Even though seen at a disadvantage floating in the public baths, the bank manager still keeps something of his official aura. It ought to be remembered that many photo-reportage pictures from the 1930s were meant - as here - either to inspire comic titling or to he viewed together to make an amusing point. Escher's bank manager, for instance, might have been intended to appear next to a seal or a hippo. Readers, as understood from the Hungarian standpoint, looked for amusement and were ever ready to make remarks. This Austro-Hungarian vogue flourished during the 1930s, and was eagerly taken up in Britain, then greatly under the influence of Hungarian editors and photographers. The war of 1939-45 did much, whoever, to bring a new sobriety to photo-reportage, The most popular photojournalist in Hungary. Escher only became a full-time reporter in 1928 after a decade working as a movie cameraman.
Added @ --------------------------------------------------------- Evans Frederick H.
Added @ Evans Walker
Walker Evans was born in St. Louis in 1903 to a well-to-do, puritanical family. In 1922 he graduated from the Phillips Academy, Andover, Mass., and began to study literature at Williams College. He left Williams after one year of study and moved to New York, taking on various odd jobs. In 1926 Evans moved to Paris, intending to become a writer, and attended literature classes at the Sorbonne. 8 He returned to New York in 1927 and clerked for a stockbrokerage firm until 1929.
Evans began taking photographs in 1928, using a small handheld camera. In 1929 he began a lifelong friendship with Lincoln Kirstein (1907-1997), then still a student at Harvard but already a force in American cultural criticism. In 1930 Evans's first publication of photographs appeared in a book of poetry by Hart Crane (The Bridge). He began to photograph nineteenth-century American houses, investing his subject with the desc riptive, archival interest in vernacular detail that would characterize much of his later work. These works were influenced by the French photographer Eugène Atget, whose work Evans saw for the first time in 1930.
Evans's first commissioned work dates from 1933, with his documentation of the political unrest in Cuba. Around this time, he began to work with an eight-by-ten view camera. In 1935 Evans made his first expedition to the southern United States, and began to photograph antebellum architecture. In the summer and fall of that year he also took photographs for the Resettlement Administration (later the Farm Security Administration, or FSA) in West Virginia, Pennsylvania, and the South.
In 1936 the writer James Agee requested that Evans take the photographs to accompany a photo-essay on sharecroppers, which had been commissioned by Fortune Magazine. Agee and Evans stayed with three sharecropper families in Hale County, Alabama, for three weeks during the summer of 1936. Agee's article on the experience was rejected by Fortune. In 1941, an expanded version of the article, along with Evans's photographs, was published as Let Us Now Praise Famous Men. Public attention was then focused on the war, however, and it was not until 1960, with the publication of another edition of the book, which included an expanded section of photographs, that the joint work met with great success.
After the 1930s' photographs of the rural South, Evans continued to expore photography as a medium for addressing and framing subjects of modern life. He used the large-view camera less frequently, replacing it with a two and one-quarter twin-lens reflex camera and a 35 mm camera. He took photographs in the New York subway with a camera hidden in his coat (1938; published in 1966 as Many Are Called); and industrial landscapes from the window of a moving train (1950).
In 1938 Evans's photographs were the subject of the first solo exhibition of photography at the Museum of Modern Art, New York, and in 1971 John Szarkowski organized a retrospective there of Evans's work. Walker Evans died on 10 April 1975 in New Haven.
-------------------------------------------------- Faigenbaum Patrick
Added @ ------------------------------------------------------------------- Faucon Bernard
Added @ ------------------------------------------------------------------------------------------------- Feininger Andreas
Andreas Feininger (1906-1999) worked as a staff photographer for Life magazine from 1943 to 1962, and was an architect of the postwar photography movement, whose large format pictures set a trend in art toward physical immersion. Feininger published dozens of books of photographs and volumes of technical advice to photography hobbyists.
A retrospective of Feininger’s work will be on display at the Loeb Art Center at Vassar College through March 16. Joel Smith, curator of the exhibit, will give a lecture at 5:30pm on Thursday, February 13 in Taylor Hall entitled “In Plain Sight: Andreas Feininger and Postwar Visual Culture.” A reception following the lecture will be held in the Loeb Art Center.
In his book Social Graces (1984), Larry Fink mentions the strong human desire to document in photographs our personal as well as our shared realities: “It is a profound aspect of our culture, this compulsion for proof. It allows me to wade into a party.” Fink’s images range from black-tie events in New York to celebrations of his working-class neighbors in Pennsylvania. Pat Sabatine’s Twelfth Birthday Party, May, 1981 features neither the celebrating child nor what Fink refers to as the “holy mess” of the Sabatine family kitchen, but simply an anonymous hand and the geometry of a gesture. Such intimacies underscore Fink’s belief that all of his subjects, regardless of social status, share the same underlying of emotions, political ideals, and alliances.
Larry Fink was an early admirer of Henry Cartier-Bresson’s work and studied in the 1960s with Lisette Model, who encouraged him to pursue a career as a photographer. Born in Brooklyn in 1941, Fink originally looked to the city of New York for his photographic subject matter. Today he is perhaps best known for work produced in the 1970s documenting parties. An influential educator, Fink has taught at the Yale University School of Art, New Haven; Cooper Union School of Art and Architecture, New York; Parsons School of Design, New York; and the Tyler School of Art, Temple University, Philadelphia. His work has been widely exhibited in the United States, including solo exhibitions at Light Gallery, New York; Massachusetts Institute of Technology, Cambridge; Museum of Modern Art, New York; and the San Francisco Museum of Modern Art.
