Callahan Harry:

Born in Detroit in 1912, Harry Callahan was a self-taught photographer. Callahan began taking pictures in his hometown Detroit for fun, opting for an inexpensive point and shoot camera over an expensive 16mm movie camera. In 1941 he joined a camera club and while there met celebrated photographers of the previous generation including Ansel Adams who gave a workshop for the class. After studying engineering at Michigan State University, Callahan worked as a photographic technician for General Motors, but was hired in 1946 by László Moholy-Nagy to teach photography at the Institute of Design (ID), Chicago. Initially established as the New Bauhaus, the ID was at the forefront of innovative methods of education and teaching photography in America in the mid-20th century. In 1948 Callahan met Edward Steichen, who responded strongly to his work, including it in numerous shows at the Museum of Modern Art, New York. In 1961, Callahan left Chicago to head the photography department at the Rhode Island School of Design, Providence with his friend and former ID colleague Aaron Siskind. He stepped down from the chairmanship in 1973, but continued teaching at the school until his retirement in 1977.

Callahan often transformed his everyday subjects—nature, architecture, city streets, his wife Eleanor and daughter Judith into (barely recognizable) simple forms; a visual essence that still evokes their worldly counterparts. Callahan’s goal, however, was to describe, not to conceal or distort. For each new subject, he refreshed his photographic vocabulary and used his 8×10 view camera and strong sense of design and composition to create meticulously crafted and elegant images.

Harry Callahan produced several monographs of his work including Harry Callahan (1996), Water’s Edge (1980), Harry Callahan: Color (1980), Callahan (1976), Photographs: Harry Callahan (1965), The Multiple Image (1961), and On My Eyes (1960). His work is held in the collections of numerous museums including the Art Institute of Chicago; Museum of Contemporary Photography, Chicago; Museum of Modern Art, New York and the George Eastman House, New York.

—Ashley Siple

Bunnell, Peter C. “Harry Callahan,” Degrees of Guidance: Essays on Twentieth-Century American Photography. Cambridge, Massachusetts: Cambridge University Press, 1993.

Callahan, Harry. “An Adventure in Photography,” Photographers on Photography. Englewood Cliffs, New Jersey: Prentice Hall, Inc., 1966.

Callahan, Harry. Callahan ed. and with intro by John Szarkowski. Millerton, New York: Aperture, 1976.

Callahan, Harry. Harry Callahan: New Color Photographs 1978-1987 with an essay by Keith F. Davis. Kansas City, Missouri: Hallmark Cards, 1988.

Coleman, Alan D, “Harry Callahan: An Interview,” Creative Camera International Year Book 1977, London: Coo Press Ltd., 1976.

Diamonstein, Barbaralee, with Harry Callahan. Visions and Images: American Photographers on Photography. New York: Rizzoli International Publications, Inc., 1981.

Greenough, Sarah. Harry Callahan. Boston: Dist. Bulfinch Press/Little Brown and Company, 1996.

Taken By Design: Photographs from the Institute of Design, 1937-1971 edited by David Travis and Elizabeth Siegel. Chicago: Art Institute of Chicago in association with the University of Chicago Press, 2002.

Ware, Katherine. Elemental Landscapes: Photographs by Harry Callahan. Philadelphia, PA: Philadelphia Museum of Art, 2001.

Calle Sophie: <------------ სეხნია

Cameron Julia Margaret:







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Capa Cornell:

Capa Robert:

ROBERT CAPA
Nam Dinh, South of Hanoi, Vietnam
May 25th, 1954 Last roll of film, Military cemetery for French and Vietnamese French
Union soldiers. Shortly after taking this photograph, Capa, whohad taken the famous photos of D-Day in WorldWar II, stepped on a land mine and was killed.






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Carjat Etienne:




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Caron Gilles:

How could we communicate that? Up against this light and shade in the jungle photographed by Gilles Caron, the soldiers' shadows seem petrified by the rays of light. In this predictable close edge we find a hint of what attached us to Vietnam.

We were fascinated less with the war than with beauty.

We never look at these photographs without thinking about it. In the medium of black and white and the sensitivity of the framing we appear to see, as do these soldiers of the 173rd Airborne, some of the moving Vietnamese "thread." It starts just behind the trees, we are sure.

A thread? Oh, yes! The infinity of the rice paddies framed by cumulus-spotted mountains. Their meticulous division into bee cells which, inch by inch, disciplined earth and water as far as the horizon. This grid of clay embankments where women toddle along, shoulders bent under the weight of balancing pole. Gestures, rhythms. The irrigation buckets held by two men facing each other, swinging in cadence at the extremity of a rope. The splashing made by harnessed water buffalo immersed in water.

Other water buffalomonstrous clay statues shelled with dry mudfollow children leading them by the nostrils. Or they squat on their backbones like Hindu mahout.

A flotilla of ducks sails over rivers and ponds.

