- Roger Fenton, first war photographer
- photographed the Crimean War
- Matthew Brady, American War
- sent people out to take pictures and took credit
- Timothy O'Sullivan, one of his photographers
- American Civil War, wet plate process
- Harvest of Death
- magnesium flares
- in Panama after Civil War
- geological survey
- William Henry Jackson
- Yellowstone, Rocky Mountains
- hot springs, geysers
- in 1875, on the Rocky Mountains with 12 glass plate negs the size of 20x24 and his camera
- used the collodion process
- sold "postcards"
- aerial photography, Nadar
- 1854, aerial pictures of Paris
- in hot air balloon naked, using wet plate process
- wet plate process cumbersome, achieves detail
- around 1851-1880, was popular
- Richard Maddox 1871, discovers gelatin a carrier of silver salts
- Richard Kemnet and Charles Bennet
- 1879 gelatin a practical process
- use of faster shutter speeds, more light sensitive
- 1882, Edward Weston
- standardization in photographic process with gelatin
- 1876 experiments with photo sensitivity
- Hurter and Driffield
- finding published in 1890
- lead to simplification in developing process and developing in the dark
- prior black and white negs developed in red light development of neg material that could record color
- replace glass plates
- 1854 flexible film base was experimented with
- 1888 George Eastman invented flexible film base
- not transparent
- emulsion separate from backing
- goal to simplify
- buy box camera preloaded with 100 negs
- circular, 2.5 inches
- send back to company, and sent back contact print and reloaded
- $25 for camera, first roll of film and contact print
- $10 after first development
- 27mm f/9 box camera
- buckeye, bullseye, eclipse, PDQ, Tomthumb, Kodak Box
- by 1891 using transparent film with nitrate cellulose
- same process we use today, essentially
- invented by Hannibal Goodwin, came up with nitrate cellulose but could not patent until 1898
- Kodak offered free camera to children under 12 or 13
- "a photographic notebook..." Eastman
- more sensitive film base, less flammable
- better lenses and now new grinding techniques
- larger apertures
- developed color positive and led to the color negative
- 1930 electric flashes
- 1931 photo electric light meters
- 1947 instant photography, Edward Land, Polaroid
- more automatic and now digital
- read pages 256-269
- photography not considered as a visual art until 1998
- painters turned photographers
- photographs created like paintings
- Oscar Rejlander and Henry Peach Robinson
- The Two Ways of Life, 1857 (Rejlander)
- combination print from 30 images, took 6 weeks, 31x16 inches
- displayed in Manchester 1857
- purchased by Queen Victoria
- Bringing Home the May, 1862 (Robinson)
- Dawn and Sunset, 1885
- Carolling, 1887
- sketched out picture before taking it
- Fading Away, 1858 made from 5 negs
- people thought it was horrible, because at the time people believed photos had to tell the truth
- Julia Margaret Cameron
- myth and fable, allegory
- one negative
- straight forward portraits
- photographed Charles Darwin
- Allegorical portraits
- Head of a Child
- "deliberate blur"
- Kiss of Peace
- Rosebud of a Girl
- 1880s, Peter Henry Emmerson
- art form independent from painting
- Coming Home From the Marshes, 1886
- an honesty to his work
- Gathering Water Lillies, 1886
- Setting the Bow, 1886
- "photographs should mimic what the eye sees"
- In the Barley Harvest, 1888
- The Pond, 1888
- fuzzygraphs, soft focus photos
- pictorialism
- 1890-1920 group pictorialists
- accept as a fine art
- Alfred Stieglitz in North America
- in New York group the Photo Secession
- View of Montreal, 1852
- Clarence White
- Ring Toss, 1899
- Gertrud Casbur, Photo Secession
- The Sketch, 1902
- Harvesting Black Forest in Germany, Stieglitz
- 1903-1917, magazine Camera Work
- reproductions of modern art
- 291 Gallery in New York
- shifted to straight photography
- photographic images should be produced without any overt manipulation
- subject matter grew to be more abstract but maintained a straight photography field
- Edward Steichen, Photo Secession
- The Pond, 1898
- Lotus, 1915
- attention to form, clarity of focus
- fine art and commercial photography
- worked for Vogue
- final issue of Photo Works published Paul Strand
Sunday, February 22, 2009
History Lecture #2
History Lecture #3
- Paul Strand, straight photography
