From Lens Culture

Callahan, H. and LensCulture (no date) Harry Callahan: The photographer at work – photographs by Harry Callahan. Available at: (Accessed: 17 June 2016).
(Callahan and LensCulture, no date)

“It’s impossible to imagine Callahan without Eleanor, his wife. He photographed her repeatedly, indoors and out, nude and clothed, over about 15 years. These images, whose true subject is married love, rank among the most moving photographs ever made.”
(Callahan and LensCulture, no date)

“Seen outdoors, Eleanor is a small figure in a large empty landscape, either alone or with the Callahans’ daughter. She never smiles or postures, but is just there and he records her without comment.”
(Callahan and LensCulture, no date)

“The nudes are intimate without being sexual. Callahan always respects Eleanor’s privacy. She is completely trusting, perfectly self-confident, and at peace. There is no way that such images could be made without a strong, enduring bond between photographer and subject.”
(Callahan and LensCulture, no date)

From the tate

Callahan, E. of H. (2013) Harry Callahan. Available at: (Accessed: 17 June 2016).(Callahan, 2013)

“His work is grouped into three themes which he described in 1975 as ‘Nature, Buildings and People’. Linking all three is his wife, Eleanor, whom he met in 1933 and who became his most photographed subject. She appears indoors, within the city landscape, as a lone figure on a beach and emerging from the water as in Eleanor 1949.” (Callahan, 2013)

From Artnet

Artnet (1999) Harry Callahan. Available at: (Accessed: 17 June 2016).
(Artnet, 1999)

“His wife, in particular, held great significance in his work. She was his major subject for a period of 15 years. Callahan gave his photographs simple titles, such as Eleanor, New York, and Chicago.” (Artnet, 1999)

“He often photographed his wife and daughter, buildings, and streets. His photos showed a strong sense of darkness and light, along with lines and forms.” (Artnet, 1999)

From the Etherton Gallery

Etherton Gallery (2015) Harry M. Callahan. Available at: (Accessed: 17 June 2016).
(Etherton Gallery, 2015)

“Callahan explored a range of subjects – landscapes and city streets as well as portraits of his wife Eleanor and daughter Barbara.” (Etherton Gallery, 2015)

“Callahan traveled to New York to meet Stieglitz, but was too intimidated to show his photographs. He admired Stieglitz’s series of portraits of Georgia O’Keeffe, which inspired him to begin the decades-long series of portraits of his wife Eleanor.” (Etherton Gallery, 2015)


Encyclopedia (2016) Encyclopedia.Com articles about Harry Callahan. Available at: (Accessed: 17 June 2016).
(Encyclopedia, 2016)

“No examination of Callahan’s work would be complete without a discussion of the photos of his wife, Eleanor. In 1984, the San Francisco Museum of Art hosted a retrospective exhibit of his photographs of his wife and daughter entitled Eleanor and Barbara, taken from 1940 to 1960. The 78 prints revealed the variety of techniques that Callahan used during those years, including multiple exposures, silhouette, high key abstractions and unmanipulated images. Eleanor, Chicago, 1949 shows Eleanor rising from the water in stark black and white. According to Julia Scully who reviewed the exhibit for Modern Photography, “… each photograph has a spare elegance, an exactness of composition combined with masterly techniques.”” (Encyclopedia, 2016)

“After viewing Stieglitz photographs of his wife, the painter Georgia O’Keeffe, Callahan began taking many intimate pictures of his wife Eleanor, and of his daughter, Barbara. A portrait called “Eleanor, Chicago” (about 1953) was one of his most admired.” (Encyclopedia, 2016)

From PBS News hour

Jacobson, M. (2011) Photographer Harry Callahan at 100. Available at: (Accessed: 17 June 2016).
(Jacobson, 2011)

“She was one of his favorite subjects. He photographed her from the late ’30s up into the ’90s. When people look at Callahan’s photographs of Eleanor, many might think of some more well-known portraits that photographers have made of their spouses or lovers — for example, Alfred Stieglitz of Georgia O’Keefe or Edward Weston’s portraits of Charis, his wife. Callahan’s art is distinctly different from that. He photographs Eleanor in a wide variety of poses: as mistress, as muse, as mother, as this ever present force in his life. I think as you look at a lot of the pictures of Eleanor, you can infer a sense of their relationship. It’s one that you can see is based on profound love, of course, but also trust and respect. Eleanor once said to me a wonderful comment about what it was like to be photographed by Callahan. She told me that she might be cooking or cleaning, doing something around the house and Harry would see a scene, interesting light that he thought looked beautiful or an arrangement of forms that he deeply appreciated. And he would say to Eleanor, “Take your clothes off.” Eleanor’s response to me was, “And that was that.”” (Jacobson, 2011)

From Julian Germain’s web site about the project for every minute your angry you loose sixty seconds of happieness

Germain, J. (no date) Julian Germain ‘for every minute you are angry you lose sixty seconds of happiness’ project. Available at: (Accessed: 17 June 2016).
(Germain, no date)

“For every minute you are angry you lose sixty seconds of happiness’ is a template model for what critical engagement should try to achieve in our day and age: forget the ‘winners’ and ‘losers’ and provide examples of people who operate in a different forcefield.” (Germain, no date)

“A series of photographs made over 8 years of the quiet, contemplative existence of Charles Snelling, an elderly man living alone in a small house in Portsmouth, shown alongside pages from Snelling’s own photo albums.” (Germain, no date)

From the book description on Macbooks

Germain, J. (no date) For every minute you are angry you lose sixty seconds of happiness by Julian Germain. Available at: (Accessed: 17 June 2016a).
(Germain, no date)

“In a series of photographs made over eight years, Julian Germain captured the quiet, contemplative existence of an old man living alone in a small house in a city on the south coast of England. Unfettered by the misplaced aspirations of the modern world, Charles Albert Lucian Snelling (Charlie) spent the last years of his life absorbed in his memories of his wife, his children, his love for flowers, music and the quotidian pleasures of the crossword, and his albums of his own photographs. Germain’s photographs of Charlie, his home and the things he owned are a beautiful, gentle portrait of a gentleman in his twilight years.” (Germain, no date)

“I met Charles Albert Lucien Snelling on a Saturday in April, 1992. He lived in a typical two up two down terraced house amongst many other two up two down terraced houses… It was yellow and orange. In that respect it was totally different from every other house on the street. Charlie was a simple, gentle, man. He loved flowers and the names of flowers. He loved colour and surrounded himself with colour. He loved his wife. Without ever trying or intending to, he showed me that the most important things in life cost nothing at all. He was my antidote to modern living.’ Julian Germain” (Germain, no date)

Critical Analysis

Harry Callahan, made a deep study of his wife and daughter, this seems to be some of his most critically acclaimed work. Similarly Julian Garmain made a body of work over eight years about one old man named Charles Schnelling.

This exercise is to take a series of images of the same person against different backgrounds, in order to draw on the work of Callahan and Germain I have decided to take a series of five images depicting my eldest daughters character and drawing out the five elements of her character that are most important to her. To this end I am starting with five titles:

Claire the Bookworm

Claire the Scholar

Claire the Fun Loving Outdoors person

Claire the Christian

and Claire the Archeologist

The object will be to find five locations that transmit these facets of her character.