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

მე მგონი მაინც ჯობდა, თითოეული ფოტოგრაფზე ცალკე თემა ყოფილიყო, მაგრამ მაინც კარგია მადლობა

ჩემი საყვარელი ფოტოგრაფია Alvarez Bravo Manuel...

ხვალ B ჩავყარო?

დღესვე მოაყარე რა...

nachkebia,
უი დავიღალე მოიცადე მაშინ ვნახავ კიდე

აჯობებს თითო პოსტში რამდენიმე ფოტო მარტო იყოს, თორე ძალიან გაჭირდება გვერდის გახსნა.

უსმინე დეიდა ეკას.....

Bailey David

David Bailey's photographs, more than any others, have captured the ever-changing face of modern pop music. His 1960s pictures of the Rolling Stones and the Beatles remain forever part of the iconography of that decade - a decade that Bailey himself did so much to shape.

Since those early days, Bailey has stayed close friends with the Stones, and he can be seen here following the group through the various mutations of their long career. He has continued to train his camera on most of the pop icons of subsequent decades. In David Bailey's Rock and Roll Heroes Bailey himself brings together for the first time more than 80 of his most vivid and indelible images of the pop scene since the 1960s, from his earliest ever photographs of Mick Jagger, Lennon and McCartney and the Who, to his recent portraits of Liam and Noel Gallagher, of Oasis.

This wide-ranging personal gallery also includes photographs of many of the biggest stars of modern music: Bob Dylan and Patti Smith, John Lydon and Boy George, Tina Turner and Sting. There is a session from 1985's Live Aid shows, among others, Bob Geldof and Queen at the moment of their greatest glory. And there are classic heroes, too: a grinning Fred Astaire, an offbeat Miles Davis, a solemn Duke Ellington.











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e.k.a.t.e.r.i.n.a,
ვერ გავიგე, თითო ფოსტში, ანუ თითო ფოტოგრაფს თითო სურათი დავუდო?
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Baldus Eduard-Denis:
Edouard-Denis Baldus began his artistic career as a painter but turned to photography in 1849. He was one of the forty original members of the Societe Heliographique, the world’s first photography group. Baldus often favored images of landscapes, architecture, and railways. In 1851, he was asked to document French architecture by the Historic Monuments Commission. Four years later he commissioned again to record the construction of the Musee du Louvre.

Bar-Am misha:
Micha Bar-Am was born in Berlin in 1930 and immigrated with his parents to Palestine when he was six years old. He was active in the pre-State underground and later served in a Palmach (Elite Infantry Corps) Unit during Israel's 1948 War of Independence. It was during this war that Bar-Am witnessed a series of events that altered the face of his homeland.

In 1949, he helped to found Kibbutz Malkiya on the Lebanese border and later worked as a locksmith, mounted guard, and youth instructor at the Kibbutz Gesher-Haziv in Western Galilee. Never merely a detached witness of his country's history, people, and landscapes, Bar-Am began to photograph seriously in the early fifties, although his interest in photography started as a teenager.

Using borrowed cameras until he bought himself a vintage Leica, Bar-Am recorded in a small notebook the exposure times and lighting conditions of every photograph he took. Slowly his work began to be published. In 1957, he became a photographer-reporter for the Israeli Army magazine Ba-Mahaneh and was on its editorial staff for ten years. He has photographed the Israeli Army ever since, covering the Six-Day War in 1967 with Cornell Capa, recording the war in 1973 at the Suez Canal and documenting the Israeli invasion of Lebanon. He served as a photographic correspondent for the New York Times in Israel from 1968 to 1992.

Bar-Am has called Israel his "lifetime assignment" and his pictures are visual statements about the fascinating complexity of Israeli life. Rooted in photojournalism but shaped by an artist's eye, his work belongs to the tradition of such photographers as Robert Capa, Walker Evans and W. Eugene Smith.
Many are images of daily life during wartime, which do not depict direct combat as much as they do the traces of conflict. These include a crowd of people looking for names on the surface of a Holocaust Memorial wall and a fashion show held on an army base for the entertainment of a crowd of soldiers. The works in the exhibition are not so much about the nation's history as it is about the traces of history in everything from daily life to echoes of Bar-Am's own struggle, the rewards and frustrations of attempting the improbable task of observing and participating in the events as they are taking place.

Since assisting Cornell Capa in 1968 to create the landmark exhibition Israel the Reality at The Jewish Museum in New York City, Bar-Am has been heavily involved in the work of other photographers as a historian, and since 1977, as curator and founding director of the Department of Photographs at the Tel Aviv Museum of Art, a position he held until 1993. He has since returned to his own photography.

