Hello and welcome to The Blog! I’m Cristina Arce (…in case you’re wondering, it’s pronounced “ar-say”). I’m a contemporary fashion and glamour inspired portraiture photographer based in Toronto, ON. I have been photographing women, and making them look and feel beautiful since 2001. I am also the owner of “Cristina Photo Studio”. Cristina Photo Studio offers styled product and stock photography for small businesses, graphic artists, online shops, and bloggers. Movable Styling Elements, Stock Photography, Product Photography, Styling Desk, lifestyle editorial and styled desktop stock images all in one place. I also have an Online Store called “Cristina Arce Photography” where I sell fine art collections. Beautiful landscapes and sunsets for your home or office decor. I’m so excited that you stopped by!
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How Iconic Prints Were Edited in the Darkroom
Cuánto ha cambiado en este aspecto eso que hoy seguimos llamando fotografía; pues en el pasado uno esperaba haber realizado la toma lo más cercano a la perfección para así no sufrir con múltiples mascarillas en el cuarto oscuro, entre menos hubiera que hacerle más feliz se era.
Hoy, por el contrario, desde el instante en que abrimos la foto en la computadora, no hacemos otra cosa más que pensar “¿qué puedo arreglarle, qué más puedo hacerle?” y todo parece tratarse de seguir mejorando la imagen casi ad infinitum, en eso que algunos teóricos han dado en llamar “el momento justo extendido”.
Ahora estos dias es mas de “agregarle” “agregarle” “agregarle” o de cambiarle los colores, las texturas, las formas… es puro editar editar editar!
Y que me dicen de las fotos HDR??? Aveces la gente se abusa tantoooo con los efectos y filtros, que cuando uno ve en una foto asi, ya no se ve ni siquiera real.
Original from: https://fstoppers.com/post-production/how-photos-were-edited-darkroom-days-2994
With the Perseid meteor shower hitting its peak this next week (8/12 & 8/13), here are a few photography tips for capturing the moment.
1. Find a location far from city lights. The darker the sky, the better chance you have of photographing a meteor.
2. If you have access to a tripod, you will want to bring it to set up your shot. A camera needs to be stabilized for long exposures.
3. Using your camera in either manual mode or shutter priority mode, and experiment with the best exposure times to find what works best. Try using a remote such as Nikon’s ML-L3 Wireless remote to reduce camera shake during long exposures, or a cable release for exposures longer than 30 seconds. Remotes and releases help to eliminate the vibrations from touching the shutter button. In a pinch, you can also set your camera’s 2 second timer to reduce camera shake!
4. Get creative with your long exposures by bringing along an ambient light source such as a flashlight or Speedlight. Use this to “paint” images in the foreground such as trees or tents to add an exciting element to your astrophotography! (Photo credit: Steve Heiner)
To see more tips, visit the original article shared by Nikon:
Photographer BiographiesA collection of biographies on famous photographers, here I provide a list of world’s most famous photographers and an insight on their personal and professional life. On each you could find their biographies, photographic styles, and examples of their work.
Some photographers are self-learners while others have degrees, but all have their own unique styles that make them one of a kind. There have been and there still are several famous photographers around the world striving to show their audiences the way in which they perceive their surroundings and subjects. They do photography for diverse industries, such as fashion, commercial, art, music, journalism; and for the various social institutions, like politics, religion, and more. Photographers also invest their talent in charity organizations; or just photograph after curiosity and interest. They also work on architecture, landscapes, cityscapes, wild life, and many more topics.
This is a collection of famous photographer biographies which are intended as quick introductions to the lives and work of some incredibly talented people.
Please select a photographer from the list:
As the above famous photographer list grows it will come to include more famous landscape photographers, famous portrait photographers, famous fashion photographers, famous war photographers… and so on.
En esta sección hice una lista de los personajes más relevantes e influyentes en la historia de la fotografía, fotógrafos famosos que han sido decisivos en el desarrollo de la fotografía actual. Sus biografías, las trayectorias que llevaron a cabo en su época, todos sus descubrimientos, incluyendo algunas de las imágenes más destacadas de estos fotógrafos.
Seleccione la biografía del fotógrafo que quiere visitar:
WITKIN, JOEL PETER
Joel Witkin claims that his unique visual sensibilities began to come about when, as a small child, he witnessed a terrible car accident in front of his home, in which a little girl was decapitated. He recalls her head rolling to his feet, her dead eyes staring upward. This was the chilling feeling and mood he tries to convey in each of his works. Joel-Peter Witkin was born on Sept, 13, 1939, in Brooklyn, N.Y. His father was Jewish and his mother was Roman Catholic. His parents were unable to transcend their religious differences and the two divorced when Witkin was young, the boy remaining with his mother. He attended grammar school at Saint Cecelia’s in Brooklyn, and went on to Grover Cleveland High School. He also cites family difficulties as an inspiration for his work.
