[ ] · · fotografebi..., :)

[chamoxeuli bilbordebi]

Abbe James:



Abbott Berenice:





Adams Eddie:



- Eddie Adams Workshop XVII - Awarded an assignment for “Guitar World”
- 59th College Photographer of the Year - Honorable Mention - Pictorial
Published:
- San Francisco Chronicle, News Photographer, Current Magazine,
The Skateboard Mag., Thrasher, Onboard, Titus, South Coast Beacon,
Juice Magazine, VC Reporter, Herbivore, Audrey, surfclass.com.
Exhibitions:
- A Camera with a Person Attached. Ventura, CA 2004





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Adams Shelby lee:

For more than twenty five years Shelby Lee Adams has been photographing in Appalachia,
documenting families residing deep in the Kentucky mountainside.
His unrelenting dedication to this region is a testament to his desire to bring honor to people he has come to call family.
Shelby Lee Adams was born in Hazard, a small town in eastern Kentucky.
Although he grew up in the back seat of his father's car, moving from place to place,
Hazard was where he settled, living with his grandparents while he attended high school.
Trapped between two world -- country kids and town kids -- Adams never fit in,
immersing himself in photography books and anything affiliated with the arts.
This was the mid 1960s and the Peace Corps had a great interest in the poverty sweeping the people of Appalachia.
When a film crew visited his home town, Adams naturally wanted to help,
taking them to his meet his grandparents and his uncle so they could film their daily lives.
When the media described them as malnourished and poor, his friends and family felt betrayed.
This devastated Adams, who felt he had misled the people he so dearly loved -- an
experience that had a profound impact on him.

It wasn't until he left Kentucky to attend college that he understood the lessons
he learned from the country people.
A summer job working at a mental institution helped shape his understanding and
compassion for people deemed unfit -- a lesson which helped his artistic growth.
While attending junior college, Adams decided he wanted to go to art school and was accepted
at the Cleveland Institute of Art. Finally surrounded by artists, he experienced a complete culture shock,
rejecting his Appalachian upbringing, telling people he was from Cincinnati.

Embarrassed by his past, Adams stayed away from Hazard and his family, searching for a new identity.
By the second year in college, Adams was exposed to the FSA photographers who documented the
lives of people living in poverty. Although initially defensive about the work, Adams submerged himself
in documentary books, showing them to his family on a summer visit. His uncle, a county doctor, took him
on house calls to meet people similar to the ones in the books. More than twenty five years later,
Shelby Lee Adams is still visiting these people, returning year after year, documenting their lives.

Whether documenting a home funeral,
a family gathering on the porch or the worn faces of poverty,
Adams's images are so raw we want to both turn away and stare.
The humanity in their faces, the comfort of their stance, are indications that an insider
is showing us a reality few people would ever see. That Adams has returned to the same
families for years is a testament to his dedication to show their painful existence while
maintaining their dignity. Although he now lives in Massachusetts, Shelby Lee Adams's
heart is forever in Appalachia.











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Aigner Lucien:

Lucien Aigner / Aigner László (Érsekújvár, 1901 – Waltham, 1999) He is a photo reporter who at ninety-six is
capable of getting into a sprightly argument, in a Japanese restaurant in Massachusetts, with his bosom buddy
Stefan Lóránt about whether Márkus Emília was a member of the National Theatre in 1919, and whether the
tram used to stop before the theatre or not. Meanwhile, two world wars and eighty years have passed.
It is hard to find an archive of such richness as his.
It would be just a slight exaggeration to say that any well-known personality absent from those archives
cannot have existed.A museum has been organized out of his collection of pictures already during his lifetime.










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Allard William Albert:






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Alvarez Bravo Manuel:


Manuel Alvarez Bravo
Born 1902, Died 2002
Photographer

A self-taught photographer, Manuel Alvarez Bravo purchased his first camera at age twenty while working at a government job. His earliest success at photography came around 1925, when he won first prize in a local photographic competition in Oaxaca. He returned to Mexico City, where he had been born, and in 1927 met Tina Modotti, who introduced him to a lively intellectual and cultural environment of other artists from various disciplines. Among them was Edward Weston, who encouraged Alvarez Bravo to continue photographing; Weston wrote to him in 1929: "Photography is fortunate in having someone with your viewpoint. It is not often I am stimulated to enthusiasm over a group of photographs."

Alvarez Bravo taught photography at the San Carlos Academy in the late 1930s, documented the work of Mexican mural painters including Diego Rivera, and contributed images to the journal Mexican Folkways . His primary subject interests have ranged from the nude form to folk art, particularly burial rituals and decorations.














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Andriesse Emmy: from holland






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Annan James Craig:

James Craig Annan (1864-1946). Artist of 2 portraits.

Born in Dumbarton, William Strang came to London to study at the Slade School under Alphonse Legros and remained there for the rest of his life. A prolific painter of portraits, biblical and subject paintings, he is best known for his portrait drawings in a style based on Holbein, and for his many etchings which are remarkable for their unity of vision and superb draughtsmanship. This photogravure was published in America in Alfred Stieglitz's Camera Work in July 1907 under the title The Etching Printer - William Strang, Esq., ARA. It shows Strang, who stands before a printing press, examining an etcher's plate.






