Adams, Ansel. The Camera. Boston: Little, Brown and Company, 1980.

Aujoulat, Norbert. Lascaux: Movement, Space, and Time [Trans. Martin Street]. New York: Harry N. Abrams, 2005

Anati, Emmanuel. “Art of Beginnings” in Diogenes, No. 185, Vol. 47/1, 1999.

Bahn, Paul. Prehistoric Art. Cambridge: Cambridge University Press, 1998.

Bahn, Paul G. and Vertut, Jean. Journey Through the Ice Age. Berkeley: University of California Press, 1997.

Bahn, Paul G.. Pyrenean Prehistory: A Palaeoeconomic Survey of the French Sites. Warminster: Aris & Phillips, 1985.

Batchen, Geoffrey. Burning with Desire: The Conception of Photography. Cambridge: MIT Press, 1997.

Bégouën, Count Henri. “The Magic Origin of Prehistoric Art” in Antiquity, 1929.

Berger, John. “Secrets of the Stone.” Guardian, November 16, 1996.

Bolus, Michael and Conard, Nicholas J.. “The Late Paleolithic and Earliest Upper Paleolithic in Central Europe and Their Relevance for the Out of Africa Hypothesis” in Quaternary International; Vol. 75, Issue 1, January 2001, 29-40.

Bosinski, Gerhard. “Die Gravierungen des Magdalénien-Fundplatzes Andernach-Martinsberg” in Jahrbuch des Römisch-Germanischen Zentralmuseums 41, 1994, 19-58.

Bosinski, Gerhard. Die Ausgrabungen in Gönnersdorf 1968-1976 und die Siedlungsbefunde der Grabung 1968. Der Magdalénien-Fundplatz Gönnersdorf Volume 3. Weisbaden: Steiner, 1978.

Bosinski, Gerhard and Fischer, Gisela. Mammut- und Pferdedarstellungen von Gönnersdorf. Der Magdalénien-Fundplatz Gönnersdorf Volume 5. Weisbaden: Steiner, 1980.

Breuil, Henri. Four Hundred Centuries of Cave Art. Montignac: Centre d’Études et de Documentation Préhistoriques, 1952.

Brown, G. Baldwin. The Art of the Cave Dweller: A Study of the Earliest Artistic Activities of Man. London: John Murray, 1928.

Capitan, Louis and Bouyssonie, Jean. Limeuil: son Gisement a Gravures sur Pierres de l’age du Renne. Paris: Librairie E. Nourry, 1924.

Capitan, Louis; Breuil, Henri; Peyrony, Denis. “Les Gravures sur Cascade Stalagmitique de la Grotte de la Marie a’ Teyjat (Dordogne)” in Congres Internationa d’Anthropologie et d’Archeologie Prehistorique, 16 session, Geneva, 1912.

Castellani, Augusto. Dell’Oreficeria Antica. Firenze: F. Le Monnier, 1862.

Christensen, Erwin O.. Primitive Art. New York: Thomas Y. Cromwell, 1955.

Clottes, Jean (Dir.). Chauvet Cave: The Art of the Earliest Times [Trans. Paul G. Bahn]. Salt Lake City: The University of Utah Press, 2003.

Clottes, Jean. World Rock Art [Trans. Guy Bennett]. Los Angeles: Getty Publications, 2002.

Clottes, Jean (Dir.). L’art des Objets au Paleolithique, Tome 2: Les Voies de la Recherche. Colloque international Foix – Le Mas-d’Azil 16-21 novembre 1987. Paris: Direction du Patrimoine, 1990.

Clottes, Jean (Dir.). L’art des Objets au Paleolithique, Tome 1: L’art Mobilier et son Contexte. Colloque international Foix – Le Mas-d’Azil 16-21 novembre 1987. Paris: Direction du Patrimoine, 1990.

Clottes, Jean and Courtin, Jean. The Cave Beneath the Sea: Paleolithic Images at Cosquer [Trans. Marylin Garner]. New York: Harry N. Abrams, 1996.

Clottes, Jean and Lewis-Williams, David. The Shamans of Prehistory: Trance and Magic in the Painted Caves [Trans. Sophie Hawkes]. New York: Harry N. Abrams, 1998.

Dissanayake, Ellen. Art and Intimacy: How the Arts Began. Seattle: University of Washington Press, 2000.

Dissanayake, Ellen. Homo Aestheticus Where Art Comes From and Why. New York: Free Press, 1992.

Feliks, John. "The Impact of Fossils on the Development of Visual Representation" in Rock Art Research 15 (1998) 109-34.

Frazer, Sir James George. Totemism and Exogamy. London: MacMillan, 1910.

Geneste, Jean-Michel (Dir.). Recherches Pluridisciplinaires dans la Grotte Chauvet. Bulletin de la Société Préhistorique Française, 2005, tome 102, nº 1.

