კარგი საქმეა ისე რობერტ კაპა თბილისში იყო 1947 წელს მწერალ ჯონ სტეინბეკთან ერთად. თითქმის მთელი საქართველო მოიარა, ბევრი ფოტო გადაიღო და აღფრთოვანებული დარჩა. მანამდე საბჭოთა კავშირის სხვადასხვა კუთხეები მოუვლიათ. წიგნში, რომელიც ამ მოგზაურობას მიუძღვნეს, საქართველო ცალკე სახელმწიფოაო, ამბობენ, სიმდიდრით, ჩაცმულობით და სილამაზით გამორჩეულები არიან და ულამაზესი ბუნება აქვთო.
ალბათ, მსოფლიოში უმდიდრესი ხალხიაო... ახლა ჩამოახედა!
იქნებ საქართველოს ფოტოებიც დევს სადმე, მოძებნა უნდა
დავუბრუნდი ჩემს გენიალურ პაპკას თავის გენიალური ფოტოგრაფებით... სად გავჩერდი? Added @ Dahl-Wolfe Louise
Louise Emma Augusta Dahl was born to Norwegian parents in San Francisco, California on November 19, 1895. In 1914 she began her studies at the California School of Fine Arts (now the San Francisco Art Institute) where she stayed for six years, studying design with Rudolph Schaeffer. She became interested in photography in 1921 upon meeting and seeing the pictorial work of Anne Brigman. Dahl worked as a sign designer for the Federal Electric Co., San Francisco from 1920 to 1922. She studied design and decoration, and architecture at Columbia University, New York in 1923. In 1924 she was employed as an assistant to decorator Beth Armstrong in San Francisco, and from 1925 to 1927 she worked for Armstrong, Carter and Kenyon, a fashion wholesale company. In 1928 she met the sculptor Meyer Wolfe in Tunisia and married him in San Francisco. She wanted to take the last name Wolfe, but later, lest she be mistaken for a particular commercial photographer by the same name, she adopted the hyphenated “Dahl-Wolfe.”
Dahl-Wolfe began to concentrate on making photographs while in San Francisco and Tennessee in the early 1930s. She spent the summer of 1932 in Gatlinburg, Tennessee photographing the people of the Smoky Mountains. One of those portraits became her first published work, appearing in Vanity Fair in 1933, and Edward Steichen included her Tennessee pictures in a retrospective exhibition at the Museum of Modern Art, New York in 1937. From 1933 to 1960, Dahl-Wolfe operated a New York photographic studio that at first was home to the freelance advertising and fashion work she made for stores including Bonwit Teller and Saks Fifth Avenue, but soon was in use for Harper’s Bazaar projects (including such photographs as the carefully staged Japanese Bath from 1954 and Isamu Noguchi, New York, the 1955 portrait of a designer and his lamps).
From 1936 to 1958 Dahl-Wolfe was a staff fashion photographer at Harper’s Bazaar. During that tenure, Dahl-Wolfe’s photographs featured in the magazine included 86 covers, another 600 published in color, and thousands in black-and-white. A cover image of Betty Bacall sent the model for a Hollywood screen test where she soon changed her name to Lauren. While working for Harper’s Dahl-Wolfe pioneered the use of natural lighting in fashion photography and shooting on location. She photographed in locations all over the northern hemisphere: from Laguna Beach, California (Rubber bathingsuit, January 1940), to the winter quarters of Ringling Bros. and Barnum & Bailey Circus in Sarasota Florida (Two models with elephants, May 1947) to Granada, Spain (Jean Patchett, 1953). Her innovations and modernist touches kept her widely celebrated in the 1930s, 40s and 50s, and she is remembered as an influence on a generation of photographers including Horst, Richard Avedon, and Irving Penn.
Dahl-Wolfe preferred portraiture to fashion work, and while at Harper’s she photographed cultural icons and celebrities including film-maker Orson Wells (1938), writer Carson McCullers (1940) designer Christian Dior (1946), photographer Cecil Beaton (1950), writer Colette (1951), and broadcast journalist Edward R. Murrow (1953). In addition to her Harper’s responsibilities, Dahl-Wolfe was able to pursue her own vision in the studio and sometimes even while on assignment. For example, she asked a model to pose for the unpublished Nude in the Desert while on location in California’s Mojave Desert shooting swimsuits that would appear in the May 1948 edition of Harper’s.