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Appel Dieter:

Dieter Appelt has been a Professor of Photography, Film and Video at the Hochschule der Kunst in Berlin since 1982. He studied photography at the Academy of Fine Art in Berlin as well as music at Leipzig and Berlin Music Academies.

Appelt's work of the late 70's & 80's was typically related to performance art and often incorporated a level of sculptural construction. He began photographing to record his performance in outdoor settings -for some of these performances he built structures out of branches and positioned himself within the construct - a tower roughly crafted of tree branches, a slab cut into the ice, and mud as a protective yet primal second skin. Duration and decay are persistent themes in Appelt's photographs. He often uses exposures that are hours long in an attempt to record the effects of the passage of time.

His photographs have been exhibited extensively in Europe since the 1970's. He has had major solo exhibitions at the Guggenheim Museum in New York, the Art Institute of Chicago and the Staatliche Museen zu Berlin. Appelt's work has also been acquired by major collections internationally including the Museum of Modern Art, New York; the Victoria and Albert Museum, London; Centre George Pompidou, Paris; and the San Francisco Museum of Modern Art, California.
Dieter Appelt is linked to the following websites:










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Araki Noboyushi:

This is a one-man exhibition of Japanese photographic prodigy, Araki, who achieved the brilliant success overseas as well in throwing private exhibitions in Venice, Korea and other places in 2002. His early works were defined with its sharp expressions that scoop out the private inner self of the model, after that there was a series of portraits, nudes and landscapes in typical “Arakism” style with a touch of irony, rebel and satire. The exhibition this time features 10 color prints and 5 monochromes focused on the theme of “hyper-beauty” with young female models as the photogenic subject. This interesting collection is successful in exposing Araki’s aesthetic that refines fleeting eroticism from any context of society and metaphor.









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Arbus Diane:

Photographer Diane Arbus (1923-1971) captured provocative and unsettling portraits of modern Americans that were difficult to put aside. Her unflinchingly direct and often controversial photographs are enjoying renewed attention in the art world.

An Arbus show that opened Jan. 12 at New York University's Grey Art Gallery and will travel to Lawrence on a national tour, shows the influence of KU's Spencer Museum of Art.

Organized by the Spencer Museum and the Mount Holyoke College Art Museum, "Diane Arbus: Family Albums" holds at its heart more than 200 previously unseen photographs, both contact sheets and finished prints, which Arbus in December 1969 made for a private commission. Also on view are images Arbus shot on assignment for Esquire magazine, including pictures of the families of Ricky Nelson, Jayne Mansfield and Ogden Reid.

The exhibition catalog has received widespread critical acclaim. The book features essays by the two curators: John Pultz, KU associate professor of art history and the Spencer's curator of photography, and Anthony Lee, associate professor of art history at Mount Holyoke.










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Arnold Eve:

Eve Arnold was a world class photojournalist who followed Marilyn's career. She was trusted by Marilyn, who often called on her when the pictures had to be right.









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Atget Eugene:

Atget was born February 12, 1857 in Libourne, France. A sailor until 1879, an actor until 1897, and then briefly a painter before taking up photography in 1898, he brought a utilitarian’s sensibilities to his documentation of vieux Paris (Old Paris). Atget described himself as an archivist, lecturer, and author/publisher, while the sign on his door labeled his photographs merely as “Documents for artists.” Though this very private man shirked the title of artist (famously asking that his name not accompany his photograph “L’Eclipse—Avril 1912” when published in La Revolution Surrealist), he came to be celebrated by the surrealists, heralded as an important precursor to the New Objectivity, and remembered for a strong influence on the work of Walker Evans, Lee Friedlander, and many others. Man Ray claims to have discovered him (around 1926), but most of the world came to know Atget posthumously through Bernice Abbott’s tireless promotion of his work and his place as both ancestor and forerunner to modern photography. Atget was still largely unknown when he died in Paris on August 4, 1927, but within a decade was all but cannonized. Today his work numbers in most major institutional collections, such as those of the J. Paul Getty Museum in Los Angeles, The Museum of Modern Art in New York, and the Bibliotheque Nationale in Paris.










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Atwood Jane Evelyn:

Jane Evelyn Atwood, born in New York but living in France since 1971, received the first W. Eugene Smith Grant in Humanistic Photography for her continuing study of the blind. Her book on the subject, "Exterior Nuit," was published in 1998 as part of the Photo Poche series by Editions Nathan. She is the author of four other books, two on French prostitutes in Paris, one on the French Foreign Legion, and her most recent, "Too Much Time," a 10-year study of women in prison. In 1987, she received a World Press Prize for "Jean-Louis--Living and Dying with AIDS."










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Averon Richard:












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ასო A ამოვწურე და თუ ვინმეს დააინტერესებს B-ზე გადავალ

[chamoxeuli bilbordebi]

Drtikol Frantisek

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!
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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!











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Durieu Jean-Louis-Marie-Eugenie აი ამხელა სახელი ჩავწერე და ვერ ვიპოვნე