Geneste, Jean-Michel; Hordé, Tristan; and Tanet, Chantal. Lascaux: A Work of Memory [Trans. David and Nicole Ball]. Périgueux: FANLAC, 2004.

Gernsheim, Helmut. The Origins of Photography. London: Thames and Hudson, 1982.

Gernsheim, Helmut and Alison. The History of Photography: From the Camera Obscura to the Beginning of the Modern Era. New York: McGraw-Hill, 1969.

Gernsheim, Helmut and Alison. L. J. M. Daguerre: The History of the Diorama and the Daguerreotype. New York: Dover, 1968.

Giedion, S.. The Eternal Present: The Beginnings of Art. New York: Bollingen, 1962.

Graziosi, Paolo. Palaeolithic Art. New York: McGraw-Hill, 1960.

Grepstad, Jon. Pinhole Photography—History, Images, Cameras, Formulashttp://home.online.no/~gjon/pinhole.htm  accessed 2004.

Guthrie, R. Dale. The Nature of Paleolithic Art. Chicago: The University of Chicago Press, 2005.

Haber, Ralph Norman. “Eidetic Images” in Image, Objects, and Illusion (San Francisco: Freeman) 123-131.

Halverson, J.. “Paleolithic Art and Cognition” in Journal of Psychology 126 (1992) 221-237.

Hammond, John H.. The Camera Obscura: A Chronicle. Bristol: Adam Hilger, 1981.

Harmant, Pierre. “Anno Lucis 1839: 1st Part,” Camera no. 5 (May 1977).

Heuss, Christian. “Anthropologist explores the dawn of human culture in new book” in the Stanford Report (April 26, 2002) (http://news-service.stanford.edu/news/2002/may1/klein-a.html).

Heyerdahl, Thor. Kon-Tiki: Across the Pacific by Raft [Trans. F. H. Lyon]. Chicago: Rand McNally, 1950.

Hockney, David. Secret Knowledge: Rediscovering the Lost Techniques of the Old Masters. New York: Viking Studio, 2001.

Hodgson, Derek. “Ways of Seeing: The Innocent Eye, Individual View and Visual Realism in Art” in the Journal of Consciousness Studies Vol. II (2004) 3-16.

Hodgson, Derek. “Seeing the ‘Unseen’: Fragmented Cues and the Implicit in Palaeolithic Art” in the Cambridge Archeological Journal 13:1 (2003) 97-106.

Hodgson, Derek. “The Biological Foundations of Upper Palaeolithic Art: Stimulus, Percept and Representational Imperatives” in Rock Art Research 20 (2003) 3-22.

Jaynes, J.. “Paleolithic Cave Paintings as Eidetic Images” in The Behavioral and Brain Sciences 2 (1979) 605-607.

Klein, Richard G., and Edgar, Blake. The Dawn of Human Culture. New York: John Wiley & Sons, 2002.

Klüver, Heinrich. “Eidetic Phenomena” in Psychological Bulletin, 29 (1932) 180-201.

Kubler, George. “Eidetic Imagery and Paleolithic Art” in Journal of Psychology 199 (1985) 557-65.

Lambert, David. The Field Guide to Early Man. New York: Diagram Group, 1987.

Laming-Emperaire, Annette. La Signification de l’Art Rupestre Paléolithique. Paris: Picard, 1962.

Laming, Annette. Lacaux: Paintings and Engravings [Trans. Eleanore Frances Armstrong]. Harmondsworth: Penguin Books, 1959.

Leason, P. A.. A New View of the Western European Group of Quaternary Art. Proceedings of the Prehistoric Society. 1939.

Lejeune, Marylise. L’Art Mobilier Paleolithique et Mesolithique en Belgique. Treignes: CEDA, 1987.

Leroi-Gourhan, André. Treasures of Prehistoric Art [Trans. Norbert Guterman]. New York: Harry N. Abrams, 1967.

Leroi-Gourhan, André. “Le Symbolisme des Grandes Signes dans l’art Parietal Paléolithiques” in Bulletin de la Société Préhistorique Française, 55 (3), 1958, 307-321.

Lewin, Roger. “Paleolithic Paint Job” in Discover; July 1993, Vol. 14 Issue 7, 64.

Lewis-Williams, J. D.. “Chauvet: the Cave that Changed Expectations” in South African Journal of Science 99, May/June 2003.

Lewis-Williams, David. The Mind in The Cave. London: Thames & Hudson, 2002.

Lindberg, David C. “The Theory of Pinhole Images from Antiquity to the Thirteenth Century” in Archive for History of the Exact Sciences 5 (1968-69) 154-176.

Malraux, André. Museum without walls. The voices of silence [Trans. Stuart Gilbert]. New York: Doubleday, 1953.

Maringer, Johannes and Bandi, Hans-Georg. Art in the Ice Age [Trans. Robert Allen]. New York: Praeger, 1953.

