As an emerging artist in the 1960s, Jerry Uelsmann received international recognition for surreal, enigmatic photographs (photomontages) made with his unique method of composite printing and his dedication to revealing the deepest emotions of the human condition.

[1][2][3][4] Over the next six decades, his contributions to contemporary photography were firmly established with important exhibitions, prestigious awards and numerous publications.

[1][3] Uelsmann constructed his dreams like a visual poet with results that often seemed emotionally more real than the factual world.

[9][16] Uelsmann's father, whose hobby was photography, built a basement darkroom (c. 1948) to share with his two sons, Jerry and Robert.

[1] At RIT he was influenced by Minor White and Ralph Hattersley who taught craftsmanship (technical precision) along with the emotional and perceptual aspects of fine arts photography.

[18] Uelsmann recalled the demanding yet meaningful assignments given by Hattersley that caused him to see ordinary objects differently and personally.

[9][11] After graduating from Rochester Institute of Technology, Uelsmann enrolled at Indiana University and met Professor Henry Holmes Smith (a mentee of László Moholy-Nagy).

[6][16] Uelsmann took extensive art history courses and was particularly fascinated by surrealists including René Magritte, Joseph Cornell, and Man Ray, all of whom worked from dreams, fantasies, and visions.

[16][4] In 1960, Uelsmann earned two degrees from Indiana University, MS (audio-visual studies) and MFA (fine arts photography).

[20][6] The first twenty years of his career (1960-1980) involved widespread success with numerous honors in education, writings, and exhibitions.

[21] Uelsmann delivered his first influential paper, “The Interrelationship of Image and Technique," at the SPE initial conference (1962 in Rochester, NY).

[1][22] Some details on post-visualization and his technique of composite printing can be found below in Additional Notes and in his book Process and Perception.

[23] Beginning in 1968 and continuing for decades, he scheduled extensive workshops throughout the nation for demonstrations, lectures, and hands-on practice to small groups of students.

[6][1] In 1978 Uelsmann was included in "Mirrors and Windows: American Photography since 1960" directed by John Szarkowski at the Museum of Modern Art, NY.

[12] Uelsmann was inducted (1970) as a fellow by the Royal Photographic Society of Great Britain (London) and invited to deliver the fourth Bertram Cox Memorial Lecture in early 1971.

When beginning a photomontage, he had a strong intuitive sense of what he was looking for, some strategy for how to find it, and an understanding that mistakes are inevitable and are part of the creative process.

[6] Untitled (Boat and Moon) demonstrates his ability to seamlessly blend multiple photographs into one image that appears to reinvent reality.

[1][12] Although many writers published positive, well documented remarks about Uelsmann,[3][2][16][36] there were others who argued that his work was interesting but too manipulated to be photography.

[16]  He commented in interviews that only 10 to 15 percent of his yearly output of 100-150 photographs stood the test of time according to his own judgement.

[6][14][16] Uelsmann, in an interview, talked about a cultural shift away from the poetic expressiveness of the counterculture and beat generation of the 1950s and 1960s that became obvious.

[16] For example, in photography he had witnessed a decline in surrealistic photographers being shown in  major museums in the late 1970s and 1980s.

[16]  John Paul Caponigro suggested that Uelsmann's sense of humor and vivaciousness helped him deal with the darker side of life in his artwork.

Uelsmann memorized Broadway and popular tunes which he spontaneously sang even during social gatherings at his home or in lectures.

[4] Uelsmann's sizable darkroom was filled with trinkets such as small toys, bric-a-brac, decals, old cameras, valentines, and pop culture icons (like Mickey Mouse) presenting a visual wonderland that served for laughter and ideas.

[22] Jerry Uelsmann was married three times in this order: Marilynn Kamischke (later Marilyn Schlott),[1] Diane Farris,[38][13] and Maggie Taylor.