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679:. He collected Americana type fonts of the nineteenth century, contemporary fonts and European type (historical and modern) for 25 years. He studied style and designs of wood and foundry fonts historically, technically and aesthetically. Morgan's collection was perhaps the most comprehensive collection of American typefaces in the US. It is now housed at the Smithsonian National Museum of American History.
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the exhibition because I hung the FSA photos in the next gallery to his pictorial, mostly soft-focus pictures. He could see one of our big enlargements over the partition ... so I smoothed out his feathers by lowering your photo so he couldn't see it from his booth. Even then he kept grumbling about the FSA photos not being worthy of showing.
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possessing greater depth of perception and meaning. It is not my intention to force photography in a narrow or precious direction, but here at the
Photography Center to encourage its varied possibilities and affirm its simple honesty. The purpose of the Photography Center is to watch and encourage the best in all photography.
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During Morgan's tenure, he actively expanded on MoMA's print collection, adding significant holdings of Farm
Security Administration images and scientific photography, which he found revealed new possibilities to artistic photographers through their technical experiments. In a 1964 letter to Barbara
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As director, Morgan organized an extensive lecture series. The first lecture, "Standards of
Photographic Criticism", a discussion by three critics about the nature and standards of the photo critic's task, was attended by some 250 people. Weegee presented a lecture at the Center entitled "Realism in
412:
Turned out that I had plenty of criticism and some violent reactions from the public. The pictorial and Oval Table
Society bunch were down on me and wanted to remove the FSA photos as not being worthy of the Show ... Yes, Mr. Bing, the father of the Oval Table Society threatened to pull out of
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in 1932 and continued to publicize the Leica camera. He also patented the FocoSlide, a copying device manufactured by Leitz, which improved the Leica's performance in copy and macro applications by allowing the photographer to view exactly what the lens would see, without parallax. In 1933, Morgan
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Photography has been a natural development of the mechanical age. It is man's way of showing a world image. With such readily expressive medium, anyone can use the camera- for casual snapshots, for commercial gain, or for the photographs which have more than a transitory value ... something
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In 1928, Barbara and
Willard Morgan set out to capture the Southwest landscape on film. Morgan used these images to illustrate his articles, becoming the first American photographer to use the 35mm Leica as a professional camera. Morgan was offered a position at E. Leitz, Inc. as a 35mm camera
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to deliver five lectures at the Center. With notes taken at these lectures, Morgan convinced Adams to write the books that Morgan & Lester would begin publishing in 1948. The lectures became the basis for The Basic Photo Series, which are the first of Adams' publications to include the
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says, "At least it will go on record – something too often forgotten – that Herc was the first
Director of Photography at the Museum of Modern Art and helped create the first Center. And whatever mistakes we made, there hasn't yet been a Center that meant so much to photographers."
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was published the following year in 1955. Edited by both Morgan and Lester, the book was the first to contain actual examples of stereo images in both color and black & white. The images could then be experienced with the enclosed optical viewer.
699:, designed by Swiss architect John Weber, with a photographic studio and darkroom for Barbara, a study for Willard, space for a print shop and museum, and a barn, chicken coop and rabbit house. Morgan maintained relationships with Beaumont and
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review says, "Whether we call them snapshots or some other name, these pictures constitute the most vital, most dynamic, and most interesting and worthwhile photographic exhibition ever assembled by the Museum of Modern Art."
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Willard D. Morgan also made significant contributions to the field of printing. A member of the
Typophiles Club in New York from 1942 until his death, he was interested not only in publishing on photography but also in
179:
Morgan's career spanned some of the most influential developments in the history of
American photography. He was instrumental in introducing the first 35mm camera in the US, was an early director of photography at
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in New York City and proposed trading two Leica cameras and other necessary equipment in exchange for articles that would feature photographs made by the Leica, highlighting the possibilities of its small size.
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was one that I first found through the contributor department. And I remember he came in there with a pack of pictures under his arm one day and his old worn-out overcoat, and I thought he was a Bowery bum."
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appointed Morgan the first director of photography and the newly established
Photography Center. In the October/November MoMA bulletin introducing the Center and its new Director, Willard writes,
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originally based the majority of photo-illustrations on reader contributions, and
Willard's department solicited and selected those images. He recalls one photographer who came into his office: "
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Morgan established a lantern slide collection for loans to museums, lecturers and school departments, with specific mimeographed notes on "The History of Photography" and "What is Photography."
