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| Minor White Eugene Saunders, Rochester 1959 gelatin silver print Princeton University Art Museum |
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| Bruce Davidson Untitled 1959 gelatin silver print Cleveland Museum of Art, Ohio |
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| Roger Mayne Untitled ca. 1959 gelatin silver print Minneapolis Institute of Art |
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| Albert Renger-Patzsch Black Spruce ca. 1960 gelatin silver print Cleveland Museum of Art, Ohio |
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| Marc Riboud Ovaltine Advertisement, Ghana 1960 gelatin silver print Cleveland Museum of Art, Ohio |
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| Leon Levinstein Untitled (crossed arms on beach) ca. 1960 gelatin silver print Milwaukee Art Museum |
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| Wynn Bullock Untitled (#4244) ca. 1960 dye imbibition print Los Angeles County Museum of Art |
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| Roloff Beny Cristiana Brandolini d'Adda, Contessa di Valmareno (née Agnelli) in Palazzo Brandolini, Venice ca. 1960 gelatin silver print Minneapolis Institute of Art |
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| Anonymous Photographer Portrait of photographer Robert Gene Wilcox ca. 1960 gelatin silver print Minneapolis Institute of Art |
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| Paul Caponigro Dolls on Wooden Horse 1960 gelatin silver print Cleveland Museum of Art, Ohio |
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| René Burri Carnival, Heidelberg University 1960 gelatin silver print Art Institute of Chicago |
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| Robert Brownjohn Antiques 1961 gelatin silver print Victoria & Albert Museum, London |
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| Robert Brownjohn Entertainment 1961 gelatin silver print Victoria & Albert Museum, London |
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| Robert Brownjohn Fenwick 1961 gelatin silver print Victoria & Albert Museum, London |
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| Robert Brownjohn Land and Estate Agents 1961 gelatin silver print Victoria & Albert Museum, London |
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| Esther Bubley Coit Family (at the grocery store) 1961 gelatin silver print Los Angeles County Museum of Art |
from Symptoms of Poetic Power
It has been before observed that images, however beautiful, though faithfully copied from nature, and as accurately represented in words, do not of themselves characterize the poet. They become proofs of original genius only as far as they are modified by a predominant passion; or by associated thoughts or images awakened by that passion; or when they have the effect of reducing multitude to unity, or succession to an instant; or, lastly, when a human and intellectual life is transferred to them from the poet's own spirit.
Which shoots its being through earth, sea, and air.
In the two following lines for instance, there is nothing objectionable, nothing which would preclude them from forming, in their proper place, part of a descriptive poem:
Behold yon row of pines, that shorn and bowed
Bend from the sea-blast, seen at twilight eve.
But with a small alteration of rhythm, the same words would be equally in their place in a book on topography, or in a descriptive tour. The same image will rise into semblance of poetry if thus conveyed:
Yon row of bleak and visionary pines,
By twilight glimpse discerned, mark! how they flee
From the fierce sea-blast, all their tresses wild
Streaming before them.
– Samuel Taylor Coleridge (1817)