- published 1917 last issue of Camera Work
- direct approach to picture making
- abstract images of street scenes, objects, shadows
- Stieglitz "pure and direct"
- photo secession
- Toadstools and Wet Grasses, 1928
- grew through WWI
- Edward Weston, Imogen Cunningham, Ansel Adams
- members of Group F64 in 1932
- promote the straight photography aesthetic
- typically a large view camera with small aperture for sharp image, no cropping, worked very hard to have perfect neg,minimal burning and dodging
show the world as it was - Oak Trees, Yosimite 1935
- St. Francis Church, New Mexico
- Imogen Cunningham
- Magnolia Bud, 1920
- Edward Weston
- Dunes, 1936
- stayed true to straight photography aesthetic
- landscape and studio work
Alvin Langdon Coburn, photo secession - exhibition 5 photos of New York
- Trinity Church, 1912
- cubist art
- optical device vortoscope based on a kaleidoscope
- vortoscope 3 mirrors
- vortograph 1 and 2
- Christian Schad, 1918 cameraless abstractions made photographs
- schadographs
- laid out cut pieces of paper
- Manray and Lazlo Maholy-Nagy were surrealists
- referred to Bauhaus as well
- Maholy-Nagy was a professor at Bauhaus
- the objects he used were based on evocative value
- interested in using extreme angles and unusual viewpoints
- optical true distortions
- our brain makes sense of the scenes
- emphasize form, shape and line
- House Painting
- Untitled, 1928
- Manray photographed an entire scene and would only print a small portion, which led the end result being grainy
- wanted to show part of the photographic process
- first to work with the Sabbatier process
- solarization also referred to as
- Lillies, 1933
- subject the print to raid change in temperature, reticulation
- melted the emulsion, gelatin
- in camera double exposures, photographing reflections
- dream-like, ethereal, photo montage, collage with non-photographic elements
- Jealousy
- Leda and the Swan, 1925, photo montage
- read pages 285-292, 273-284
- social documentary photography, war photography, photojournalism and social landscape (photographing people, buildings and events that represent society at its time) all fall under the same umbrella as straight photography
- influence of surrealism, unusual viewpoints
- pictorialists, soft focus
- Eugene Atget, social landscape
- people overlooked by pictorialists
- Portrait, 1890
- unknown, after death, his work was recognized
- photographed in 1898, Paris and surrounding areas
- worked published in 1926, a year before he died
- Corner, 1924
- House, 1927
- Notre Dame, 1925
- Cafe Entrance, 1901
- Cafe, 1908
- Store, 1925
- St. Claude, 1915
- Versailles, 1901
- democratic approach to photography
- Lampshade Peddler, 1900
- Prostitute, 1921
- Organ Grinder
- posed, long exposure, tripod, achieved clarity
- used glass negatives and a view camera
- "...new process went fast than he could think"
- Jacques Henri Lartigue
- small hand-held camera
- 1963 his work was discovered, took pictures in 1911
- received a view camera when he was 6 years old
- rich, little boy in Paris
- received a Block-Notes camera for Christmas, collapsible, took 4-6 glass plates c. 1/60 of a second
- 4.5x6
- photographed between 6-7 to the age of 12
- Untitled
- The Beach at Vilavil
- Paris DeArcacia, 1912
- My Cousin Jean
- photographed for himself like Atget
- Experiments with Aeroplane
- Grand Prix
- had a focal plane shutter
- not exhibited or published until 1963
- seen as prophetic
- Brassaï, Cartier-Bresson, Kertesz used small hand held cameras, part of social landscape
- capture segments of the flow of life
- Paris 1930s
- Loners, Budapest 1915
- Wandering Violinist, Hungary
- Siesta, Paris 1924
- Eiffel Tower, 1924
- "...the moment always dictates in my work"
- often photographed from buildings looking straight down
- in 1937-38 immigrated to the US
- worked as a chimerical photographer
- Brassaï first studied sculpture, did not not photography
- Paris' night life was his interest
- didn't get into photography until he saw the work of Kertesz
- 1963 portait of himself by his friend Kertesz
- Female Couple, 1932
- Henry Muller, 1932
- Salvador Dali, 1933
- Street Walker
- straight forward presentation
- shot with a flash and on a tripod
- altered light existing at the scene
- used indoors and outdoors
- Gate, 1932
- Prison Wall, 1932
- Henri Cartier-Bresson, in Paris
- epitomizes the ability to capture the moment