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Willard D. Morgan, Echo Park Los Angeles Ca, to(H. Wechsler Vice-President and Sales Manager E. Leitz New York, N.Y.) Nov- 17 1928, Morgan Archive, Westchester County, NY. File 31.1, Box AC.
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In 1931, Morgan lectured throughout the US on the use of the 35mm Leica camera for Leitz. During this time, he also redesigned a Leica projector—originally fit to project large format
232:, on May 30, 1900, to Morgan and Marie Detering. Known to his friends as Herc, short for Hercules, Morgan was a very large man who stood 6'7" with a corresponding athletic build.
1109:"Copy of worksheets used by Russell Lee and Arthur Rothstein to assemble the show,", TD, Roy Stryker Collection, Photo Archives, Ekstrom Library, University of Louisville.
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to discuss the influence of the automobile on architecture. The relationship would last a lifetime, with Willard photographing all aspects of construction of the
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Willard D. Morgan, Echo Park Los Angeles Ca, to(Advertising Manager, E. Leitz, New York, N.Y.) May 3, 1928, Morgan Archive, Westchester County, NY. File 31.1, AB
517:, with quarterly supplements, was published by Morgan & Lester in 1939. The new development of synchronized flash and shutter was first fully explained in
1234:
Willard D. Morgan, "Budget for Photography Department, Museum of Modern Art, 1943-1944," 11–14 May 1943, TD Morgan Archive, Westchester County, NY, 4.
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Willard D. Morgan, "Budget for Photography Department, Museum of Modern Art, 1943-1944," 11–14 May 1943, TD , Morgan Archive, Westchester County, NY.
1194:"Notes on Ansel Adams Lectures Delivered at The Photography Center on May 17, 19, 22, 24 & 26, 1944," TD, Morgan Archive, Westchester County, NY.
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Bulletin, "The Museum of Modern Art Annex Photography Center 9 West 54th Street," October/November 1943, Morgan Archive, Westchester County, NY. 4
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in 1925. While she helped him with composition, he taught her photography. She would eventually use these lessons to produce photographs of
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502:, which Morgan edited, was the firm's first book, published in 1935. Written and illustrated by specialists in the miniature camera field,
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Willard D. Morgan to Roy Stryker, 25 February 1964, TL, Roy Stryker Collection, Photo Archives, Ekstrom Library, University of Louisville.
322:—to accommodate a new 2-by-2-inch (51 mm × 51 mm) slide that would become the standard. He created the Leitz publication
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examined photography from both technical and artistic viewpoints. The contributors to the magazine were experts in their fields, and
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produced and curated the First Annual Leica Photographic Salon, one of the first 35mm exhibitions to be held outside a camera club.
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Harris, Elizabeth M. The Fat and the Lean, American Wood Type in the 19th Century. Washington, D.C.: Smithsonian Institution, 1983.
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Willard D. Morgan to Norris Harkness, 24 March 1944, TL , Newhall Years, Photography Study Center, Museum of Modern Art, New York.
525:, a technical book on the press camera, which eventually saw its tenth edition in 1954 and was edited by both Morgan and Lester.
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1096:"Modern Photography on Parade, The First International Photographic Exposition, Grand Central Palace, New York City, N.Y.", ,
244:, Morgan operated a small press out of his home—writing articles, photographing, and editing small journals for youth groups.
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Willard D. Morgan to Ansel Adams, 1 March 1944, TL , Newhall Years, Photography Study Center, Museum of Modern Art, New York.
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Press Release, "Museum of Modern Art Opens Photography Center on West 54th Street," , Morgan Archive, Westchester County, NY.
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Willard D. Morgan to Ben Shahn, 14 April 1944, TL, Newhall Years, Photography Study Center, Museum of Modern Art, New York.
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Willard D. Morgan, interview by Alex Groner for Time Inc., 21 March 1956, TMs, Morgan Archive, Westchester County, NY. 1-3.