სუუუუპრ

Barbey Bruno:


French, b.1941

Born in Morocco, Bruno Barbey studied photography and graphic arts at the Ecole des Arts et Métiers in Vevey, Switzerland (1959-60). From 1961 to 1964 he photographed the Italians as protagonists of a small 'theatrical world', with the aim of capturing photographically the spirit of a nation.

During that decade he was commissioned by Editions Rencontre in Lausanne to document European and African countries and was also a regular contributor to Vogue magazine. more...

Battaglia Letizia

Letizia Battaglia: Passion Justice Freedom – Photographs of Sicily
Aperture (Burden Gallery)
20 East 23rd Street
October 16 – December 31, 2001


There has been a great deal of discussion lately, questioning whether art can provide a legitimate response to disaster, or if art that addresses a tragedy on the scale of the attacks on the World Trade Center in fact trivializes the event. The work of Letizia Battaglia, on view at Aperture’s Burden Gallery and featured in an Aperture publication from 1999 illustrates how art can both respond to desperate conditions and provide an avenue of hope, a way out of despair.

Letizia Battaglia can be tagged with many labels – photographer, political activist, feminist, environmentalist – none of which adequately convey who she is. Since the 1970s Battaglia has been documenting life in her native Sicily – its tragedies and violence, its stoicism and dignity. Rarely has an artist been bestowed with such an appropriate name: Letizia means joy, Battaglia means battle, and these two poles define the emotional territory that her work inhabits. While she started out as a photojournalist, Battaglia transcends the confines of that field and imbues every image with a timeless nobility and humanity. For several years she stopped taking pictures and officially entered the world of politics, standing for election and serving on the city council. She was instrumental in saving and reviving the historic center of Palermo, established her own publishing house and is deeply involved in working for the rights of women and, most recently, prisoners.

Much of Battaglia’s work documents the brutality of the Mafia: corpses, grieving widows, bloodstained streets. What is striking is the conflict between acceptance and outrage. Groups of onlookers, stoical and beyond shock, have seen it all before. Mourners wracked by sobs seem to be playing out a tragedy that defines every chapter of their lives. But Battaglia refuses to accept this reality. Her lens moves in too close for comfort, capturing a moment that is not meant to be seen, a scene that perhaps will be set back in order, hurriedly, as soon as possible (Fig 1).
Battaglia’s proximity to her subjects is unblinkingly honest, but it is never cruel. Her photographs of psychiatric patients expose the dimensions of their world without condescension. Most of Battaglia’s subjects either avoid the camera or are caught unawares. Mafiosi on trial, of course, would rather be elsewhere and look away in shame or defiance. Aristocrats at a gala party are as oblivious to the photographer as they are to the wider surrounding world. But there are some notable exceptions. Her portraits of children, particularly young girls, pay tribute to their eerie, prematurely adult beauty. Interestingly, these adolescent girls openly return the camera’s gaze. It seems to be a complicit glance, charged with a conspiratorial understanding of life’s inequity and harshness. Another powerful image in the exhibition – a young mother whose child has been bitten by a rat during the night – atypically looks straight into the camera, honestly acknowledging her plight, yet more heroic than resigned. One of the most emotionally laden and direct glances is exchanged between the photographer and Magistrate Roberto Scarpinato. It was Scarpinato who was the lead prosecutor in the trial of former Prime Minister Giulio Andreotti (who was acquitted). Scarpinato stands erect and stares ahead, enveloped in sadness. His entourage of bodyguards looks away (Fig 2).

ეგრეც კარგი იქნება, რომ თითო პოსტში თითი ფოტოგრაფი იყოს, მაგრამ მე სხვა რამ ვიგულისხმე.
თემაში თითო გვერდზე 30 პოსტი იხსნება და თითჴეულში რომ ბევრი ფოტო ჩასვა, ძალიან გაძნელდება გახსნა, მითუმეტეს რომ სხვადასხვა საიტებიდანაა ლინკები.

Beaton Cecili

Cecil Beaton (1904-1980) knows how to seduce you, every time. His magic as an artist is not confined to a line-up of movie stars, royalty, artists, writers and other intellectuals. The cause of Beaton's magic is a photographic affinity with his sitters.

Every picture in the exhibition is different. There are few formulae or gimmicks over the long career, and the settings usually belong to the person's own circumstances.

Occasionally, Beaton used scenic backdrops - as with a youthful Queen Elizabeth - but this also seems to be a part of her majesty's estate. For the rest, the perspectives, lighting, attire, groupings, props and apparel, are different in each picture.

