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David LaChapelle is an incredible, modern photographer. He combines celebrities with the bizarre. His photography is unique, charged with sexual imagery, and provides a unique view on people you see in the media, today.
I chose an article from American Photo, May/June 2003, as the basis of my research paper on David LaChapelle. The magazine has a nice design. It is easy to read the print, and the titles of topics are always visible. You won't turn a page and have to take a minute to figure out what is going on, on that page.
Although there are many ads in the magazine, I suppose that one shouldn't expect any less; they're mainly ads for photography-type companies and such. This issue is still plentiful in articles, starting off with a page on Henri Cartier-Bresson.
As I skim through American Photo, I finally come to an article on "The 25 Most Important Photographers Now." There's a nice introduction on the first page, about what this article is about, and on the bottom-left corner it starts with the first photographer in the list, Gilles Bensimon. The article has a nice layout, including a picture by each photographer and their name headlined above or below, and each photographer also has a good-sized paragraph about himself or herself.
Many, many pages into the "top 25," David LaChapelle finally appears. The bottom half of the page shows LaChapelle's photograph, "Facial," which was taken for Italian Vogue in 2001 ("David LaChapelle"). The paragraph written about him starts off with a self-explanation of his photography: " My pictures are escapist. For me, pictures are fantasies. At the same time, they're a document of our time." The article goes on to explain his photography with more detail, and basically fin...
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... plays a major part. The pattern adds to the absurdity of the two girls; their expressions are both totally different. It's actually really hard to tell what this picture is even supposed to be about exactly, but I guess I just love all the colors and the beautifulness of the photograph as a whole.
The use of color is an important aspect in David LaChapelle's photography. He uses saturation to a very high extent. As far as almost making his photography seem dreamlike. I think it's beautiful, and I love the bright colors he uses. Even though he may use a lot of computer manipulation, I think LaChapelle's photography shows a distinct honesty throughout his photography. He still shows what is real, but he dramatizes it and puts it in your face.
Overall, David LaChapelle is a wonderful photographer, and is obviously continuing to develop his skills as an artist.
Many different sensory properties compose the artwork. There is a soft light that seems very natural coming off the boy’s face. The light shines at the boy’s face at an elevated level, as if he were outside on a hot afternoon with the sun overhead. There is a wide range of tones from very bright, in the reflection off the boys cheeks to very dark in the skin of the boys face. Muniz does an excellent job using shadows to provide a feeling of depth and adding curves to the boys body and face. The shape of the boy is positive, but the background is not defined, allowing a negative shape or void in the picture. Although there is no actually texture on the photograph the texture from the original work of art is apparent. The use of sugar gives off a hazy effect preventing the photo from having a clear focus.
John Fielder is a nationally famous photographer. For the last 40 years his photos are taken of Colorado while he is hiking and skiing. When he first visited Colorado at the age of 14 he said he felt like something or someone guided him their and he belonged in Colorado for the rest of his life. He is well known for creating his best selling books ever; Colorado 1870-2000. His latest work is the work of great outdoors Colorado for its 20th anniversary. When he was 23 he decided to start doing photography. He was amazed by other famous photographers work and tried to take photos just like them, but it didn’t really turn out how he wanted. Nevertheless he did not give up. On his days off he would go on hikes and he would take photos. He practiced for 8 years and decided to quit his job and just focus on photography. He loves nature so therefore he loves to take photos or nature. He has published 33 books in the past 30 years. He uses photography with a large format 4 x 5 film camera, he also carries 7 lenses and 30 sheet film holders and about 400 sheets of color film. In the winter he usually country skies around the mountains of Colorado. He skies 5 to 9 miles a day to get to hut to hut. In the summer he goes on river trips and usually river rafts. Sometimes he rafts on class 5 rapids. He has two daughters who love to go on trips with him although they do not take photos themselves.
I think the reason so many people wanted to own this image is due to the fact that it is a mix of nature and the beauty that we would all like to remember each and every day. Living the fast-paced lives of work and family, humans do not get to experience this beauty of nature often enough. Peter Lik uses contextual art in most of his photographs in order to capture the natural Earth that most people are not lucky enough to see in person.