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255:, Morgan earned his living by writing freelance magazine articles and illustrating them with his photographs. He married
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Leica Demonstration Lecture Given by Willard D. Morgan. 1930 Morgan Archive, Westchester County, NY. File 31.8 Box AC
168:(May 30, 1900 – September 18, 1967) was a photographer, writer, editor, and educator and the husband of photographer
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In the museum proper, Morgan curated the controversial exhibition entitled "The American Snapshot", of which a
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Willard and Barbara Morgan had their first child, Douglas Oliver Morgan, on May 7, 1932, while living in
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published by the National Educational Alliance. The encyclopedia was published as a magazine and led to
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1221:"The American Snapshot, Modern Museum's Idea of the Folk Art of the Camera is a Bit Hard to Swallow,"
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in 1936, Morgan worked as the contributions editor for two years. With only four staff photographers,
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and many others in the fields of photography and publishing. He died in 1967 at Lawrence Hospital in
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Lecture Invitation, The Museum of Modern Art, 20 March 1944, Morgan Archive, Westchester County, NY.
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Willard D. Morgan to Dr. Walter Clark, 31 March 1944, TL , Morgan Archive, Westchester County, NY.
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Book of the Year supplements from 1959 until his death in 1967. He was also general editor of the
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photographers. He was also a writer and editor of technical publications on photography (from the
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Mary Street Alinder, ed., New York Graphic Society (Boston: Little, Brown & Co., 1985) 323.7
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Nancy Newhall to Barbara Morgan, 11 September 1964, TL, Morgan Archive, Westchester County, NY.
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Photography"; Barbara Morgan spoke on "Imagination in Photography"; and a panel consisting of
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were also selected through Morgan's office – the latter soon becoming a staff photographer.
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went through fifteen editions and sold over a million copies. A Spanish translation of the
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1326:"Willard D. Morgan - Personal Chronology," TD , Morgan Archive, Westchester County, NY.
691:. A second son, Lloyd Brooks Morgan, was born on August 3, 1935. The couple lived at 1
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went through 15 editions with over a million copies sold. A Spanish translation of the
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Willard D. Morgan, resume, 20 May 1943, TD , Morgan Archive, Westchester County, NY.
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Morgan founded Morgan & Lester Publishers with Henry M. Lester in 1934. The
897:, "The Demonstration Health House, Los Angeles, Richard J. Neutra, Architect,"
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521:, written by Morgan. In 1940, Morgan published and edited the first edition of
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Willard D. Morgan, "California Drive-In Markets Serve Motorists on the Go,"
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Morgan & Lester (Henry M. Lester) Publishers was founded in 1934, and
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Collection, Photo Archives, Ekstrom Library, University of Louisville.
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was the firm's first book, published the next year. Morgan edited the
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Bertha Wardell: Dances in Silence: Kings Road, Olive Hill and Carmel
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Morgan first saw the 35mm Leica model A camera in 1928. He wrote to
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Willard D. Morgan: The Early Architectural Photography Connections
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Willard D. Morgan, "An Architect's Warm-Air Heated Health House,"
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photographs in the First International Photographic Exposition in
298:. Photo by Barbara Morgan 1928, taken with their second 35mm Leica
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David B. Eisendrath, "Carrier Pigeons for Newspaper Photography"
615:, a twenty-volume edition, published by Greystone Press in 1963.
338:, written and illustrated by specialists in the miniature field.
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Foundations of Los Angeles Modernism: Richard Neutra's Mod Squad
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Richard Neutra on Building: Mystery & Realities of the Site
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Richard Neutra on Building: Mystery & Realities of the Site
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magazine, Morgan was responsible for the first showing of the
16:
American photographer, writer, editor and educator (1900–1967)
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4 & 5 (October 20, 1941 & October 30, 1941): 260-274.
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Barbara and Willard Morgan Photographs and Papers go to UCLA
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19 & 20 (March 20, 1942 & March 30, 1942):1245 1281.
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181:
871:"An Unforgettable Photo of Martha Graham," Joan Acocella,
122:
The Encyclopedia of Photography: The Complete Photographer
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853:
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The Source of Today's Thirty-Five Millimeter Photography
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The Source of Today's Thirty-Five Millimeter Photography
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promoter, so the couple moved to New York City in 1930.
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in the 1920s, writing articles about it, and publishing
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serves as a who's-who of photography during the 1940s.
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From 1941 until 1943, Morgan was the general editor of
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1019:(Millbrook: N.Y. Butts Hollow Services, 1986), Chap 7.
955:(Millbrook: N.Y. Butts Hollow Services, 1986), Chap 8.