There are no mistakes in a Beaton portrait. Even when there seems to be some camera wobble or movement of the sitter during a long exposure, the flicker is expressive, as in the unlocatable portrait of the novelist Colette from 1930.

There are no flat patches: he manages multiple light sources (who knows from where) in the interiors that he visits. People are illuminated in a positive way. The photographs never look like studio studies, but always have the air of a spectacular time and place. Beaton's sensitivity is not due solely to his own skill. He relies on the performative brilliance of his sitters, many of whom are accomplished actors and all of whom are seasoned celebrities (such as Picasso) with vanity encouraged by their international retinue of flattering admirers.

Beaton's sitters have a persona ready to be photographed. Their visual personality is entirely in their own hands; and Beaton has only to realise their chosen theatricality. A beautiful example from 1962 is Ian Fleming. The author and creator of James Bond reclines on a chair in delirious smugness, poising his cigarette holder between three fingers and undoubtedly interspersing his puffs with sips of spirits from the eight decanters on the coffee table. His devious life as a spy in Moscow somehow registers in his profile, as he savours his own mind - rich in ruses and deceptions - with a knowing smirk.

The superior self-satisfied airs that go with protracted exhalation of smoke recur with Tennessee Williams from the 1950s. Maybe it seemed natural back then, but now it's camp beyond all scales of affectation.

Taken as a whole, the poses and get-up of the sitters constitute an elaborate archive of pretension, a directory of glib glamour, with smarmy and excessively handsome men and gorgeous but mostly frivolous women.







კიდე 1 ფოტოგრაფი და ვსო, დანარცჰენი ხვალ ან საღამოს...


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e.k.a.t.e.r.i.n.a,
ვცდილობ შევამცირო რაოდენობა ფოტოების მაგრამ ხომ იცი შენ რომ იყო ჩემს ადგილას შებც გაგიჭირდებოდა

აუ ძAან მაგარი სურათებია ყველა მაგრად მომეწონა

Berengo Gardin Gianni

უმაგრესი ფოტოებია.......გმადლობ ჩამოხეულო ბილბორდებო

magdalina: gavagrdzeleb ar amomiwuravs, es marto aso B mdea

Berman Wallace:




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Berry Ian:

besnyo eva:












am 2 suratshi echvi mepareba rom misia... saitze zustad araa mititebuli avtoris saxeli da gvari...

kargi fotoebia!

კარგი საქმე გააკეთე მგონი

გაიხარე სოფ !...

დიდი მადლობა

Nanee,
e.k.a.t.e.r.i.n.a,
nachkebia,
PsixOdino4ka,
10X everything 4 u

Bevilacqua Carlo:

Photographer and director, Carlo Bevilacqua lives in Milan, where he works predominantly for the publicity market. A universal photographer, Carlo produces images of beauty, still life, corporate, as well as fashion catalogues. He has produced photographs for the publicity campaigns of companies such as Sharp, Erg, HP, Ericsson, UPS, Roccobarocco, Microsoft. As a director he has directed various musical video clips, documentaries on Antonella Ruggero, on the English musician Robert Whiat, as well
as promotional videos for companies such as Pagine Gialle (Yellow Pages) and Disney.









<-------- ai mesmis alternativaaa...

Billingham Richard:

Bischof Werner:

Swiss photographer at the Castle

One of the most famous photo agencies in the world was Magnum, known for its stable of the top rank of photographers. One of these was Swiss-born Werner Bischof, who during a short career - he died in a car accident at the age of 38 - produced numerous classic images from the war-torn Europe of the Forties, and later from India, Korea, Japan and other countries through which he travelled. An exhibition of his work, shown first in New York, opened at the Cape Town Castle last week, and runs until mid-March. It portrays the successive stages in a career which led Bischof from studio photographer to committed photojournalist.

Underway, a film about the life and work of Werner Bischof produced by his son, Marco Bischof, and Rene Baumann, will be shown at the gallery throughout the course of the exhibition. Marco Bischof has also been running a workshop on photojournalism for children, and from February 18 the results of this will also be on show.






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Blume Anna:

Blumenfeld Erwin:

Boonstra Rommert:








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sorry yvelas biografias ver vpoulob

Boubat Edouard:









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Bourdin Guy:







<-------- am suratze gavfsixdi

Bradshaw Ian:

Ian Bradshaw is a freelance photographer based in Virginia and New York. He has had a long and distinguished career as a photographer and also as a photo editor. He has been Photo Editor of National Daily and Sunday Newspapers in Britain as well as photo editor of the Telegraph Sunday Color magazine in London.