- started as a painter,started photographing in 1932
- "align the head,the and the heart"
- work shown in New York in 1933
- described as taken accidentally, criticism
- seen as unreal and no deliberate
- Paris, 1932
- coined the phrase "the decisive moment"
- subject and form coming together
- describe the camera as extension of the eye
- "for me the camera is a sketch book"
- Paris, 1954
- Far From Home, Santa Clara Mexico 1934
- Istanbul, 1965
- "a simplicity of expression"
- environmental portraits
- photographed Matisse, 1944
- more like his street photography, spontaneous
- William Falkner, Mississippi 1945
- India, China
- "...when emotion and form collide"
History Lecture #4
- social documentary photography
- their culture, time and society (described)
- like a social activist
- 1880, Jacob Riis
- police photographer, New York
- affect position change
- was a police reporter, not a photographer first
- people in the slums
- Bandit's Roost
- Pifford and Lawrence (photographers) and Dr. Nagle
- Baxter Street Alley, 1888
- lantern slides
- 1888, published 12 drawings of his photographs
- article name Flashes from the Slums
- shot with a large view camera, magnesium flare and glass negatives
- 1890, book, How the Other Half Lives
- 36 images, 17 were printed in half tones, 19 were shown as drawings / engravings
- the impact wasn't there or what he intended
- badly reproduced
- Alexander Eland, found the negatives in 1947, reprinted them and displayed them in New York
- sympathetic
- Louis Hine,sociologist, 15 years later
- thought camera would be a useful tool
- hoped to make better for poor or underprivileged
- in New York and photographed immigrants arriving after WWI
- Looking for Lost Baggage, 1905
- understood that his photos were subjective
- same intent as Riis
- referred to as photo interpretations
- Carolina Cotton Mill, 1908
- photographed child labour
- Child Labour, Chester New Hampshire
- Coal Sorters, Pennsylvania
- c. 1918 went to Europe to photograph red cross workers
- Men at Work, book in the US people doing different jobs
- not creating an image for melodrama, but a straight-forward representation of jobs that happen to be dangerous
- August Sander, working on an atlas / catalog of people, Germany
- Man in the Twentieth Century
- trained as a portrait photographer
- his own studio near Cologne
- Studio portrait and environmental portrait
- got tired of photographing the wealthy
- made over 600 photos for his project
- Architect, 1929
- Boxer, 1929
- Business Man, 1928
- Circus Artist, 1926
- Circus People, 1930
- City Children, 1932
- Corps Student, 1928
- 1929 first volume of his work, Face of Our Time
- first of what he hoped to be part of 20 volumes
- Varnisher, 1932
- his plates were destroyed, Nazi regime did not approve
- the only volume that got published
- 1930s depression in the US
- US created agencies to promote financial aid
- one agency was to hire photographers to document the progress of these agencies, and the people they met
- Farm Security Administration, FSA, government agency
- Walker Evans, 1936, FSA
- prior, during and after FSA work, explored a "dual theme" the American form and the American people
- large view camera, 8x10
- Burrows Alabama
- Burrows Kitchen, 1936
- schools, churches, graveyards
- New York subway portrait
- sat on the subway and hid his camera in his coat
- 35mm camera, smaller, less noticeable
- Chicago street portraiture project
- remembered by his work for the FSA
- Dorthea Lang, joined FSA in 1935
- prior interest by people affected by the depression
- exhibition in Oakland, c 1934, 1935
- remembered for people
- Ditched, Stalled and Stranded, 1935
- families, mothers and their children
- Jobless at the Edge of a Pea Field
- Migrant Mother, 1936, more published and widely well known
- hands, off, do not molest or touch, arrange
- sense of place, sense of time
- no manipulation
- late 70s, Florence Thompson, after Lang's death, wrote a letter expressing anger towards not being paid for the picture
- had a stroke and family could not afford medical expenses
- didn't ask for her name or to ask to take their pictures
- Florence felt exploited
- Dorthea didn't introduce herself
- Steglitz and White worked with metaphor to get passed the subject matter
- emotionally symbolic idea that was created by formal or structural elements, the sentiment
- Sun in rock, 1947
