The doorstep portrait: intrusion and performance in mainstream American documentary photographyFootnote¹

[1] This article is based on a paper presented at the International Visual Sociology Association Annual Conference, New York University, in August 2007. I want to thank Professor Jerome Krase, who encouraged me to refine my initial arguments. Oraien Catledge was kind enough to let me use his wonderful photographs. Sue Catledge, Bill Gillepsie, Debra Krajnak, Melissa Van Drie and Daniela Ruz were all very generous with their time, support and technical advice. Thank you.

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