In Vietnam, whether on the road or in the jungle, soldiers sometimes came so close to houses that they stumbled onto the intimacy of family life: mud walls, straw huts under the watch of a barefoot grandmother, small yards with dozing oxen under latanier palms.

Women raised up, a hand on the hip throwing back their conical hats on the nape of the neck. The gesture, beautiful. This archaic and pacified universe repeats itself for miles without beginning or ending. Only the light organizes its changing revolutions, scintillant intervals or else, as in this photograph, a stroboscopic alternation of sun and night. It wasand always isthis indestructible Vietnamese identity that endures; the substance escaping the storm, the reserve for the tomorrows of history.


Jean Claude Guillebaud has been war correspondent for Le Monde for three decades He has traveled extensively in Southeast Asia, Africa, the Middle East, and the former Soviet republics, and is the author of 30 books, including Return To Vietnam (1994).

Gilles Caron covered the Battle of Dak To for the French news organization, APIS, in 1967. In 1970, while in Cambodia, he disappeared near Phnom Penh. He was 30 years old.

Under Fire: Images from Vietnam, is a multimedia project that sells museum-quality prints of exclusive images of the Vietnam War by top war photographers at

Carroll Lewis:




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Cartier-Bresson Henri:










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Chambi Martin:

Charbonnier Jean-Philippe:

Clark Larry:








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Collins Hannah

Connor Linda:

Since 1967 Linda Connor has traveled to both distant and familiar places to photograph various lands and their people. Documenting megaliths and ruins, petroglyphs and caves, she investigates the visual forms of the sacred. The peacefully arranged flames in Ceremony, Sri Lanka capture the timeless essence of the cyclical and the spiritual. In 1990 the Museum of Contemporary Photography organized Linda Connor, Spiral Journey: Photographs 1967-1990, a retrospective exhibition and accompanying monograph of Connor’s work.

Linda Connor’s formal photographic education came under the instruction of Harry Callahan at the Rhode Island School of Design, Providence, and Aaron Siskind at the Institute of Design, Illinois Institute of Technology, Chicago (MS, 1969). Born in New York in 1944, Connor has taught photography for many years in California, primarily at the San Francisco Art Institute. Her work has been represented in numerous exhibitions and catalogues, and her photographs are also included in significant collections, including those at the Art Institute of Chicago; Museum of fine Arts, Boston; High Museum of Art, Atlanta; International Center for Photography, New York; Museum of Modern Art, New York; and the Victoria and Albert Museum, London.

Connor, Linda. Linda Connor: The Corcoran Gallery of Art, Washington, D.C., November 20, 1982-January 2, 1983. Washington, D.C.: The Gallery, 1982.

Connor, Linda. Luminance. Carmel Valley, Calif.: Woodrose Pub. in association with the Center for Photographic Art, 1994.

Connor, Linda, Denise Miller-Clark and Rebecca Solnit. Spiral Journey: Photographs 1967-1990. [Chicago]: Museum of Contemporary Photography, Colombia College Chicago, 1990.







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Coplans John:

When John Coplans began photographing his aging body after he turned 60, he embarked on a documentation of age that is alternately humorous, reflective, and disquieting in the closeness of its observation. Seeing himself as an actor, Coplans examines various body parts closely, often quoting art historical postures with his sagging figure. Self-Portrait, Three Times is exemplary of his scrutinization of idealized expectations of the body and the self.

Born in London in 1920, John Coplans was educated in South Africa and England. After immigrating to the United States in 1960, he began teaching at the University of California at Berkeley. Coplans was the founding editor of Artforum magazine. Coplans worked as the senior curator of the Pasadena Art Museum from 1967 to 1970 and as the director of the Akron Art Museum in 1978. He has published numerous articles of art criticism, and his books include Weegee: Tater und Opfer (1978), Ellsworth Kelly (1973), Roy Lichtenstein (1972), Andy Warhol (1970), Serial Imagery (1968), and Cezanne Watercolors (1967). Coplan’s extremely close-up nude self-portraits have been exhibited at numerous institutions worldwide. He received the Frank Jewitt Mather Award of the College Art Association for services to art criticism in 1974; John Simon Guggenheim Memorial Foundation Fellowships in 1969 and 1985; and National Endowment for the Arts Fellowships in 1975, 1980, 1986, and 1992.

Cosindas Marie:






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Cumming Donigan:


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Cunningham Imogen:

C ასოც ამოვწურე და E ზე მერე გადავალ

და D?

chamoxeuli billdboardebi,

ძალიან დიდი მადლობა მინდა გადაგიხადო !!! მემგონი ძალიან კარგ რამეს აკეთებ

Sue: მეც ვერთობი დ-ც იქნება და ზ-ც სამადლობელი არაფერია

უი დღეს არ ვმჯდარვარ კომპიუტერთან და სორიიიიიი... ხვალ ვყრი სურათებს პირობას გაძლევთ... ეხლა ვაი დამათენდა

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

Daguerre Louis-Jacques Mande:

zalian kari potoebia didi madloba zalian visiamovne

დავუბრუნდი ჩემს გენიალურ პაპკას თავის გენიალური ფოტოგრაფებით... სად გავჩერდი?
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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.