From 1958 until her retirement in 1960, Dahl-Wolfe worked as a freelance photographer for Vogue, Sports Illustrated, and other periodicals. Major exhibitions of her work include Women of Photography: An Historical Survey at San Francisco Museum of Modern Art (1975); The History of Fashion Photography (1977) and Recollections: Ten Women of Photography (1979) at International Museum of Photography, George Eastman House, Rochester, New York; and Portraits at the Center for Creative Photography, University of Arizona, Tucson (1986). Retrospectives include shows at Grey Art Gallery, New York University (1983); Cheekwood Fine Arts Center, Nashville, Tennessee (1984); and Louise Dahl-Wolfe: A Ninetieth Birthday Salute at the Museum of Contemporary Photography, Chicago (1985). Louise Dalh-Wolfe lived many of her later years in Nashville, Tennessee, though she died in New Jersey of pneumonia in 1989.
Bruce Davidson spent two years photographing in the apartments, on the streets, and in the lives of the people of East Harlem. This project, published as East 100th Street (1970), examines poverty in urban America. The portrait reproduced here is relatively simple and straightforward: the tenuous smile of the young girl contrasts with the glare of her boyish companion, speaking to both the normalcy and particular stresses of life in the urban environment. His series The Brooklyn Gang, 1959, documented Davidson’s similar immersion into a group of Brooklyn teenagers who called themselves “The Jokers.” Introduced to the group by a social worker, Davidson followed them around their Prospect Park and Coney Island neighborhoods, examining the young men and their girlfriends. Full of period details, such as slicked-back hair, cigarette machines, tattoos, and old-fashioned soda bottles, the photographs serve not only as records of a past age but also as a lasting tribute to the youths’ search for love and excitement while revealing their surprising vulnerability and desperation.
Born in Oak Park, Illinois in 1933, Bruce Davidson was introduced to photography at age ten when he purchased a camera with money earned from a paper route. Influenced by the photojournalistic and documentary work of W. Eugene Smith and Henri Cartier-Bresson, Davidson is well known for his photographs of East 100th Street in Harlem, of circus dwarfs, and of Welsh coal miners and village life. A member of the prestigious Magnum Photo agency, Davidson studied photography at the Rochester Institute of Technology and Yale University. His photographs and films have been exhibited internationally. Exhibition venues include the International Center of Photography, New York; Museum of Modern Art, New York; and Walker Art Center, Minneapolis.
Davidson, Bruce. Bruce Davidson Photographs. New York: Agrinde Publications: Distributed by Simon & Schuster, 1978.
Philip Lorca Di Corcia was born in 1953, in Hatford, Connecticut. He studied with Jan Groover who taught him a new approach to photography that included not only the recording of reality, but inventing another way for expressing his point of view. At the beginning Lorca Di corcia portrayed his family and his friends. He has never been a prolific photographer, he takes about a dozen shots a year. After graduating at Yale, in New York, in the 80s he worked for travel and fashion magazines. Di Corcia learned from those commissions to represent reality like fiction, in a more fascinating way than the truth. When the N.E.A. awarded a Grant to Lorca Di Corcia in 1989 to recognize his works, there was full debate on Mapplethorpe's explicit photographs. Di Corcia, as others photographers too, was forced to limit his sharpness not to interrupt the fund he received. Santa Monica Boulevard was the next stage to perform his pictures, a place where male transvestites, prostitutes, loafers take the scene. He chose the scenes and the persons before shooting photographs. He focused his attention on lights and details. The location were built in every details. The set being created like a cinematic stage set using many artificial lights and directing the persons as a filmmaker would do. Later he continued to look at the street life in big cities like Tokio, New York, Berlin, Mexico City and other cities, remaining coherent to his work and his poetic. Di Corcia doesn't look at the events with irony, but with cynic eyes, and returns us the images he has felt part of, consciously. The reality for Di Corcia is always an unknown that astonishes in positive or in negative. Photography for him is an elusive medium and a discloser at the same time, which renders the viewer active witness, narrator of what they are looking at, and free to be led by the events recorded by the camera towards the other side of the truth. Loretta Zaganelli
Robert Doisneau’s penchant for catching moments which reveal whole relationships is perhaps most famously rendered in his much-reproduced 1950 photograph Le Baiser de l’Hôtel de Ville (Kiss by the Hotel de Ville). Yet, this same gift is just as clear in the slyly comical encounter between a guard and the bearer of balloons in his 1946 photograph Le Garde et les Balloons. The guard’s face, turned in sharp attention towards the great bunch of playful balloons that so contrast with the stately gravity of his own uniform, seems to be assessing the danger posed by this helium bouquet, the thin spine of his rifle gleaming like a straight pin ready at an instant to pop the passing threat. The visual push-pull of the dark foreground and the light buildings and sky in the background seems to mimic the tension between guard and balloon-bearer moving in opposite directions. That composition owes as much to Doisneau’s private personality as it does to his practiced sensibilities of what a black-and-white street picture should look like; later in his career, Doisneau remarked on early pictures such as this, “My shyness censored me, and I took people only from a distance. As a result, there was space all around them, and this was something I tried to get back to.”