Marshack, Alexander. The Roots of Civilization. London: Weidenfeld & Nicolson, 1972.

Mithen, Steven. After the Ice: A Global Human History, 20,000-5,000 BC. London: Weidenfeld & Nicolson, 2003.

McKie, Robin. The Dawn Man: The Story of Human Evolution. New York: Dorling Kindersley, 2000.

Morell, Abelardo and Sante, Luc. Camera Obscura. New York: Bullfinch, 2004.

Morris, Desmond. Foreword in Bahn, P. Prehistoric Art. Cambridge: Cambridge University Press, 1998.

Movius Jr., Hallam L.. Aspects of Upper Paleolithic Art (in Three Regions of Primitive Art). New York: The Museum of Primitive Art, 1961.

Olsen, Larry Dean. Outdoor Survival Skills. Provo: Brigham Young University, 1973.

Ontanon, Roberto. “Upper Paleolithic floors and structures, new data from Cantabrian Spain: The Lower Gallery of La Garma (Cantabria)” in L’Anthropologie; July 2003, Vol. 107 Issue 3. p. 333, 31p.

Pales, Léon. Les Gravures De La Marche: III – Equidés et Bovidés. Paris: Ophrys, 1981.

Pfeiffer, John E.. The Creative Explosion: An Inquiry into the Origins of Art and Religion. New York: Harper & Row, 1982.

Piette, Edouard. L’Art Pendant l’age du Renne. Paris, 1907.

Pollack, Peter. The Picture History of Photography: From the Earliest Beginnings to the Present Day. New York: Harry N. Abrams, 1969.

Powell, T. G. E.. Prehistoric Art. New York: Frederick A. Praeger, 1966.

Renner, Eric. Pinhole Photography: Rediscovering a Historic Technique (3rd ed). Oxford: Focal Press, 2004.

Riemer, Petra. “Das kleine Pferd von Laugerie Basse (Dordogne): Odyssee und Analyse eines Kleinkunstwerks des Magdalénien” in Jahrbuch des Römisch-Germanischen Zentralmuseums Mainz 49, 2002.

Reinach, Salomon. “L’art et la magie. A propos des peintures et des gravures de L’age du Renne” in L’Anthropologie, 14 (1903), 257-66.

Rigaud, Jean-Philippe (Dir.). L’art Parietal Paleolithique. Colloque international Périgueux – Le Thot, 19-22 Novembre 1984. Paris: Direction du Patrimoine, 1989.

Rubin, Arnold and Pearlstone, Zena (Ed.). Art as Technology: The Arts of Africa, Oceania, Native America, Southern California. Beverly Hills: Hillcrest Press, 1989.

Ruspoli, Mario. The Cave of Lascaux: The Final Photographs [Trans. Sebastian Wormell]. New York: Harry N. Abrams, 1987.

Sandars, N. K.. Prehistoric Art in Europe. Harmondsworth: Penguin Books, 1985.

Saura Ramos, Pedro A.; with Beltran, Antonio (Ed.); Perez-Seoane, Matilde Muzquiz; Bernaldo de Quiros, Frederico; Lasheras Corruchaga, Jose Antonio. The Cave of Altamira. New York: Harry N. Abrams, 1999.

Sloan, Cristopher. The Human Story: Our Evolution From Prehistoric Ancestors to Today. Washington D.C.: National Geographic Society, 2004.

Steadman, Philip. Vermeer’s Camera: Uncovering the Truth Behind the Masterpieces. Oxford: Oxford University Press, 2001.

Talbot, William Henry Fox. “Brief Historical Sketch of the Invention of Photography” in The Pencil of Nature (1844). Reprinted New York: Da Capo Press, 1968,unpaginated.

Tosello, Gilles. Pierres Gravées du Périgord Magdalénien: Art, Symboles, Territoires. Paris: CNRS, 2003.

Ucko, Peter J., and Rosenfeld, Andree. Paleolithic Cave Art. New York: McGraw-Hill, 1967.

Vialou, Denis. Prehistoric Art and Civilization [Trans. Paul G. Bahn]. New York: Harry N. Abrams, 1998.

Waage, Frederick O.. Prehistoric Art. Dubuque: Wm. C. Brown, 1967.

White, Randall. Prehistoric Art: The Symbolic Journey of Humankind. New York: Harry N. Abrams, 2003.

White, Randall. Dark Caves, Bright Visions: Life in Ice Age Europe. New York: American Museum of Natural History with W. W. Norton & Company, 1986.

Wilhelm, Henry and Brower, Carol. The Permanence and Care of Color Photographs: Traditional and Digital Color Prints, Color Negatives, Slides and Motion Pictures. Grinnell: Preservation Publishing, 1993.

Wilhelm, Henry. “The Problems of the Kodak Ektacolor Print System,” in the exhibition catalogue Fugitive Color. School of Art, University of Michigan, 1982. not paginated.