The Business of Photography. Darkroom. Kodak and the Rise of Amateur Photography. By far the most significant event in the history of amateur photography was the introduction of the Kodak #1 camera in 1888.
Invented and marketed by George Eastman (1854–1932), a former bank clerk from Rochester, New York, the Kodak was a simple box camera that came loaded with a 100-exposure roll of film. When the roll was finished, the entire machine was sent back to the factory in Rochester, where it was reloaded and returned to the customer while the first roll was being processed.
Large Format. Abundant photography: the misleading metaphor of the image flood. “We’re exposed to an overload of images nowadays.”
That was the impetus behind Erik Kessel’s 2011 “Photography in Abundance” installation, in which he printed off 1 million pictures to illustrate the number of daily uploads to Flickr. Kessels argues we confront a glut images on social media: Lost photographs from Scott of the Antarctic's doomed expedition. The world's weirdest photo albums. By any standards, Me TV is an odd photo book.
It comprises eight found snapshots of a middle-aged Chinese woman standing in front of her new television set. In each, her pose is identical, right down to way the little finger of her left hand rests on the TV cabinet. Save for the fact that she is wearing a different top in each photograph, they could be the same image reproduced eight times. Watch: The Greatest Photography Documentaries. My Favorite Dirt Roads by Robert Kinmont.
Rauschenberg's Rolleiflex. Best remembered for his silkscreen paintings and Coke bottle sculptures, Robert Rauschenberg deserves a closer look for his lesser-known photographs, a portfolio of which we present here.
Rarely without his trusty Rolleiflex camera, the proto-pop artist documented extraordinary moments throughout his life, from his student days at Black Mountain College with Merce Cunningham and John Cage, through travels to Rome and Venice with close friends including Cy Twombly, and at his Brooklyn Studio in the early 60s. Rauschenberg’s black and white images starkly convey a sense of spontaneity, with his subjects often caught on the fly, as illustrated in the shots of Twombly wandering around the relics at Rome’s Capitoline Museum, or Cunningham flexing his limbs in his New York rehearsal space. Robert Rauschenberg: Photographs 1949-1962 is released in early October. An installation of the work will be shown at Robert Rauschenberg Foundation from September 16 to October 3.
Children, Anon., from the personal collection of Terry Castle, Terry Castle. I've been collecting anonymous photographs for more than two decades now and probably own a thousand or so, in all kind of formats.
Nineteenth-century tintypes and cyanotypes, cabinet cards and cartes de visite, turn-of-the-century RPPCs (Real Photo Postcards), disaster pix, police mugshots and Bertillon cards, photo-booth strips, deaccessioned newspaper photos (especially ones with white crop marks), old prom photos, not to mention a recently acquired batch of ratty, Nan Goldin–style, 1970s Polaroids. Should I be in rehab? Lately I’ve managed to put a small part of my collection into serious, made-for-collectors-type albums—the organic kind, that is, with acid-free archival sleeves and glassine pockets. You can get them in the kale and beets section at Whole Foods. Hipstamonochrome #18. Heroes of photography. Deutsche Börse Photography prize show: mashups and moon walkers. Google Street View has recorded the world.
The camera-toting vans have seen astonishing things, from mountain lions patrolling parking lots to armed holdups, elks running down the highway, accidents and murders. Many of the images Street View has accidentally recorded have been sampled and published by the Canadian photographer Jon Rafman. Among his immense trawl of images are several of sex workers selling themselves at the roadside. I have seen some of these women myself: on sun-blasted Spanish roadsides and, once, on a Polish highway on the way to Treblinka. Mishka Henner, a Manchester-based Belgian photographer, has gone to the same source as Rafman for his No Man's Land, a series focusing on kerbside prostitution in Italy and southern Spain.
John Davies on The British Landscape. In pictures: Fidel Castro and Che Guevara photos sold. Martin Usborne. Scrapbook — Illuminating photography: From camera obscura to... Dan Holdsworth.
Photographer Diarists. Wittgenstein. Photo-Texts. Photo-Manipulation. 100 Ideas That Changed Photography. By Maria Popova From the camera obscura to the iPhone, or why photography is an art of continuous reinvention.
Earlier this year, British publisher Laurence King brought us 100 Ideas That Changed Graphic Design, 100 Ideas That Changed Film, and 100 Ideas That Changed Architecture. Now comes 100 Ideas That Changed Photography (public library) — an equally concise and intelligent chronicle of the most seminal developments in the history of today’s most prevalent visual art.
From technical innovations like the cyanotype (#12), the advent of color (#23), the Polaroid (#84), and moving pictures (#20) to paradigms like photojournalism (#66) and fabrication (#93) to new ways of looking at the world like aerial photography (#54), micro/macro (#55), and stopping time (#49), each of the ideas is accompanied by a short essay contextualizing its history and significance. Syracuse University fine art professor Mary Warner Marien writes in the introduction: Photography is the art of our time. It has taken me a long time to see this, and you can laugh at me if you like.
But here goes. Photography is the serious art of our time.
Camera obscura photograph. The magazine lost a friend and colleague last week when Bonni Benrubi, the founder and director of the Bonni Benrubi Gallery died on Thursday. Benrubi opened her gallery in 1987, at a time when photography was still claiming its place within the world of art collecting. She represented an amazing group of photographers, several of whom have had a close working relationship with the magazine over the past 25 years. Benrubi had a special love for magazine photography and was as likely to be seduced by the storytelling in an image as by its visual beauty.
Bonni had been battling cancer for two and a half years. Photography: is it art? For 180-years, people have been asking the question: is photography art?
