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Photography in society
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Key Figures
1. 1936 Strand joined with Berenice Abbot to establish the Photo League in New York
2. Strand was the first photographer to acheive a really decisive break with pictorialism and apply some of the lessons of the new modern art to photography.
3. Paul Strand was born in New York and attended the Ethical Culture School where his teacher was Lewis Hine.
4. Strands later work moved toward a documentary approach, attempting to encapsulate a feeling a place and its people in a body of work, published in book form. The most successful of these dealth with rural communities such as the Hebridean Islands or a village in the Italian South.
5. Strands work was published in the last two issues of Camera Work and the pictures marked a turning point for photography.
Laslo Moholy-Nagy
1. Teacher at the Bauhaus School in Germany.
2. Establishes the New Bauhaus at the Chicago Institute of Design.
3. Used straight photography and photomontage.
4. Disorienting Images.
5. Experimented with stage design and photography.
Man Ray
1. Surrealist
2. Made dreamlike images
3. His revolutionary nude studies, fashion work, and portraits opened a new chapter in the history of photography.
4. he was enthusiastically welcomed into Dadaist and Surrealist circles
5. Man Ray experimented tirelessly with new photographic techniques, multiple exposure, rayography, and solarization being some of his most famous.
John Heartfield
1. Original name Helmut Herzfeld
2. German Dadaist.
3. Pushed the idea of using massprinted source material by inventing the photomontage.
4. practice social criticism
5. Wasn’t allowed to express himself in Germany during Hitler’s time.
Aleksandr Rodchenko
1. Aimed to make the familiar strange.
2. Wanted to challenge or provoke the viewer.
3. Valued technology
4. Style : close ups, unusual vantage points, tilted his camera.
5. Was born in Russia.
Edward Weston
1. Photographing natural landscapes and forms such as peppers, shells, and rocks, using large-format cameras and available light
2. produced sensuously precise images raised to the level of poetry.
3. He became successful working in a soft-focus, Pictorial style, winning many salon and professional awards.
4. By 1920 he was experimenting with semi-abstractions in a hard-edged style.
5. own portrait studio between 1911 and 1922 in Tropico, California.
Eugene Atget
1. first of photography's social documenters
2. His images of Paris are perhaps the most vivid record of a city ever made.
3. sold 2500 negatives relating to the history of Paris, a large portion of the work he had been accumulating for two decades, to the Caisse National des Monuments Historiques.
4. some of his photographs were in the magazine La revolution surrealíste.
Johnson, Brooks. Photography Speaks: 150 Photographers on their Art.” New York: Aperture Foundation Inc., 2004. Print.
Tolmachev, I. (2010, March 15). A history of Photography Part 1: The Beginning. Retrieved Febraury 2014, from tuts+ Photography: http://photography.tutsplus.com/articles/a-history-of-photography-part-1-the-beginning--photo-1908
The art world of photography is changing all the time. Peter Schjeldahl starts out with a very strong and well written paragraph about the world of art. Peter Schjeldahl says, “You can always tell a William Eggleston photograph. It’s the one in color that hits you in the face and leaves you confused and happy, and perhaps convinces you that you don’t understand photography nearly as well as you thought you did”. These couple of sentences are very strong and flow so well together, and they grab the reader’s attention. Peter explains how William Eggleston was known as a great American photographer.
... considered documents of Paris capital of modernity to a great extent. Their subjects, style, and juxtaposition of the transitive and the eternal give effective depictions of life in Paris at the time. Impressionist paintings will stand alongside written documents as records of late nineteenth century Paris for years to come.
Hine’s father passed away when he was still a child, forcing him to mature early and quickly learn the importance of hard work. Lewis Hine grew up in Oshkosh, Wisconsin during the late nineteenth and early twentieth century. He worked many jobs as a young man, some of which include a door-to-door salesman, a clerk, and a janitor. While working, he also took classes at the University of Wisconsin where he met Frank Manny. Manny, a professor at the Normal School, encouraged Hine to obtain a teaching certificate. Manny soon became director of New Yorks Ethical Culture School where he then hired Hine to be the geography and natural studies teacher. Being director of New Yorks Ethical Culture School Manny wanted a way to document school activities. Therefore Manny selected Hine to learn photography and teach a class, “A life in photography had begun.” In an effort to better understand the medium and inspire his students Hine went to Ellis Island to photograph immigrants coming to America. He also hoped that his photos would cause his students to “have the same regard for contemporary immigrants as they have for the Pilgrims who landed at Plymouth Rock.” H...
his own paintings. His artwork was emphasized in his tones that brought him through new free
In The Photographer’s Eyes, John Szarkowski focused on issues that encompass the art of photography. The five issues are: The Thing Itself, The Detail, The Frame, Time, and the Vantage Point. “These issues do not define discrete categories of work; on the contrary they should be regarded as interdependent aspects of a single problem…”
William Eugene Smith was an American photographer who produced photographic projects that changed how photographs were portrayed. Rather than a photo being a photo, he told stories through his photographs, through a practice called photojournalism. His photographic projects depicted people in their everyday lives, but in different situations. The photographs he took did not hide anything that he saw from the audience no matter how graphic the scenery may appear to be. His photography methods differed from traditional methods, in that traditional photographs/photographic projects were a distortion of reality, so that it is more pleasing to the audience. Smith on the other showed what was actually going on in the world or wherever he was shooting photos. His photos basically showed his audience what is happening in various parts of the world and showing people as they are living their normal lives, no matter how depressing or graphic their true lives might be. Smith changed photography, and in my opinion, opened the new world of photojournalism by telling stories with his photographs.
As one of the world’s first photojournalists, Henri Cartier-Bresson has transformed the profession through his concept of “the decisive moment”, the dramatic climax of a picture where everything falls perfectly into place. Traveling extensively since 1931, Cartier-Bresson’s images have been renown throughout the world due to his remarkable sense of timing and his intuition in seizing the right moment.
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.
When looking at the influence of the reign of Queen Victoria it is almost impossible not to look at the birth of photography. In a book written by Getty Museum Curator Anne Lyden, Victoria’s influence on photography is looked at intently, from her first time encounter with the new technology to her famous Diamond Jubilee portrait. Victoria was able to use this new technology from a young age in a way that it would take years to become main-stream. That photography was not just an artistic medium but was an instrument of propaganda. (Lyden, 2014)
recognized as a writer. He became one of the most famous and well paid French
out customers out of the traditional photography, helped to create a new market and value
... the first photographers to be able to take photos at night and he showed the public of the interiors of homes and factories in order to show vividly the living and working conditions of New York’s poor. He would then publicize the pictures in order to show the world what was going on in these parts of the country. Until the end of his life he continued to write and lecture about the conditions of America’s poor.
Gustave Caillebotte, however, was an Impressionist that did not rely on painting en plein-air. He turned towards the innovation that was photography, invented during the mid 1930’s, to guide him i...