- Rock and Frost, 1958
- Minor White
- for what else it is
- 1957, article found photographs
- Aaron Siskind
- Kentucky, 1951
- Symbols in Landscape, 1944
- both are abstract, but like straight photography
- Jerry Uelsmann, practiced combination printing
- studied under Minor White
- "...a certain moment when things just come together"
- '...produce something that is uniquely his"
History Lecture #5
- Robert Frank, Diane Arbus, Garry Winogrand, Lee Friedlander - street photography (for the most part), socical landscape but more of a critical eye
- interested in seeing more than the human eye
- creates meaning, expresses something of the maker's experience
- kind of similar to the straight photography aesthetic, no post manipulation
- Diane Arbus is an exception to falling under these categories for sure
- Robert Frank, from Switzerland, came to the US in the early 1950s
- received Guggenheim in 1955, American grants
- published a body of work "The Americans"
- "sorted, neglected and forlorn" slammed by critics
- used 35mm
- loose, restlessness in his work
- intuitive, responded to what he found interesting
- Candy Store, New York City
- Charleston
- The Hearse
- had an influence on the next 3 photographers
- Garry Winogrand, American culture
- influenced by Robert Frank and Walker Evans
- city and urban landscape
- animate and inanimate objects, juxtaposition
- gives the feeling that something is just about to happen
- often utilizes a slanted horizon
- close, rapid and close to subject, tilted
- published 5 books, published by subject matter
- "The Animals" taken at zoos
- animals exuded human-like qualities and humans seemed to exude animal-like qualities
- "Public Relations" media events
- hoped to highlight life at that time
- "I photograph to see what the photograph will look like"
- passed away in 1984, photographed until his death
- Lee Friedlander
- influenced by Eugene Atget, Walker Evans and Robert Frank
- photographed American culture
- foliage, street images, nudes, landscapes, portraits and self portraits
- densely packed frames
- busy scenes and created order
- strong formal appreciation for geometry
- photographed between 1964-1972
- New Orleans
- Route 9 West, New York
- Texas, 1965
- Diane Arbus
- photographed between 1962-1971, until her death
- worked in fashion, father owned a fur store
- opened a studio with her husband Allan Arbus, later divorced
- photographed people on the fringes of society
- Albino Sword Swallower
- photographed normal people and their oddness, and well as odd people and their normalises
- influenced by August Sander
- posed subjects, frontal pose and lighting almost always centered
- brought up issues of subject representation
- talked to subject until there were exhausted
- photographing people with a marginalized life
- felt her parents sheltered her
- King and Queen of a Senior Dance
- Lady Bartender
- Man in Curlers
- Jeff Wall, Canadian photographer
- A Gust of Wind
- started as a painter
- wasn't interested in taking a photojournalistic approach
- constructed like a painting
- 3 aspects of how images were displayed: Large size - his work is measured in feet, not inches. Produced images as unique objects, not as editions. Presented them as enormous, back lit transparencies
- the way he constructed his images
- inspired by paintings, and things he witnessed on the streets
- his images are contrived and artificial
- concerned with the physical beauty of his image
- more than 100 shots, digital files
- would work on some pictures for over a year or two
- The Flooded Grave
- In Front of a Night Club
- Men Waiting
- Grogory Prudson, influenced by Jeff Wall
- contemporary photographer Andres Girsty
- Shanghai, 2000
- images are digitally manipulated
- uses overhead, broad views
- concentrates on capitalism
- sites of tourism, offices, hotels
- 99¢
- Philip-Lorca diCoricia
- reworking the documentary style
- strange place between documentary and fiction
- straight documents that look like film stills
- no manipulation afterwards
- hid lights on the streets
- Gregory Crewdson
- overwrought-Americana
- works in New England area, staged
- Ophelia
- Luring Augustine, 2006
- film crews, make up artists
- "underline an edge of anxiety..."
- pays attention to lighting
- no one definition of what art should be
- Wolfgang Tillmans
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