Robert Doisneau was born on April 14, 1912 in the Parisian suburb of Gentilly, France. He studied lithography starting in 1925 at École Estienne, Paris, and then letter designing at Atelier Ullmann. Doisneau made his first photographs in 1930. In 1932 he bought his own camera and began photographing Paris and its suburbs, a project that would become his life’s work. Doisneau worked for Renault as an industrial and advertising photographer from 1934 to 1939. He was part of the French Army between 1939 and 1940, going on to forge documents for the resistance and making postcards for income during the war. In 1948/9 Doisneau began work for French Vogue, but returned to photojournalism three years later. He has had solo exhibitions at the University of California at Davis; Witkin Gallery, New York; Galerie et Fils, Brussels; Musée d’Art Moderne de la Ville, Paris; Museum of Fine Arts, Beijing; Villa Bedicis, Rome; and National Museum of Modern Art, Kyoto, among other institutions. There have been major retrospectives of Doisneau’s work at the Bibliothèque Nationale, Paris; Art Institute of Chicago; and George Eastman House International Museum of Photography and Film, Rochester, New York. Doisneau died in Paris on April 1, 1994.
Even so, Drtikol's talent as a photographer of portraits is just one part of the reason why his work is so celebrated today. His artistic photographs were more daring: pushing the boundaries of the avant garde, first, by concentrating on more and more expressive nudes, then, eventually, eliminating the live model entirely. Drtikol embraced coming geometric ideals of the Art Deco movement, and began using cut-outs and softness of lighting or contrast to create dream-like compositions. Compositions that - at times - seemed to express different modes of being, even, different planes. But, the human form remained central - at first - the human expression, the human face. From portraits to the first nudes returning his gaze; Drtikol wrote: The eye is a great, beautiful chapter. And one that you never finish reading. I find that its range of expression keeps expanding, depending on how the sharpness of my own eye improves and how my empathy for other people deepens. The glint of an eye... A model once came to me: a gaunt, plain face, a thin body, but uncommonly pretty eyes - large and sad. I would have liked to place those eyes somewhere in a void, so they could live a completely separate life, so they could live through their sad beauty." One of the genuine pleasures in seeing a retrospective of Drtikol's work, then, is the comparison between the real and the abstract side by side: prints of live models, posing coyly for the camera, in juxtaposition with bodies in motion: fleeting, elongated shapes that one realises with a jolt are just shapes stretched across an unreal span of space - a shadow caught in a sliver of light. Photo: Frantisek Drtikol Photo: Frantisek Drtikol Stanislav Dolezal is a foremost expert on Drtikol's work, who spent many months poring over the great photographer's negatives and prints while putting together a recent exhibition that received acclaim in the Czech Republic, Hungary, and Germany, an exhibition titled Eyes Wide Open. He explains the important turning point in Drtikol's career: "In 1930 Frantisek Drtikol stopped using live models but began creating figures that he inserted into his compositions instead. At the time he said it was the first time that he was really happy with his photographs. However, he didn't fully give up on live models: he occasionally incorporated them still. He mixed and matched real elements with stylised details." The photographer's own writings, published in English for the first time under the title Eyes Wide Open, offer a clue into his relationship with his models. He wrote that he wanted to photograph them in their most natural state - the nude as God created them, "nakedness as beauty itself". But, already it was clear that the model was just one important element: "I am inspired by three things: decorativeness, motion, and the stillness and expression of individual lines. I then use the background and props - simple objects such as circles, wavy lines and columns - accordingly. I let the beauty of the line itself make an impact, without embellishment, by suppressing everything that is secondary... or else I use the body as a decorative object, positioning it in various settings and lights. This is how I create all my pictures." Ultimately, for Drtikol live models were not always malleable enough to capture his ideas, leading to frustration and delay - elements he sidestepped in the latter phase of his work when the figures he introduced became flattened, elongated and stretched, sometimes in rhythmic patterns meticulously placed throughout the frame. Anna Farova is a well-known Czech art critic and historian deeply involved with Drtikol's work throughout much of her professional