According to the book entitled Ways of Seeing written by John Berger, the power of an image is extraordinary given that it can speak a thousand words. This has also been enhanced by the rapidly evolving technology that elicits more subconscious views about an image by anyone who sees them online or in real life. Some professional writers like Susan Bordo have emphasized that pictures of men often receive a wide range of negative tones or opinions due to the physiological effects that are fashionable to society or any other individual who approves or disapproves the beauty in a portrait of two men or women (Berger 38). This essay offers my opinion concerning the pictures of the Doloce and Gabbana, the gay Italian designers, as well as that of
Edward Burtynsky is an incredibly talented photographer who is able to create pieces of art from a troubling and sensitive subject. All the photos show his expertise in his equipment, as well as his knowledge of how to take monumental, awe inspiring photographs. He is able to express the delicate mix and balance between mankind and nature. It is refreshing to see a photographer who has a clear and specific subject that matters to them.
Photography and portraiture is a powerful medium for art. Through photography and portraiture we are able to capture the essence and being of individuals and moments. Many artists that primarily work within these genres do so for that very reason. Famous photographer Robert Mapplethorpe was no different, using his photographs to capture portraits of the various characters that made up the fabric of his social existence as a gay white male living in New York City. Robert Mapplethorpe, as a member of a fringe lifestyle and culture within America, wanted to utilize his work to bring to the public conscious, recognition and appreciation of these fringe groups and cultures, even if it required shocking depictions and imagery.
Masters. With his small hand camera he unobtrusively photographed people’s lives around the world. He was solely responsible for bridging the gap between photojournalism and art. He has published more than a dozen books of his work. The greatest museums in the world have shown his work.
Leibovitz photographs women of remarkable accomplishment: senators, supreme court justices, astronauts, athletes, opera singers, firefighters, a philanthropist maid, basketball stars, movie stars, elementary school teachers, weightlifters, and performance artists, as well as those who happen to fall in the viewfinder, sitting in the back of a pickup truck playing with Barbie dolls, or seeking shelter from domestic abuse at the local YMCA. Viewing this seemingly objective portrayal of women, we must consider the statements being made. Carol Duncan, in her essay “The MoMA’s Hot Mamas,” describes the modern art museum and a vast array of modern art in general as “a ritual of male transcendence, if we see it as organized around male fears, fantasies, and desires (118).” One might assume that Leibovitz, a respected and established photographer, might take ...
...technique of fluid in the brush strokes, which lead to an impression of blurry. The spots of soft color combine with the color of the figures, which shows bright light of beams through the trees. He blends colors in the background that appear to be people dancing. The lack of outlines is a traditional Impressionist technique.
That what makes the photograph a mystery. His use of lines is astonishing because you can see where the person is trying to climb up to the top of the pole. You also can see the person is looking down at you and that catches you by surprise. He created this photograph, so the viewers can look at the bottom and all the way to the top. He makes the viewers think when they look at this photograph because they don’t know where to start looking at.
Works of Sophie Calle has appeared in several media across the US and Europe (Yve-Alain Bois, 1). Her works have been described to leverage on the use of constraints which is reminiscent of the French literary cult Oulipo of which she was a member. Sphie’s works are are a reflection of her personal life, where she tries to create a link between her intimate moments and her art (www.egs.edu). Sophie employs a unique and unconventional form of photography that has made her standout in the art circles. Her natural tendency to be contentious has made her works what they are. From mode of execution to exhibition Sophie marks a different role for her kind of work.
Starting with visual elements I saw lines, implied depth, and texture. I see lines by him using lines created by an edge. Each line is curved not straight but it works with the piece. By using this he creates the piece to make it whole. He uses many curved lines within the painting I don’t know if there is a straight line in the whole thing. The next element I saw was implied depth. Using linear perspective you can see the mountains but they look smaller than the rest of the piece. They are the vanishing point in the back making it look as if you can walk down and they will get closer and closer to you. The last element that I saw was texture. They talk about Van Gogh’s painting, The Starry Night having texture through a two- dimensional surface, in which this painting has that similar feel. Van Gogh uses thick brush stokes on his paintings to show his feelings. There is actually a name for this called, Impasto,
“Magazine Ads of the 50s through the 80s.” BlogSpot, N.p. 8 August 2008. Web. 4 October 2009.
“What I like about photographs is that they capture a moment that’s gone forever, impossible to reproduce” - Karl Lagerfeld
How she reacts to the things that she sees around her shows what she is feeling and what she is thinking and thus there is a deeper meaning behind every shot, camera movement and