Alfred Stieglitz (1864-46) is one of the most revered artists in the history of the photographic medium. Via his influential journal "Camera Work", which he edited and published from 1903 to 1917, and his galleries 291, The Intimate Gallery and An American Place, he championed, published and exhibited much of the best art, European and American, of the period. He also created his own outstanding body of photographic work and it is this which has firmly established his reputation as one of the great 20th-century artists.

"This book develops a method that emphasizes the entwinements of "technology," "ideology," and the medium-specific particularities of photography in five twentieth-century cases in which photography and Jewish history intersect"--

From the 1850s to the 1950s, photography was one of the most open avenues for Jews in Britain to make a living, as well as to contribute to mainstream culture. If one’s picture was snapped for a price in Britain, the person behind the lens was more than likely born a Jew. Through the 1970s, Jews were prime movers behind nearly all things photographic in Britain, including photojournalism, portrait studios, collecting, applications of photography to the fine arts, and the emergence of photography criticism and history as distinct fields. Yet despite Jews having played such remarkable roles, far out of proportion to their number and in all facets of photography, little attention has been paid to ethnic-religious difference in studies of British photography.Richly illustrated with both color and black-and-white images, Jews and Photography in Britain is the first-ever historical investigation of this topic, ranging from the mid-nineteenth century to Queen Elizabeth’s controversial photo shoot with Annie Leibovitz in 2007. Michael Berkowitz explores subjects such as the attempts of H. W. Barnett to unsettle portrait conventions, the spectacular photo editing of Stefan Lorant, the influence of Erich Salomon on Fleet Street, the inception of the “Gernsheim Corpus” (a seminal resource for art historical research) conceived by Walter and Gertrud Gernsheim, the innovative photography practices at London’s Warburg Institute under Fritz Saxl, and the pioneering efforts at collecting and publishing about photography as history and art by Helmut and Alison Gernsheim.

This book of photographs, accompanied by poetic insights, shed light on our search for meaning in the contemporary world. The backdrop is exile, that ancient and modern reality that afflicts many in our search for justice and compassion. Whether our leave-taking is geographic, political, cultural or religious, exile is our plight. The prophetic, our difficult guide, is also our companion. Those in exile find hope in what the author calls the New Diaspora, the community whose exiles gather and find new life. The New Diaspora seeks a vision of beauty amid the ruins, hope among despair. Walking the beach of Cape Canaveral and traveling to troubled spots around the world, the author's images of the New Diaspora are startling. We are encouraged to reflect on our own journey and join our prophetic exile with others around the world.