He is a former winner of the World Press Photo Award for his famous picture of a streaker being arrested by a London bobby with a strategically placed helmet. He is a former winner of the British Press Photographer of the Year, Texaco Industrial Photographer of the Year, Ilford Industrial Photographer of the Year and his photographs have been voted Life magazine Picture of the Year and People magazine Picture of the Decade.

He has recently won five CASE awards for his work at Washington & Lee University and a Gold ADDY 2002 for his work on the Virginia Episcopal School campaign. In addition to the CASE awards his educational work has consistently won top advertising awards in America culminating in the Howard Packett Award for Creative Excellence for his work on Chatham Hall viewbook 2003.

He is the author of The Thinking Photographer and Pro Techniques of Creative Photography. He is represented by Watson & Spierman in New York where he specializes in Environmental Portraiture in Advertising & Annual Reports and he also specializes in Educational work for viewbooks and magazines for colleges and Universities across America. Ian Bradshaw moved from England to America four years ago and his unique specialist approach to people and portraiture attracted schools, colleges & Universities throughout the USA.

He travels extensively and tries to balance his educational work with his commitments in the advertising world of New York. A former photojournalist, his wide ranging work covers everything from sports to interiors and architecture but specializes in people. It is his definitive style of people photography that has caught the attention of art directors in America and worldwide.






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Bill Brandt:

British Photographer 1903 - 1983

The greatest British photographer since Fox Talbot was in fact born and brought up in Germany, and in later life attended elocution lessons to mask his accent. A man of privileged background, he did more than most to highlight the inequalities of the English class system, and, as an artist, he used photography at a time when it was seen as the poor relation of all other art forms. But some of his most powerful images, such as those documenting social deprivation, were, strictly speaking, fictitious, featuring not real-life subjects but friends, family and paid extras.

Brandt's legacy is anything but obscure. "He was the one person who anyone with ambition measured themselves against from the 1950s," says Mark Haworth-Booth of the Victoria and Albert Museum. "There was no one who could come close to him".

Brandt's career began in Paris in 1929, studying with Man Ray, and ended with his death in 1983. His influence can still be seen in the work of photographers as diverse as Eve Arnold, Don McCullin and Terry O'Neill, and artists such as Francis Bacon and David Hockney.

It wasn't simply in artistic circles that Brandt's black-and-white images resonated. His early assignments in the industrial north for Picture Post and Lilliput magazines, and his first book in 1936, The English at Home, which juxtaposed images of privilege and wealth with belowstairs working-class reality, also created a powerful portrait of social injustice that was to be a visual reference point for the politics of the post-war consensus.

There was hardly an area of photography that Brandt did not master. Haworth-Booth says he was more "three-dimensional" than other photographers. "He did landscape, social deprivation, surrealist, nudes and portraits he was always incredibly busy"

During the war, Brandt worked for the Ministry of Information and captured some of the most memorable pictures of Londoners during the Blitz. But his genius did not make him much money during his lifetime. In 1964 he was charging the Victoria and Albert Museum just £5 for a print - virtually cost price. At the Focus Gallery in London, where a collection of his work goes on display and on sale from Tuesday, prices are closer to £12,000.

Brassai:






Added @ [mergetime]1146081900[/mergetime]
Brus Gunter:
magari kacia












Added @ [mergetime]1146081976[/mergetime]
vso danarcheni xval torem davigale...

uf magari vifsixe

რააა მაგარიაააა... ყველაფრის დათვალიერებას ერთი საღამო არ ეყოფა...

Tamri,
კიდე ვიცი ბევრი ძაან, ანბანური თანმიმდევრობით მივყვები... ხვალ კიდე ჩავყრი ბევრს, ეხლა დავიღალე მაგრად, უნდა ვიპოვნო ჯერ ავტორები, მერე ფოტოები მერე ბოიოგრაფიები, მერე უნდა ავტვირტო და აქ ჩავყარო და უF... ცოტა მივიღალე, თორემ მეტსაც ჩავყრიდი უი რა ვიწუწუნეეეეეეე

ძალიან ძალიან მაგარი ფოტოებია დიდი მადლობააა

sweet, ზოგჯერ რა საყვარლები ხართ არაფერს, მაგრამ მე არაფერ შუაში არ ვარ მადლობა ფოტოავტორებს კისს შენ

მაგრებიაა გმადლობ

chamoxeuli billdboardebi,
კარგი ფოტოებია....

Tamri,
თამრი გახსოვს მე რომ ბიბლიოთეკაზე გეუბნებოდი? აი იმ ბიბლიოთეკაში მაქვს ამ ფოტოების უმრავლესობა ნანახი 3-4 ფოტოს გამოკლებით...

