Photography. My Daguerreotype Boyfriend. Horace Hopkins Coolidge, age 22, on his graduation from Harvard College, class of 1852. (Harvard Archives) Among the many gifts his fairy godmother endowed on Horace Coolidge were a genial charm of manner, a rare tenderness and a spirit of living kindness, and a loyalty in friendship which made him dearly loved by all who knew him. After graduating, he did what many young men of his time did, and traveled to Egypt for two years, returning to Boston to marry his sweetheart and become a lawyer.
British photographic history - Information and discussion on all aspects of British photographic history. Documentary photography. Graphic Arts: Photography Archives. Alfred Bush writes, “Ulli Steltzer was a Gerrman born photographer who came to Princeton in the 1960s and kept a studio on Tulane Street, where she photographed most the Princeton’s famous and not so famous for many years. With a keen social conscience, in the late 1960s she made photographic forays into the American south, coming back with images to document the plight of the black population there under segregation.
These comprise the photographs now in the Graphic Arts Division, the gift of Bill Scheide, a good friend of Ulli.” Mr. Bush continues, “I then encouraged her to attempt to document American Indians of the Southwest. She bravely took on the Hopis, whose traditional life was then probably the least acculturated in the country, and also the tribe least tolerant of photography. Much to my surprise, after several summers living in the Hopi villages and joining in with the women’s work there, she came back with an extraordinary record of Hopi life.
Naanii Florence.
Contemporary photography. Jo Ann Callis. Third View. Documentary Photography by K. L. Slusher. Seattle Public Library Has Camera Work. Lucky ducks. I'm up in the Seattle Room at the central library right now and happened to run into a meeting of Seattle U's History of Photography class, which I found out is here to take a look at something I had no idea was here: A full set (more or less) of Camera Work—the quarterly photography magazine that Alfred Stieglitz printed from 1903 to 1917.
Wow! Paul Strand's New York, published in Camera Work in 1917. This magazine was Stieglitz's mouthpiece and an extension of his world-famous gallery—Stieglitz being the man who more than any other single force established photography as a fine art. The magazine published serious essays about photography and art (by Gertrude Stein, Mina Loy, and others), interviews with artists including Matisse and Rodin, and photogravures by early modernists (Stieglitz, Steichen, Cameron, Strand). Now how am I supposed to meet this deadline?
Photogravure.com | The Art of the Photogravure.
Thomasallenonline. International Center of Photography. ABOUT MARWENCOL. "Marwencol" is a documentary about the fantasy world of Mark Hogancamp. After being beaten into a brain-damaging coma by five men outside a bar, Mark builds a 1/6th scale World War II-era town in his backyard.
Mark populates the town he dubs "Marwencol" with dolls representing his friends and family and creates life-like photographs detailing the town's many relationships and dramas. Playing in the town and photographing the action helps Mark to recover his hand-eye coordination and deal with the psychic wounds of the attack. When Mark and his photographs are discovered, a prestigious New York gallery sets up an art show. Suddenly Mark's homemade therapy is deemed "art", forcing him to choose between the safety of his fantasy life in Marwencol and the real world that he's avoided since the attack. "Marwencol" was released theatrically by the Cinema Guild and aired on PBS.
Vivian Maier - Her Discovered Work. Photojournalism Ethics: Chapter Six. Photojournalism has a long and cherished tradition of truthfulness. The impact of the visual image on a viewer comes directly from the belief that the "camera never lies. " As a machine, the camera faithfully and unemotionally records a moment in time. But a machine is only as truthful as the hands that guide it. John Szarkowski (1980), director of photography for the Museum of Modem Art in New York, explained that when truthfulness and visual impact are combined in a powerful picture, such an image can shock the public. The faking of photographs, either through stage direction by the photographer or through picture manipulations, also has a long tradition. The media have been criticized for showing so many gruesome images that the public has hardened toward violent injustices.
Howard Chapnick (1982) eloquently summed up the dangers to journalism with such manipulations. Hippolyte Bayard and the First Faked Photograph Civil War Manipulations Engraving and Halftone Manipulations C. Museum of Contemporary Photography. Steve McCurry's Blog. Blue Sky Gallery.