At an early meeting of the Photographic Society of London, established in 1853, one of the members complained that the new technique was "too literal to compete with works of art" because it was unable to "elevate the imagination". This conception of photography as a mechanical recording medium never fully died away. Even by the 1960s and 70s, art photography – the idea that photographs could capture more than just surface appearances – was, in the words of the photographer Jeff Wall, a "photo ghetto" of niche galleries, aficionados and publications.
But over the past few decades the question has been heard with ever decreasing frequency. When Andreas Gursky's photograph of a grey river Rhine under an equally colourless sky sold for a world record price of £2.7 million last year, the debate was effectively over. When Daguerre turned his camera on people rather than places the results were revelatory.
Strand: Under the Dark Cloth. October 16, 1890 – March 31, 1976 ‘It is one thing to photograph people. It is another to make others care about them by revealing the core of their humanness.’ Paul Strand, known as a one of the most iconic photographers of the 20th century, who drove the medium forward along side others such as Alfred Stieglitz and Edward Weston, to establish it as an art form. Moments of Reprieve: Representing Loss in Contemporary Photography at Visual Culture Blog by @MarcoBohr. Justin Coombes, Hokkaido Postcard, Artist’s book, 2011, The exhibition Moments of Reprieve: Representing Loss in Contemporary Photography is, in collaboration with Paradise Row, currently on display at the David Roberts Foundation on Great Titchfield Street in London. By connecting photography with the manifold meanings of loss, the curators Louisa Adams and David Birkin dig into an intellectually and philosophically dense subject matter.
The photographs, produced by ten different artists, were intelligently chosen for representing various notions of loss invoked by conflict, crime, disaster, war and ultimately death. Stalingrad: Damaged Photos Tell the Story of an Epic WWII Battle. It’s sometimes easy to forget one particular, elemental truth: We live in a physical world. In a digital age — when so so much of what we see, hear and act upon is comprised wholly of incorporeal ones and zeroes — the physical world can sometimes seem insubstantial.
The games, apps, videos, news articles, photographs and other media we use and “consume” each day might be produced by live human beings occupying real space — but much of what we consider genuine and urgent does not, in some very fundamental ways, actually exist. If you’re reading this on a handheld or a monitor, the letters that you’re reading right now and the words that make up the sentence that’s conveying this thought are perhaps more accurately conceived of as impulses, or bits of energy, rather than as things. Old photographs that have been scanned and digitized, meanwhile, occupy a complex place in any discussion of what’s “real.”
Consider the images in this gallery — photographs made by LIFE’s Thomas D. Paradise Lost: Twisted Postcards From Dystopic Vacations. At first glance, Mary Lydecker’s colorful, kitsch postcards are seemingly innocuous, but look again and you’ll peer upon her world of dystopian leisure trips. Her collages conjoin dated postcards to create strip-malls in national parks, yachts below hydroelectric dams, sun-kissed beaches fed by glaciers and promenades overlooking oil refineries.
“The postcard form has an inherent ‘honesty’ as a cultural artifact,” says Lydecker. “We still approach them as familiar and benign images, which provides a very powerful format for disrupting expectations.” Based in Brooklyn with an MFA in Landscape Architecture, Lydecker is an artist who focuses on land and resource management in much of her work. Her mash-ups reflect in some ways our own built environments. Bibliophilia / Chema Madoz #Photography. New Topographics: photographs that find beauty in the banal. Mundane yet mesmeric ... Stephen Shore's photograph of an alley in Presidio, Texas (1975) It is 35 years since the term "new topographics" was coined by William Jenkins, curator of a group show of American landscape photography held at George Eastman House in Rochester, New York. The show consisted of 168 rigorously formal, black-and-white prints of streets, warehouses, city centres, industrial sites and suburban houses. Taken collectively, they seemed to posit an aesthetic of the banal.
The best photography websites, publications and galleries. Seduced by Art: Photography Past and Present, National Gallery, WC2 - review - Visual Arts - Arts. Japanese Photography. Photodemocracy. Teaching Photography. We Hereby Declare the Death of Film Photography - Houston Arts. Department of Records - Photo Gallery. The New York City Department of Records and Information Services announced the addition of 30,000 photographs to its on-line gallery. Some of the more unusual images from this series depict political groups monitored by the New York City Police Department's "Alien Squad. " These photos range from Communist Party rallies in Madison Square Garden to the Nazi summer retreat in Yaphank, Long Island run by the German American Bund. See all the Alien Squad photos. DOR staff and researchers from New York University's Tamiment Library are collaborating to identify people in the photos.
If you recognize someone, please let us know by emailing email@example.com. These are among more than 2,000 photographs added from the NYPD departmental files and Emergency Services Unit (ESU), dating from 1928 to 1941.
Clarence John Laughlin. Photos From Kodak's Picture Contests in the 1920s, '30s and '40s. Hidden Light: The Visual Language of an Autistic Photographer. Hello there! If you enjoy the content on Neurotribes, consider subscribing for future posts via email or RSS feed. Memento mori photography. The artist with the bad camera. With what could accurately be described as the worst camera ever made, Miroslav Tichý (1926 – 2011) would take sneaky, surreptitious shots of women around his hometown of Kyjoy in the Czech Republic, capturing thousands of pictures between the 1960s and 1985 and conducting himself in a way that would most probably arouse police suspicion today. Indeed, Miroslav Tichý was often arrested for photographing unconsenting women at the local pool. He suffered from dementia and was viewed as somewhat of an outsider though his reputation has been reassessed in recent years and his photographs are currently on show as part of the Moscow Photo Biennale at the Multimedia Art Museum until April 1.
Tichý's camera was cobbled together using found parts and everyday items such as tin cans, cardboard, bottle caps and rubber bands. Good Soldier Michals by Martin Filler.
Richard Mosse. New York professor installs camera in head. Man Ray: National Portrait Gallery stages first museum exhibition devoted to photographer's portraits. Jo Spence. Photojournalism. Chasing Light.