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Richard Neutra and the Search for Modern Architecture
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Casey Allen, "Camera 35 Interview: Barbara Morgan,"
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695:until 1941 when they moved into a modern house in
408:, Morgan reflects on the reaction to the exhibit:
404:assembled the photographs. In correspondence with
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1358:(MFA thesis). Rochester Institute of Technology.
1347:(MFA thesis). Rochester Institute of Technology.
603:, illustrated with architectural photographs by
942:(New York: Oxford University Press, 1982) 101.
607:. Morgan wrote the photography section of the
555:While Morgan & Lester were publishing the
1127:Edward Steichen, "FSA Photographers, " 1939
627:Willard working in his home print shop, 1950
458:discussed "Photography and the Other Arts".
557:10th Edition of Graphic Graflex Photography
591:reflex camera written by John S. Carroll.
29:
1386:An Unforgettable Photo of Martha Graham,
1265:Ansel Adams, "Architectural Photographs"
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1291:Harold Harvey, "Development-Background"
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727:Numerous published works, including
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384:In 1938, as director of exhibits at
1414:20th-century American photographers
538:The Complete Photographer Quarterly
184:, and was the first to exhibit the
13:
1282:45 (December 10, 1942): 2935-2940.
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286:35mm photography and the Southwest
259:, a painter on the art faculty of
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1355:The Willard D. Morgan Archive
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208:), and was a photo editor at
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390:Farm Security Administration
214:and later a photo editor at
186:Farm Security Administration
97:Photographer, writer, editor
7:
1352:Steensma, Jennifer (1992).
1308:11 (Dec. 30, 1941): 659-665
914:11 July 1930, 410-411, 419.
613:Encyclopedia of Photography
534:Encyclopedia of Photography
523:Graphic Graflex Photography
228:Willard Morgan was born in
202:Encyclopedia of Photography
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650:magazine. You can help by
599:In 1951, Morgan published
1424:People from Gramercy Park
1306:The Complete Photographer
1293:The Complete Photographer
1280:The Complete Photographer
1267:The Complete Photographer
1254:The Complete Photographer
899:The Architectural Record,
593:The Stereo Realist Manual
550:The Complete Photographer
530:The Complete Photographer
251:in 1923 with a degree in
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116:The Complete Photographer
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93:
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28:
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1341:Shuter, Michael (1995).
519:Synchroflash Photography
609:Encyclopædia Britannica
206:Encyclopædia Britannica
89:"Herc" (to his friends)
45:Willard Detering Morgan
888:September 1928, 29-31.
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294:Willard with Leica at
257:Barbara Brooks Johnson
247:After graduating from
1434:Pomona College alumni
1074:Morgan, interview, 6.
705:Margaret Bourke-White
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546:Complete Photographer
510:was printed in 1954.
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420:wrote an article for
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346:was printed in 1954.
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230:Snohomish, Washington
59:Snohomish, Washington
1388:Smithsonian Magazine
1087:, 9 August 1937, 15.
1056:23 November 1936, 7-
873:Smithsonian Magazine
717:Bronxville, New York
540:, and eventually to
434:Museum of Modern Art
428:Museum of Modern Art
396:. FSA photographers
78:Bronxville, New York
912:Sheet Metal Worker,
886:Chain Store Review,
697:Scarsdale, New York
1129:U.S. Camera Annual
901:May 1930, 433-439.
683:Family and friends
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563:, a manual on the
422:U.S. Camera Annual
357:From the onset of
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242:Pomona, California
198:Basic Photo Series
70:September 18, 1967
1344:Willard D. Morgan
838:35, May 1977, 56.
790:An Autobiography,
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619:Type and printing
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461:Morgan scheduled
324:Leica Photography
270:Morgan contacted
240:As a teenager in
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1225:May 1944, 36.
1224:
1218:
1209:
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1191:
1182:
1173:
1164:
1155:
1146:
1137:
1130:
1124:
1115:
1106:
1099:
1093:
1086:
1080:
1071:
1062:
1055:
1049:
1042:
1041:Shuter (1995)
1037:
1031:, p. 62.
1030:
1025:
1018:
1012:
1006:, p. 57.
1005:
1004:Shuter (1995)
1000:
991:
982:
976:, p. 46.
975:
974:Shuter (1995)
970:
961:
954:
948:
941:
937:
932:
926:, p. 40.
925:
920:
913:
907:
900:
894:
887:
881:
874:
868:
862:, p. 41.