Dahlberg, Laurie. Larry Fink. London: Phaidon, 2002.
Fink, Larry. The Competitive Edge. Bethesda, MD: Martin Marietta, 1982.
Fink, Larry. Runway. New York: PowerHouse Books, 2000.
Fink, Larry. Social Graces. Millerton, NY: Aperture; Distributed in the U.S. by Viking Penguin, 1984.
Fink, Larry, and George E. Panichas. Fish and Wine: Larry Fink’s Photographs of Portugal. Easton, Pa.: Lafayette College, Art Gallery, Williams Center for the Arts, 1997.
Fink, Larry, and Bert Randolph Sugar. Boxing. New York, NY: PowerHouse Books, 1997.
Fink, Larry, and Joel Sternfeld. Larry Fink and Joel Sternfeld: Photographs: October 23- November 29, 1981: San Francisco Museum of Modern Art. San Francisco: The Museum, 1981.
Shedletsky, Stuart, and Larry Fink. Still Working: Underknown Artists of Age in America. New York: Parsons School of Design, in association with University of Washington Press, 1994.
აუ მაგრად მომეწონა ამის ფოტოები...
Added @ -------------------------------------------------------------------- Fontcuberta joan
Toni Frissell (1907-1988) began her career as a photojournalist and fashion photographer about the time Frances Benjamin Johnston's was winding down. She demonstrated a versatility equal to Johnston's in her work as a staff photographer for Vogue, Harper's Bazaar, and Sports Illustrated and in her publication of several photographically illustrated books, ranging from A Child's Garden of Verses (1944) to The King Ranch, 1939-1944 (1975).
Frissell is perhaps best known for her pioneering fashion photography and her informal portraits of the famous and powerful in the United States and Europe, including Winston Churchill, Eleanor Roosevelt, and John F. and Jacqueline Kennedy. She is noted for taking fashion photography out of the studio into the outdoors, thus placing an accent on the active woman. She is also known for the imaginative angles, both physical and metaphorical, from which she covered her subjects.
The Toni Frissell Collection (340,000 items, ca. 1930-69) includes 270,000 black-and-white negatives, 42,000 color transparencies, and 25,000 enlargement prints, as well as proof sheets, not all of which have been processed for general use. Frissell's own selection of about 1,800 of her best and most representative photographs have been processed for use (LOT 12452) and provide a substantial representation of Frissell's chief interests:
* children * fashion * families * leisure activities such as eating and drinking * members of American and British upper classes * well-known personalities * sports
Other processed groups of images include a substantial portion of Frissell's documentation of World War II military and civilian activities, both in the United States and abroad. Frissell focused in particular on women's contributions during the war, including their Red Cross activities and a 1943 visit by Women's Auxiliary Army Corps (WAAC) director Oveta Culp Hobby to two WAAC facilities.
Frissell documented women from all walks of life and in all situations, sometimes using them to comment on the human condition. Thus, in the single year of 1957, her work ranged from her quiet portrayal of an elderly African American woman enjoying a barefoot moment fishing in the Tidal Basin in Washington, D.C. (LC-F9-02-5706-053-06), to an intimate portrait of actress Elizabeth Taylor with her husband Mike Todd and their infant daughter (LC-F9-52-5709-52A-26); and from a lyrical depiction of two nuns clamming on Long Island (LC-F9-04-5709-012-07) to a shot of a woman taking a “snooze” on the beach at Waikiki (LC-F9-04-5711-015-22).
Frissell's personal papers, which have not yet been prepared for general use, will be transferred to the Manusc ript Division when the entire photograph collection has been processed.
It was the most bizarre sight that a professional photographer had ever seen. When 44-year-old Alexander Gardner got to the Federal Navy Yard in Brooklyn on the morning of April 26, 1865, he found all of his photographic subjects had their heads covered with canvas hoods. Even more bizarrely, it was the Federal government that had sent him there, to photograph for history the men accused of being conspirators in the assassination of President Abraham Lincoln.
Gardner had gotten the telegram from the War Department the day before at his Manhattan brownstone. It said that John Wilkes Booth, who had been at large for 12 days after killing Lincoln, had himself been shot and killed at Garrett’s farm in Virginia. The Secretary of War, Edwin Stanton, who was in charge of the Lincoln murder investigation, requested that Gardner proceed to the Navy Yard on the morrow to photograph the conspirators who were being held captive there.
ვაუ რამდენია!!!! ყველა ფოტოს რომ ჩავწვდე არაერთი საათი დაგჭირდება... ისე არ ჯობია ყველა ფოტოგრაფზე ცალკე თემა გაიხსნას.. უფრო დაამახსოვრბევა საზოგადოებას
fotografebi..., :)
Jun 22 2006, 17:27
Amateur 
Amateur+ 
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<------- მაგრად მომეწონა, მაგრამ ... ეჭვი მეპარება რომ მისი იყოს... თუ ვცდები სორი...
<------ ზოოფილიას აქვს ადგილი 
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NewBie 
<--------- აი მაგარი ფოტო 
<-------- რა ტიპები არიან სამივე ლოლ 
Photographer 