life. "The figure is part of all of the other elements in the frame that are balanced in a way, I would say, that is most pleasing for the eye. Light, composition, contour - all fill in the frame, complementing each other. As photographer Josef Sudek said 'Drtikol was a painter who happened to photograph' and I think that is very true." Drtikol's later period, for which he was duly recognised, also echoed his spiritual focus: the photographer had become increasingly fascinated with Buddhist literature and thought, says Stanislav Dolezal and these principles found their place in the photographer's work. "You could say he 'breathed' life into his figures, he gave them 'life'. In the 1930s Drtikol became more and more in touch with the spiritual side of things and in his photography he tried to show the ephemeral quality of the soul. At this point he had come far along his spiritual path." But then, in 1935, Frantisek Drtikol abruptly gave up his photographic career to return to painting: never again would he capture the world's attention as he had since the 1920s. Why did Drtikol give up photography at the height of his talent, after more than 25 years? There aren't any easy answers: "It's difficult to know the full reason, but we know that the 1930s saw economic crisis and we know that Drtikol's studio, which had been so successful till then, began to fail. Until then it had been very fashionable for Prague residents to have their portrait taken by Drtikol. Now though, as reality set in, he had less and less time for his own work. He gave up photographing completely; however, he still held courses and lectures on photography and composition for amateurs, so he didn't completely lose touch." Frantisek Drtikol sold his studio in 1935 and slowly drifted into obscurity. It seems difficult to believe, given the immense power of his photographic work, but he died practically forgotten in 1961. A rediscovery and renewed appreciation of his work would follow only after, largely thanks to the work of art historians like Anna Farova. Today, there is no mistaking his place in the 20th century canon: a great Czech photographer who captured the female form in motion and "in flight".
<----- ეს არის გენიალური ფოტო! Added @ Dupain Max
Max Dupain's extensive and acclaimed photographic output includes an important series shot between 1936 and 1940 of dancers from Ballets Russes companies that were visiting Australia at the time: the Monte Carlo Russian Ballet, the Covent Garden Russian Ballet and the Original Ballet Russe. Mostly posed, indoor studies they capture the glamour and allure of the dancers, who included Irina Baronova, Helene Kirsova, David Lichine, Serge Lifar, Sono Osato, Paul Petroff, Tamara Toumanova and Igor Youskevitch. A small part of the series was shot outdoors in Frenchs Forest using natural light. The series was commissioned by the publisher Sydney Ure Smith and many of the shots were originally published in glossy magazine The Home. Dupain also photographed dancers of the Kirsova Ballet and the Bodenwieser Ballet in Sydney during the 1940s. ძველი ფოტოგრაფები მაინც სულ სხვები იყვნენ!
Added @ Durieu Jean-Louis-Marie-Eugenie აი ამხელა სახელი ჩავწერე და ვერ ვიპოვნე
რობერ დუანსო გენიოსია!!!!!!!!!!!!! მაგის მერე არა, და მერე რომ ტიპი იყო, იმანაც დაგლიჯა! ჩამოხეული ბილბორდები, დიიიიიიიიიიიიიიიიიდი მადლობაააააააააააა იზვინი, ნიკს გეძახი, სახელი არ ვიცი
William Eggleston’s latest monograph features photographs taken during the early 1970s using a large format 5x7 camera. While the book includes imagery typical of the Eggleston oeuvre– streetscapes, parked automobiles, portraits of the strange and disenfranchised–the book also offers never-before-published photographs taken in the nightclubs Eggleston used to frequent.
With it [his camera and portable strobes] Eggleston could shoot in virtual darkness in the juke joints and clubs around Memphis. The portraits are offhand and spontaneous but insistently stark; their brutality is heightened by the absence of color. The portraits have a leveling effect–whether biker or debutante, the people Eggleston photographed are clearly denizens of the same realm. [He] is reminding us: look closely, each of these individuals is subtly different. -Walter Hopps
Riveting as the sitters’ accoutrements are, most compelling is the way in which each person is at once magnified–laid bare and vulnerable. . . . Staring, smiling, grimacing, glowering, these are less portraits of “individuals” than of the expressions that settle fleetingly on their malleable features. Each face feels stranger and more physically ambivalent than the next.
fotografebi..., :)
Apr 29 2006, 01:20
Amateur 
Amateur+ 
მეც ვერთობი 
NewBie 
Photographer 
და ამათ რამდენი გადაიხადეს, მითხარი აბა ჯერ 
<----- ამ სურათზე გავჭედე
<----- ეს არის გენიალური ფოტო!
<------- მაგრად ვიხალისე
<----------------- უმაგრესი კადრია... ჰოლანდიაზე მაფანატებს 
<-------- ვახ ეს ანა ფრანკი არაა? 