmony Books, 1974), 34. Text

5. The Frances Benjamin Johnson Collection, Library of Congress Prints and Photographs Division, Library of Congress, Washington, D.C. Text

6. Quoted in Wexler, Tender Violence, 132. Text

7. Naomi Rosenblum, A History of Women Photographers (New York: Abbeville Press, 1994) provides an excellent historiography of American women photographers. Text

8. Karen Bearor, “Book Review: The Woman Behind the Lens: The Life and Work of Frances Benjamin Johnston, 1864-1952 and Seeing America: Women Photographers Between the Wars,” NWSA Journal 13:2 (Summer 2001), 157-160. Text