Davidson Bruce

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.

ვაააააააააააააააუუუუუუ, სოფ, რა მაგარი ხარ! ეს ყველაფერი ნელ-ნეა უნდა დავათვალიერო. thnx, მაგარი კაი რაღაც მოიფიქრე

p.s. ჩემი ფოტოების ჩადება არ გინდა ააქ?

Deal Joe

რავიცი მე დიდად ვერ აღვფრთოვანდი...






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გააჩნია რამდენს გადაიხდი

სოფ, ძნ საინტერესოა... ჯიგარ

ვაა და ამათ რამდენი გადაიხადეს, მითხარი აბა ჯერ

Demachy Robert






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ამათ რადიატორები მომიჭრეს და... ( ვითომ ვიხუმრეეეეეეე)

მეც მოგიჭრი
ეხლა მივიჩექმებით თუ გადავრჩებით?

Depardon Raymond

ყველას ბიოგრაფიას ვერ ვპოულობ და არაუშავს ხო?











<----- ამ სურათზე გავჭედე
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უეჭველი მივიჩექმეთ

მეც გავჭედე! უმაგრესია!

კუმირო

აუ, მართლა ძალიან მაგრებიააა!!!

Di Corcia Philip-Lorca

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

რაღაც ალმადოვარის ფერები აქვს

Doisneau Robert

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.

აუ მაგრად მომეწონა ამის ფოტოები...




















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Doubilet David

ცოტა ნიტო გადასვლაა მაგრამ... არაუშავს...

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

Dyviniak William W.



ასო D ამოვწურე და E ხვალ იყოს...

მაინც სამ ტანცუიუ სამ პაიუ სამ ბილეტი პრადაიუ...

რობერ დუანსო გენიოსია!!!!!!!!!!!!!
მაგის მერე არა, და მერე რომ ტიპი იყო, იმანაც დაგლიჯა!
ჩამოხეული ბილბორდები, დიიიიიიიიიიიიიიიიიდი მადლობაააააააააააა იზვინი, ნიკს გეძახი, სახელი არ ვიცი

ფსიქიატრიულის ფოტოები მომეწონა ყველაზე მეტად
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chamoxeuli billdboardebi,

არა რას ამბობ

გადავედი ასო E ზე

Eakins Thomas




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Economopoulos Nikos

Edgerton Harold E.










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Eggleston William

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.

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Eisenstaedt Alfred:








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Van Elk Ger



<------- მაგრად ვიხალისე
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Van der Elsken Ed

<----------------- უმაგრესი კადრია... ჰოლანდიაზე მაფანატებს ეს ამსტერდამია












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Emerson Peter Henry







<-------- ვახ ეს ანა ფრანკი არაა?

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გავედი და საღამოს გავაგრძელებ...

ვაა, ყველა მაგარია.......გაგრძელებას ველი

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Eppridge Bill





<------- უმაგრესი ფოტო


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Erfurth Hugo



<------- მაგრად მომეწონა, მაგრამ ... ეჭვი მეპარება რომ მისი იყოს... თუ ვცდები სორი...


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ვახ ეს ბიოგრაფიები, ყველა ენაზეა ინგლისურის გარდა

Erwitt Elliot



<------ ზოოფილიას აქვს ადგილი





<------ მაგარია

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Escher Karoly

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.












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Evans Frederick H.




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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.






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E ასო მორჩა და F ს ჩავყრი საღამოს

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Faigenbaum Patrick





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Faucon Bernard








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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.

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Fenton Roger









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Ferrato Donna









ბიოგრაფია ვერ ვიპოვნე, მაგრამ ეს თვითონაა


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მაგარი ქალია

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Fink Larry

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...














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Fontcuberta joan




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Fox Talbot William Henry

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Franck Martine


Spent her childhood in America and England

Studied history of art at the University of Madrid (1956-57)

and I'Ecole du Louver in Paris ( 1958-1962)

Began her career in photography as assistant to Eliot Elisofon and Gjon Mili at Life (1963)

Since 1965 she has been a photographer with the cooperative Theatre du Soeil

Member of the Vu agency in Paris ( 1970-71)

In 1972 became one of the founders of the Viva Agency in Paris

Associate of Magnum Photos in 1980and a full member in 1983

Martin Franck is Currently (1998) engaged on two major projects:

One in Ireland, on Tory Island, Country Donegal, and the other

with Tibetan Buddhist refugees in India and Nepal.










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Frank Robert











აი ამ დროზე მაფანატებს... მანიაკი ვარ....
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Franklin Stuart

მაგარია

Freed Leonard





<--------- აი მაგარი ფოტო


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Freund Gisele







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Friedlander Lee