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Essays on street photography
History of photography quiz 3
History of photography quiz 3
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Photographs of the street are as photography itself is old. Cameras were set on balconies or aimed them out of windows by the earliest practitioners, which took advantage of natural light in capturing the life in the streets below (Paul McDonough, 2010). As camera became more portable and smaller, the photographers took them into the streets and created a photography type. Casually spontaneous or carefully staged by turns, in nature documentary or seemingly without subject as diverse as the streets themselves. In this sense, the term ‘street photography,’ that being used now in the description of photographs taken in any space that is public, is as much as broad as the landscape categories or portrait photography.
Portsmouth, NH is the place where Paul McDonough was born. He moved to Boston, after graduating from high school in 1958 where it was after his graduation from the New England School of Art. He moved to New York City in 1967, where for the past forty years he has lived there. In the course of all that time he worked as a free-lance photographer, photography teacher and paste-up mechanical artist at Pratt Institute, Cooper Union, the Guggenheim Foundation, Yale University, Parsons School of Design, Fordham University, and Marymount College. He has been the recipient of grants from the National Endowment for the Arts and Foundation of Guggenheim. Among his work is in a number of private and public collections which includes, the New York Public Library, the Museum of Modern Art, the Joseph Seagram’s Collection, the Lila Acheson Wallace Print Collection, the DeCordova Museum, and the Dreyfus Corporation (Paul McDonough, 2010). He lives in Brooklyn with his wife and their two children.
Off-kilter incongruities on the New Yor...
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...ches and subways, the kind of photographs I took then related to my art school days. In the summer of 1964, after roaming around Vermont, my decision move to Cambridge, MA where made me took a job that was full-time in an art studio which was commercial. Already at this time I was married to my first wife and our plan was to save enough to live for Europe in a year. Instead, arriving by U-Haul in the summer of 1967 we wound up in New York.
Manhattan, was a walker’s city now as well as forty years ago. With detours into Central Park where Mayor Lindsay had just recently opened up the grassy areas that drew great crowds, I could wear out a good deal of shoe leather crisscrossing the streets of midtown. The level of energy of those living in New York was rushing to and from their myriad destinations which was galvanizing. The main attraction was the minor
essence of New York and all its nuances in the form of terse observations. Whether
Colson Whitehead ponders the essence of New York in his collection of essays titled, The Colossus of New York. Throughout the entire collection of essaysWhitehead inquires about what New York stands for based on the journey’s of its inhabitants and visitors. By establishing a sense of authenticity and creating an intimate relationship between him and the reader, Whitehead effectively provides his readers with a genuine account of New York. This genuineness found in Whitehad’s writing has not been met without criticism. Wyatt Mason’s critique of Whitehead’s essays reiterates throughout the review that Whitehead’s account go New York isn’t unique to New York and that the essayist isn’t particularly attentive to detail. While I agree with the
Colson Whitehead explores this grand and complex city in his collection of essays The Colossus of New York. Whitehead writes about essential elements to New York life. His essays depict the city limits and everyday moments such as the morning and the subway, where “it is hard to escape the suspicion that your train just left... and if you had acted differently everything would be better” (“Subway” 49). Other essays are about more once in a while moments such as going to Central Park or the Port Authority. These divisions are subjective to each person. Some people come to New York and “after the long ride and the tiny brutalities... they enter the Port Authority,” but for others the Port Authority is a stop in their daily commute (“The Port Authority” 22).Nonetheless, each moment is a part of everyone’s life at some point. Many people live these moments together, experiencing similar situations. We have all been in the middle of that “where ...
The participants of “Sidewalk” are Howard, Conrad, Jerome, Shorty, Joe Garbage, Butterroll, Alice, Ron, Jamaane, Marvin, Keith, Grady, Ishmael, and Mudrick and other vendors on Sixth Avenue in Greenwich Village who struggle to with their economic status, on how they struggled in the wake of new economic era and political realities.
One very interesting point that Peiss makes is that there is now a market for leisure time. This market included such activities as attending shows at a nickelodeon, riding the trolley, and, especially in Manhattan, spending the day at Coney Islan...
Ellis, Edward Robb., and Jeanyee Wong. The Epic of New York City. New York, NY: Carroll & Graf, 2005. Print.
The arrival to Manhattan was like an entry to a whole new world: from the sea, its breezes, color, and landscapes, to the heart of the city beating louder than ever at the Whitehall Terminal. I could smell New York’s bagels in Battery Park with a mixture of the most relaxing scents: the coffee people were holding while walking down the streets, the old walls of Castle Clinton ...
