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              <text>Berenice Abbott's &lt;em&gt;Hot Dog Stand&lt;/em&gt;, from her book &lt;em&gt;Changing New York&lt;/em&gt;, serves as a playful, tongue-in-cheek metaphor for Louis Putterman's user-friendly overview of the theory and history of modern economics. While living in Paris, Abbott befriended the great documentarian Eugène Atget and, upon his death in 1927, helped rescue his photographic archive from history's dustbin. &lt;em&gt;Changing New York&lt;/em&gt; is evidence of Abbott's profound debt to Atget's influence.</text>
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              <text>Devil's Peak, South Aftica, from Journey into Vanishing Worlds, by Paige Deponte</text>
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              <text>A number of months ago, I received an email from Paige De Ponte, a photographer living in Hawaii. Ms. De Ponte was concerned because I had, mistakenly, as it turns out, suggested that her photograph on the cover of Yvonne Vera's novel, 'The Stone Virgins', was stylistically influenced by the early West Coast pictorialist Anne W. Brigman. In the brief blurb next to Deponte's cover image, I had stated: &#13;
&#13;
'This is NOT an image by Anne W. Brigman; it is credited to Paige De Ponte, who seems to have set up a photograph 'inspired by' Brigman's signature images 'The Heart of the Storm' (1912) and 'Nude by Tree' (1915). Presumably, Deponte's photograph was made closer to the book's publication.' &#13;
&#13;
Ms. De Ponte informed me that, not only was there no influence, but that she was entirely unfamiliar with Brigman and her photographic work.&#13;
&#13;
I am grateful for being contacted by Ms. De Ponte, who, as she claims, is "a published photographer - 200 editorials and 2 fine art books (18years) and am noted on my own vision and works." Her photograph in question, 'Devil's Peak, South Africa' (from the monograph Journey into Vanishing Worlds) was made with a sharp lens and lacks some of the sentimentality and romantic sfumato characteristic of pictorialism; I do find, nevertheless, a remarkable connection in content and style between De Ponte's image and those of Anne Brigman, made more than half a century earlier. And since Deponte truly had no knowledge of Brigman, well, that only makes the comparison more intriguing. Is the resemblance merely coincidental, a product of the 'Great Minds Think Alike' school of thought, or Is the idea of a woman taking shelter beneath a gnarled tree in a barren landscape a visual template from some Jungian image bank in our collective subconscious?&#13;
&#13;
As much as we strive to be original in our creative efforts, virtually none of us can help being influenced by others. It was, after all, the initial thrill of being touched by someone else's work that inspired most of us who have careers in the arts to embark upon them.&#13;
&#13;
Among the tens of thousands of book covers I've looked at over the past half-decade, i have noticed a growing number of images that appear to recall, in style and / or content, to the work and vision of other photographers. As a result, the 'Creator' category (also indicated as 'Actual Photographer') has been added to the Covering Photography database. If the image on a book cover calls to mind the style of another photographer, whether by direct imitation, influence or, as in Paige De Ponte's case, an interesting coincidence, it will be posted under the names of both the actual imagemaker and the photographer whose work it calls to mind. </text>
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                <text>Farrar, Straus &amp; Giroux</text>
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              <text>Sartre, Jean-Paul</text>
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              <text>Funeral of the victims of Charonne, Paris, 7 February 1962</text>
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              <text>Troubled Sleep is the third novel in Jean-Paul Sartre's Roads to Freedom trilogy, the first two being The Age of Reason and The Reprieve. Cartier-Bresson is an apt choice to illustrate the covers of the Vintage paperback edition from the early 1970s, since he and Sartre were friends, contemporaries and members of the Résistance during the occupation of France by the Nazi's, which happens to be the subject of this book. The Cartier-Bresson photograph used for the cover of this edition, however, was made twenty years after World War II. The 'victims of Charrone' were protesters killed by french police on February 8th, 1962, during a demonstration for Algerian independence. They had sought refuge in the Charrone metro station, which turned out to be locked, leaving them at the mercy of the police. Perhaps the publisher saw the somber solidarity of the Parisians in Cartier-Bresson's image as an appropriate metaphor for the book's content.&lt;br /&gt;&lt;br /&gt;To view the entire cover spread, click on the image at left.</text>
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              <text>&lt;em&gt;Troubled Sleep&lt;/em&gt; is the third novel in Jean-Paul Sartre's Roads to Freedom trilogy, the first two being&amp;nbsp;&lt;em&gt;The Age of Reason&lt;/em&gt; and &lt;em&gt;The Reprieve&lt;/em&gt;. Cartier-Bresson is an apt choice to illustrate the covers of the Vintage paperback edition from the early 1970s, since he and Sartre were friends, contemporaries and members of the Résistance during the occupation of France by the Nazi's, which happens to be the subject of this book.&amp;nbsp;The Cartier-Bresson photograph used for the cover of this edition, however, was made twenty years after World War II. The 'victims of Charrone' were protesters killed by french police on February 8th, 1962, during a demonstration for Algerian independence. They had sought refuge in the Charrone metro station, which turned out to be locked, leaving them at the mercy of the police. Perhaps the publisher saw the somber solidarity of the Parisians in Cartier-Bresson's&amp;nbsp;image as an appropriate metaphor for the book's content.&lt;br /&gt;&lt;br /&gt;To view the full cover spread of this book, scroll down to "Multiple Views".&lt;br /&gt;&lt;br /&gt;To view a more recent edition with a different design, scroll down to "Multiple Uses".</text>
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              <text>Here is a version of Abbott's portrait of Joyce, drawn in chalk by an anonymous sidewalk artist and photographed by Homer Sykes. An interesting, contemporary way of portraying an Ireland aware of its own history. And not a hint of green in the cover...</text>
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                <text>Ireland: The Rough Guide</text>
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              <description>A name given to the resource</description>
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                  <text>Covering Photography Main Collection</text>
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          <name>Author</name>
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              <text>Cronin, George Miles, and Jay Gitlin (editors), William </text>
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              <text>Black Canyon, Colorado River, Looking Above from Camp 7,  1871</text>
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              <text>American History - Exploration of the West</text>
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              <text>Landscape (19th Century Exploratory)</text>
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              <text>O'Sullivan, Timothy H.</text>
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          <name>Designer</name>
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              <text>Harper, Walter </text>
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        <name>Dublin Core</name>
        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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            <name>Publisher</name>
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                <text>W. W. Norton &amp; Company   </text>
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            <name>Date</name>
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                <text>1993</text>
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            <name>Relation</name>
            <description>A related resource</description>
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                <text/>
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            <name>Source</name>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Under an Open Sky: Rethinking America's Western Past</text>
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