861:
856:
854:
844:
837:
831:
822:
816:, p. 39.
815:
810:
808:
798:
791:
788:Ansel Adams,
785:
779:, p. 85.
778:
773:
767:, p. 50.
766:
765:Shuter (1995)
761:
759:
757:
750:, p. 29.
749:
744:
740:
732:
730:
720:
718:
714:
710:
706:
702:
701:Nancy Newhall
698:
694:
690:
689:Gramercy Park
680:
678:
674:
662:
653:
649:
645:
642:This section
640:
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491:
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487:Nancy Newhall
482:
479:
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469:
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459:
457:
453:
449:
442:
437:
435:
432:In 1943, the
425:
423:
419:
414:
409:
407:
403:
399:
395:
394:New York City
391:
387:
382:
380:
376:
375:Edward Weston
371:
367:
363:
361:
352:
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341:
337:
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328:
325:
321:
317:
312:
308:
305:
297:
292:
283:
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273:
268:
266:
265:Martha Graham
262:
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221:
220:
218:
213:
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207:
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183:
177:
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174:Martha Graham
171:
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138:
133:
129:
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120:
117:
114:
112:
109:
108:
106:
100:
96:
94:Occupation(s)
92:
88:
84:
79:
69:
65:
60:
43:
39:
32:
27:
20:
1387:
1354:
1343:
1322:
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1305:
1300:
1292:
1287:
1279:
1274:
1266:
1261:
1253:
1248:
1239:
1230:
1223:U.S. Camera,
1222:
1217:
1208:
1199:
1190:
1181:
1172:
1163:
1154:
1145:
1136:
1128:
1123:
1114:
1105:
1092:
1084:
1079:
1070:
1061:
1053:
1048:
1036:
1024:
1016:
1011:
999:
990:
981:
969:
960:
952:
947:
939:
936:Thomas Hines
931:
919:
911:
906:
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885:
880:
872:
867:
843:
835:
830:
821:
797:
789:
784:
772:
743:
729:Leica Manual
728:
726:
713:Julien Bryan
686:
677:book formats
669:
656:
652:adding to it
647:
643:
612:
608:
600:
598:
592:
560:
556:
554:
549:
545:
541:
537:
533:
529:
527:
522:
518:
514:
512:
508:Leica Manual
507:
504:Leica Manual
503:
500:Leica Manual
499:
497:
483:
477:
475:
472:
470:principles.
460:
444:
439:
431:
421:
416:
411:
385:
383:
365:
359:
356:
350:
344:Leica Manual
343:
340:Leica Manual
339:
336:Leica Manual
335:
332:Leica Manual
331:
329:
323:
313:
309:
301:
279:
276:Lovell house
269:
246:
239:
227:
215:
209:
205:
201:
197:
190:Leica Manual
189:
178:
165:
164:
121:
115:
110:
103:Notable work
72:(1967-09-18)
55:May 30, 1900
1419:1967 deaths
1409:1900 births
1334:Works cited
1098:Roy Stryker
875:, June 2011
478:U.S. Camera
468:Zone System
463:Ansel Adams
452:Paul Strand
406:Roy Stryker
398:Russell Lee
379:Carl Mydans
194:Ansel Adams
176:'s dances.
1403:Categories
1083:Masthead,
1052:Masthead,
735:References
561:Graflex 22
513:The first
494:Publishing
320:filmstrips
236:California
224:Background
118:(magazine)
51:1900-05-30
801:Adams, 1.
659:July 2012
456:Ben Shahn
296:Bandelier
282:in 1951.
485:Morgan,
362:magazine
353:magazine
304:E. Leitz
156:Children
586:⁄
572:⁄
253:English
150:
142:
836:Camera
544:. The
454:, and
370:Weegee
131:Spouse
1054:LIFE,
673:fonts
204:, to
192:, to
144:(
140:
1085:LIFE
675:and
648:LOOK
400:and
386:Life
377:and
366:Life
360:Life
351:Life
261:UCLA
217:Look
211:LIFE
182:MOMA
80:, US
67:Died
61:, US
41:Born
1131:43.
654:.
1405::
938:,
852:^
806:^
755:^
719:.
707:,
577:x
267:.
200:,
196:'
146:m.
661:)
657:(
588:4
584:1
581:+
579:2
574:4
570:1
567:+
565:2
219:.
159:2
53:)
49:(
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