სუპპპრრრ!!!!
http://b.foto.radikal.ru/0604/58dfa82b49e3.jpg
http://b.foto.radikal.ru/0604/1d9f980a50a1.jpg

ძალიან კარგი თემაა, თუმცა უკეთსი იქნებოდა ყველა ავტორზე ცალკე თემა რომ გაგეხსნა. ეხლა იყოს როგორც არის და მომავლში კი ცალცალკე გააკეთე

Sopho Nadareishvili: რავიცი ყველა ავტორზე ცალცალკე თემა, მეგონა ბევრი იქნებოდა... მაშინ ვის ბიოგრაფიასაც ვიპოვნი, იმის პაპკას გავხსნი და ვისასაც ვერა, აქ ჩავყრი... ეხლა დგეს და ხვალ დაუნლოადებს ვერ გავაკეთებ, გუშინ დამივირუსდა კომპიუტერი და როცა გავაკეთებ კიდე ბევრს ჩავყრი

კიდევ ერთხელ უმაგრეესია, გაგრძელება იქნება?

რა არი, Icons სერიიდან წურავ თუ?

nachkebia, ჰე-ჰე.. გესმის საგანი, ჯეელო. ბრანდტის ეგ ფეხები ტვინში მაქვს ჩარჩენილი, ვითარცა გამოთქმა "შენ თავში ფეხი ხომ არა გაქვს?!"-ო..

რაულიანც! შე ძველო....

ჰა, ჰაისტანის შემოტევა გაქ? ინჩა, ელი? ეხლა ოფტოპიკობიზა (თან სომხურად!) ნაბს ავიკიდებ. მოკლედ არ დაიკარგო ხოლმე რა... ტყემლით სულ სხვაა, ხო იცი.

Bubley Esther:

Esther Bubley
May 12 - July 2, 2005
Reception Thursday, May 12, 7 - 9pm

Stephen Cohen Gallery announces an exhibition of black and white images created by one of the true pioneers of photojournalism, Esther Bubley. In looking at the breadth of her long career as a photojournalist, one cannot escape the fact that she worked very well with people — putting their humanity front and center — whether it was a soldier sleeping in a bus station waiting to return home or workers repairing the Brooklyn Bridge.

Born in Phillips, Wisconsin, Bubley (1921­1998) became interested in photography at an early age and left home in her late teens to study at the Minneapolis School of Design. Upon completing a one-year program, and a brief stint at Vogue, Bubley moved to Washington, D.C. in 1941 where wartime jobs for women were plentiful to earn a living doing the one thing she loved most ­ photography.

During the initial months following her move to Washington, Bubley ventured throughout the nation’s capitol photographing wartime subjects. These honest and austere images of life on the homefront eventually caught the eye of legendary Roy Stryker who recruited Bubley to work with him on his ongoing document of American life, a project which he started at the FSA, moved to the Office of War Information (OWI) and continued after the war under the auspices of the Standard Oil of New Jersey (SONJ). Notable among the SONJ stories are two Bubley projects, the 1945 portrayal of the oil town Tomball, Texas and the 1947 “Bus Story” which explored the role of long-distance bus travel in rapidly-changing American life. Images from these stories are included in this exhibition along with other significant work from from the 40s and early ‘50s.

Bubley also produced numerous photo-essays, several cover stories for LIFE, and a major piece called "How America Lives" for Ladies' Home Journal, a celebrated series which ran intermittently between 1948 and 1960.

Her photographs are in many private and corporate collections, including the Metropolitan Museum of Art, MoMA, the National Portrait Gallery, George Eastman House, the Amon Carter Museum of American Art, and the Library of Congress.

The show will take place in conjunction with the publication of “Esther Bubley on Assignment” published by Aperture, which will be available for purchase at the gallery.









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Bull Clarence Sinclair:

Clarence Sinclair Bull was head of the MGM stills department for over forty years and he took over 4,000 photographs of Garbo from 1929 until the end of her career in 1941. He was Garbo's favorite photographer (she had clashed with George Hurrell and did not care for his manic personality) and as her power at the studio grew, she eventually requested that only Bull photograph her.










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Bullock Wynn:

WYNN
BULLOCK
American, 1902-1975
Torso in Window, 1954.
Gelatin silver print, printed circa 1970.
9½ x 7½ in. (24.1 x 19 cm).
Monterey, California credit stamp on the verso.
PROPERTY FROM THE STRAUSS COLLECTION
Provenance
Photographs, Sotheby's, New York, May 8, 1979, lot 341
Literature
Bullock, Wynn Bullock, 1971, n.p.

Burnett David:




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Burri Rene: