Pokazywanie postów oznaczonych etykietą artistic photography. Pokaż wszystkie posty
Pokazywanie postów oznaczonych etykietą artistic photography. Pokaż wszystkie posty

wtorek, 9 września 2014

Happy Birthday to a true master of photography, Brassaï who was born on this day in 1899!

Couple-Amoureux-Rue-Croulebarbe-Quartier-Italie-c.-1931

9 September 1899 – 8 July 1984

“Chance is always there. We all use it. The difference is a poor photographer meets chance one out of a hundred times and a good photographer meets chance all the time.”  Brassaï


Today marks the birthday of Brassaï (Pseudonym of Gyula Halász), one of the most renowned photographers of the interwar period. Born in 1899 in the Transylvanian town of Brassó, who rose to fame in France in the 20th century. 
Brassaï became well known for his candid shots of the streets of Paris and his long-time friend, Henry Miller, nicknamed him “The Eye of Paris” for his devotion to the city. Through out his career he became friends with a number of different artists including  Picasso which resulted in many famous portraits of the artist, as well as important books. His first photo-book, published in 1933 and entitled Paris de nuit (published in English as Paris After Dark), remains the most famous depiction of the city’s hidden underbelly, and is considered a classic of early street photography.

niedziela, 29 grudnia 2013

The Terminal by Alfred Stieglitz


The Terminal, 1892
Alfred Stieglitz (American, 1864–1946)
Photogravure; 4 3/4 x 6 5/16 in. (12.1 x 16 cm)
Alfred Stieglitz took this picture using a small 4 x 5 camera, an instrument not considered at the time to be worthy of artistic photography. Unlike the unwieldy 8 x 10 view camera (which required a tripod), this camera gave Stieglitz greater freedom and mobility to roam the city and respond quickly to the ever-changing street life around him.  
The Terminal predicts by over a decade the radical transformation of the medium from painterly prints of rarified subjects to what the critic Sadakichi Hartmann dubbed "straight photography." This new photography would take as its subject matter the quotidian aspects of modern urban life, using only techniques that are unique to the medium. At the same time, in this and other photographs he made around the turn of the century, Stieglitz used natural elements such as smoke, rain, and snow to soften and unify the image into a pictorially pleasing synthesis.