Table of Contents for: Classic essays on photography.
Sander’s first introduction to photography had been through this man. Sander found the subject interesting and with the help of his uncle, he constructed a darkroom and bought equipment for photography. From 1897 to 1899, he worked as an assistant for a photographer. After completing his service for the military, he traveled through Germany, doing industrial and architectural photography.
Introduction. When reviewing Paul Strand’s awe-inspiring body of work, there is no single point of influence. There’s several. In fact, if a photographer would want to emulate an entire career in photography, Paul Strand’s name should be on that very short list.
Clare Strand (born 1973) is a British conceptual photographer based in Brighton and Hove, England. Strand's photography has been published in the Gone Astray (2003) newspaper, and the books Clare Strand: Photoworks Monograph (2009), Skirts (2013) and Girl Plays with Snake (2016). She has had a number of solo exhibitions, her first major one being at Museum Folkwang, Germany, in 2009.
Strand was the first photographer to acheive a really decisive break with pictorialism and apply some of the lessons of the new modern art to photography. 3. Paul Strand was born in New York and attended the Ethical Culture School where his teacher was Lewis Hine. 4. Strands later work moved toward a documentary approach, attempting to encapsulate a feeling a place and its people in a body of.
Edward Weston, major American photographer of the early to mid-20th century, best known for his carefully composed, sharply focused images of natural forms, landscapes, and nudes. His work influenced a generation of American photographers. Weston was born into a family of some intellectual.
Orientalism is a constant one, and since the late eighteenth century there has been a considerable, quite disciplined-perhaps even regulated-traffic between the two. Here I come to the third meaning of Orientalism, which is something more historically and materially defined than either of the other two. Taking the late eighteenth century as a.
As I type this sort of photo-text book manifesto, I am immediately afflicted by what Thomas O. Beebee, in The Ideology of Genre (1994), describes as the paradox of genres: “they seem real and at the same time indefinable,” perhaps due to their promiscuity. Depending on the criteria we focus on, such as authorship, types of texts, or image-text dynamics, we already encounter a varied.