Just look at the quote I gave you earlier: “Brooklyn, New York, as the undefined, hard-to–remember the shape of a stain.” He sees it as nothing but a stain on the map. He goes on to talk about “…the sludge at the bottom of the canal causes it to bubble.” Giving us something we can see, something we can hear because you can just imagine being near the canal and hearing the sludge bubble make their popping noises as the gas is released. He “The train sounds different – lighter, quieter—in the open air,” when it comes from underground and the sight he sees on the rooftops. Although some are negative, such as the sagging of roofs and graffiti, his tone towards the moment seems to be admiration. In the second section, he talks about the smells of Brooklyn and the taste of food. He’d talk about how his daughter compares the tastes of pizzas with her “…stern judgments of pizza. Low end… New Hampshire pizza. … In the middle… zoo pizza. …very top… two blocks from our house,” and different it was where he’d grown up. He talks about the immense amount of “smells in Brooklyn: Coffee, fingernail polish, eucalyptus…” and how other might hate it, but he enjoys it. In the same section, he describes how he enjoys the Brooklyn accent and the noise and smells that other people make on the streets and at the park across from his house. “Charcoal smoke drifts into the
When Willy and Linda purchased their home in Brooklyn, it seemed far removed from the city. Willy was young and strong and he believed he had a future full of success. He and his sons cut the tree limbs that threatened his home and put up a hammock that he would enjoy with his children. The green fields filled his home with wonderful aromas. Over the years, while Willy was struggling to pay for his home, the city grew and eventually surrounded the house.
When using the words “street art” to describe someone’s work, you are generally stating that their art is displayed for the public eye to see, and could be used through graffiti, stickers, posters, sculptures, or even video projections. Street artists’ main focus is to reach out to the public presenting something with ample amount of meaning without restrictions from the formal art world. The anonymity of street art interests me because I find it more expressive than formal artwork. I see it as a way to get people’s attention in an altered condition and getting their point across (whether it requires thought or is obviously stated). Some major street artists that we will focus on are Blek le Rat, Banksy, and Dolk. All of these street artists are European based artists, but some occasionally travel to America to express their talent through graffiti. These mentioned visual artists are known for using stencil graffiti, which uses cardboard or other media cut into an image to make it easily reproducible.
Bruce Gilden is Famous street Photographer with a like nothing else in the world type of photography , Bruce Gilden was born in Brooklyn, New York in 1946. He first went to Penn State University to major in and he quit college. Gilden briefly had the idea of being an actor but in decided to buy a camera and to become a Photographer instead. Albeit he did attend some evening classes at the School of Visual Arts in New York, Bruce Gilden is to be contemplated/believed in an immensely colossal/paramount way an autodidactic Photographer .Right from the time he was a child , he has always been interested by the life on the streets and the intricate and fascinating kineticism it involves, and this was the spark that incentivized/established his first long-term personal projects, photographing in Coney Island and then during the Mardi Gras in New Orleans it raised his
When you associate anything with New York City it is usually the extraordinary buildings that pierce the sky or the congested sidewalks with people desperate to shop in the famous stores in which celebrities dwell. Even with my short visit there I found myself lost within the Big Apple. The voices of the never-ending attractions call out and envelop you in their awe. The streets are filled with an atmosphere that is like a young child on a shopping spree in a candy store. Although your feet swelter from the continuous walking, you find yourself pressing on with the yearning to discover the 'New York Experience'.
Photojournalism plays a critical role in the way we capture and understand the reality of a particular moment in time. As a way of documenting history, the ability to create meaning through images contributes to a transparent media through exacting the truth of a moment. By capturing the surreal world and presenting it in a narrative that is relatable to its audience, allows the image to create a fair and accurate representation of reality.
It’s summer at last which means one thing… a holiday. I have been [not so patiently] waiting for the summer holidays, longing for the feeling of the sand between my toes, salty skin and the warmth of the sun. so if your jetting of to somewhere hot, or staying in the rather grey, currently, Britain you will need to know how to capture your holiday. Here are a list of tips and tricks on how to capture your holiday perfectly, no matter where it may be.
My thoughts on my photograph being taken in particular have changed drastically over time. When I was younger, I literally gave no thought to my photo being taken, I barely even remember them being taken. When I look at the photographs of my childhood, I remember the moment in which they were taken, but I don't remember the photo actually being taken. Now I always know when someone is taking a picture of me, sort of like a sixth sense. I think the reason behind that is that when I was younger I loved my photo being taken and now I hide from the camera. Mostly because of insecurities and knowing how quickly a photo can travel now through the internet and social media.