At the start of World War I, in 1914, Edward Steichen was a pioneering champion of fine-art photography—he had a leading reputation in the Photo-Secession movement in New York and had cofounded its trailblazing journal Camera Work. Yet by the early 1920s, Steichen had rejected the soft-focus, dreamy landscapes and portraits of his early years in favor of realist photographs made for informational purposes or popular consumption. This turning point was first signaled by Steichen’s role in World War I as chief of the Photographic Section of the American Expeditionary Forces and was fully realized in his subsequent work as lead photographer at Condé Nast Publications, from 1923 to 1937.
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Outbreak of War, 1914–1917
Steichen, who had come to regard France as a second homeland, was quick to enlist once the U.S. officially entered the war in 1917. Though at 38 he was eight years older than the age limit set by the Signal Corps, his experience as a photographer made him a valuable recruit, and he entered active duty in July 1917 as a first lieutenant.
The First World War, sometimes called the first “modern” war, was marked by groundbreaking advances in technology, including photography. Though Steichen intended to be “a photographic reporter, as Mathew Brady had been in the Civil War,” he quickly abandoned this romantic notion to help implement one of the newest weapons of war—aerial photography.[1] Taking images from airplanes made it possible not only to observe a wide swath of the battlefield, but also to track daily changes on the front lines.
The French and British militaries had made great advances with this technology for intelligence purposes, yet the American Expeditionary Forces (AEF) had no established program. Steichen was assigned to the newly formed Photographic Section, led by Major James Barnes, and together they oversaw the training and outfitting of aerial-photography and surveillance units that would prove their usefulness over the course of the war. Steichen also worked to standardize print sizes, materials, cameras, and plates across the various national armies in order to simplify the cooperation between the Allied forces.
[1] Edward Steichen, A Life in Photography (Doubleday, 1963), chap. 5, n.p.
UNTITLED ALBUM OF WORLD WAR I PHOTOGRAPHS, 1918/19
All photographs taken by the Photographic Section, U.S. Air Service, American Expeditionary Forces (AEF), 1918/19
Album assembled by Major Edward J. Steichen, A.S.A. (American, born Luxembourg, 1879–1973) in 1919
83 gelatin silver prints
Gift of William Kistler, 1977.678–760
Plate titles are based on Steichen’s own written captions of the photographs. More detailed inscription information and research on the photographs can be found by clicking on the album pages. For a complete list of the album plates, click here.
The map below shows the sites featured in the album, places Steichen was stationed while serving in the AEF, and the shifting Western Front during the last months of the war.
Plate List
All photographs taken by the Photographic Section, U.S. Air Service, American Expeditionary Forces (AEF), 1918/19
Album assembled and annotated by Major Edward J. Steichen, A.S.A. (American, born Luxembourg, 1879–1973) in 1919
83 gelatin silver prints
Gift of William Kistler, 1977.678–760
Steichen after the War
After serving with the AEF, Steichen would depart from the painterly aesthetics of Pictorialism. He fully embraced commercial work, and the technical precision required by wartime photography can be seen in his commercial images, which blur the lines between celebrity portraiture, fashion photography, and advertising. With the start of World War II, he would reenlist, overseeing a photographic unit tasked with documenting the activities of the Naval Air Force.