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American photographer. While still growing up she was drawn to the television environment of the 1960s and fascinated by disguise and make-up. She studied art at Buffalo State College (1972–6), concentrating on photography, which she maintained is the appropriate medium of expression in our media-dominated civilization. Her photographs are portraits of herself in various scenarios that parody stereotypes of woman. A panoply of characters and settings is drawn from sources of popular culture: old movies, television soaps and pulp magazines.
We talked earlier about the first photograph in the history. Now we present you the first color photograph taken by photographer Thomas Sutton under direct supervision of James Clerk Maxwell (nineteen century mathematician) – the famous author of Maxwell Equations. Maxwell discovered that color photographs could be formed using red, green, and blue filters. He had the photographer Thomas Sutton photograph a tartan ribbon three times, each time with a different color filter over the lens. The three images were developed and then projected onto a screen with three different projectors, each equipped with the same color filter used to take its image. When brought into focus, the three images formed a full color image.
Mordantly funny ... Untitled, from the series The Afronauts (2011), by Cristina de Middel (detail). Click to enlarge 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.
Leica made its name a very long time ago by creating the first practical 35mm camera to use standard cinema 35mm film. The rest, as they say, is history. A history filled with successes and failures alike, most of the latter coming in the early 2000s when the company was having trouble moving into the digital age. In 2013, Leica has a couple of things to celebrate. For one, its no longer in financial trouble; and for another, the company is turning 100 this year.
Jeremy Ramsden in his darkroom at Labyrinth in the East End of London. Photograph: David Secombe Jeremy Ramsden, who has died of a stroke aged 59, was one of the finest photographic printers of his generation. Jeremy could take a frame of anyone's film and turn it into a work of art on paper.
Photography and the Law
Photography is the successor to the great art of the past … an English lesson in Pakistan. Photograph: Muhammed Muheisen/AP. Click image to enlarge
The best photography websites, publications and galleries | Guardian photography guide | Art and designAn image from the group show, Roads to Wigan Pier at Impressions Gallery. Photograph: Julian Germain/Courtesy of Impressions Lensculture features essays, slideshows, audio and visual interviews and incisive criticism, making it one of the most authoritative and wide-ranging sites. 1000 Words Photography is the online blog of the magazine of the same name, edited by Tim Clark. It focuses almost exclusively on cutting-edge contemporary photography , as well as running regular workshops with name photographers.
Seduced by Art: Photography Past and Present, National Gallery, WC2 - review - Visual Arts - Arts - London Evening StandardThe exhibition is, its protagonists declare, a provocative investigation of photography’s enlistment of the ancient traditions of painting (and, less frequently, of sculpture) to justify this upstart’s assumption that it is a form of art. Foolishly, they have given it the title ‘Seduced by Art”, using the term in its loose romantic sense — as might a chick-lit writer — rather than as debauched, corrupted, raped; but in the corruption here at work it is the photographer who is the rapist, stealing the virtue of Gainsborough and Goya, Delacroix and Ingres, the National Gallery his procurer in this distasteful business. The gallery has, it seems, “specially commissioned for the exhibition” new photographs to compete with old paintings, but that it should feel compelled to do so surely indicates that there must have been too little evidence to lend importance to the link, and thus that it is a point hardly worth the demonstrating in an exhibition.
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 .
Andreas Gursky's Rhein II fetched £2.7m last year, setting a record for any photograph sold at auction. Photograph: Andreas Gursky/AP Photo/Christie's 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".
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 @MarcoBohrJustin 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.
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.”
by Suzanne Ruta Picturing Algeria , by Pierre Bourdieu, forward by Craig Calhoun. Edited by Franz Schultheis and Christine Frisinghelli, Columbia University Press, 230 pp. Algeria , by Dirk Alvermann, Facsimile edition of a work first published in 1960. Steidl, Germany 2011 In 2004, just around the time the Abu Ghraib scandal broke, an exhibition of photographs from the Algerian war opened in Paris.
Hide caption These photos from the 1960s-1990s were found by two Italian photographers while working in Detroit. Cesuralab Hide caption These photos from the 1960s-1990s were found by two Italian photographers while working in Detroit. Cesuralab Hide caption These photos from the 1960s-1990s were found by two Italian photographers while working in Detroit. Cesuralab Hide caption These photos from the 1960s-1990s were found by two Italian photographers while working in Detroit.
Clarence John Laughlin
Writing on Photography