Here are some of his photos:
Edward Weston was born in 1886 in Highland Park, Illinois. When he was sixteen years old his father gave him a Kodak Bulls-Eye #2 camera and he began to photograph at his aunt’s farm and in Chicago parks. In 1903 Weston first had his photographs exhibited at the Chicago Art Institute. Soon after the San Francisco earthquake and fire on April 19, 1906, Weston came to California to work as a surveyor for San Pedro, Los Angeles and Salt Lake Railroad.
For a short while Weston returned to Chicago and attended the Illinois College of Photography, but came back to California to live in 1908 where he became a founding member of the Camera Pictorialists of Los Angeles. He married Flora Chandler in 1909 and they soon gave birth to two sons: Edward Chandler Weston, in 1910 and Theodore Brett Weston in 1911.
Weston had his own portrait studio in Tropico, California and also began to have articles published in magazines such as American Photography, Photo Era and Photo-Miniature where his article entitled “Weston’s Methods” on unconventional portraiture appeared in September, 1917. Weston’s third son, Laurence Neil Weston, was born in 1916 and his fourth, Cole Weston, in 1919. Soon after Weston met Tina Modotti which marked the starting point of their long relationship, photographic collaborations in Mexico and later much publicized love affair.
Modotti’s husband, a political radical in Mexico, died in 1922. That same year Weston traveled to Ohio to visit his sister and there took photographs of the Armco Steel Plant. From Ohio he went to New York and met Alfred Stieglitz, Paul Strand, Charles Sheeler and Georgia O’Keefe. At this time Weston renounced Pictorialism and began a period of transition, self-analysis and self-discipline while making voyages to Mexico, often with Modotti and one of his sons. Some of the photographs that he and Modotti made in Mexico were published in Anita Brenner’s book Idols Behind Altars.
Weston began photographing shells, vegetables and nudes in 1927. Weston kept very detailed journals or “Day Books” of his daily activities, thoughts, ideas and conversations. His first publication of these writings “From My Day Book” appeared in 1928 – others were published after his death. Two years later he had his first New York exhibit at Alma Reed’s Delphic Studios Gallery and later exhibited at Harvard Society of Contemporary Arts with Walker Evans, Eugene Atget, Sheeler, Stieglitz, Modotti and others. Weston was a Charter member of the “Group f/64″ that was started in 1932 and included Ansel Adams, Imogen Cunningham, Consuelo Kanaga and others.
They chose this optical term because they habitually set their lenses to that aperture to secure maximum image sharpness of both foreground and distance. Weston went even further toward photographic purity in 1934 when he resolved to make only unretouched portraits. Even though several large exhibitions followed, he was still of modest means and in 1935 initiated the “Edward Weston Print of the Month Club” offering photographs at $10 each. In 1937 he was the first photographer to be awarded a Guggenheim fellowship taking his assistant Charis Wilson along on his travels whom he married the next year. In 1940 the book California and the West was published with text by Charis and photographs by Edward. The same year he participated in the U.S. Camera Yosemite Photographic Forum with Ansel Adams and Dorthea Lange. In 1941 he was commissioned by Limited Editions Club to illustrate a new edition of Walt Whitman’s Leaves of Grass.
Weston started experiencing symptoms of Parkinson’s disease in 1946 and in 1948 made his last photographs at Point Lobos. In 1952 his Fiftieth Anniversary Portfolio was published with his images printed by Brett. In 1955 Weston selected several of what he called “Project Prints” and began having Brett, Cole and Dody Warren print them under his supervision. Lou Stoumen released his film The Naked Eye in 1956 of which he used several of Weston’s print as well as footage of Weston himself. Edward Weston died at home on January 1, 1958
Here are some of his photos:
Alfred Stieglitz, was born in January 1st, 1864, in Hoboken, New Jersey, and died in July 13th, 1946, in New York City. He was passionate advocate of photography as an art and a pioneer in exhibitions of modern art in the United States. In 1902 Stieglitz founded the Photo-Secession Group, as a protest against the conventional photography of the time. Stieglitz’s best work are the series of prints of his wife, the painter Georgia O’Keeffe, and his studies of cloud patterns suggesting emotions.
After his early schooling in New York, he moved, with his family, to Europe in 1881, to further his and his brothers’ education. Stieglitz started his studies in mechanical engineering, at the Berlin Polytechnic, in 1883. A few months later, the purchase of a small camera led him to abandon engineering for photo-chemistry and to begin his photographic career.
While in Berlin, where many of his friends were painters, Stieglitz decided to fight for the recognition of photography as an creative art medium equal to painting. The best way to achieve this, he reasoned, was to become a photographic authority, which he believed could only be granted if he set the highest standards for his own prints and win all possible prizes and medals. His early work, both in Europe and in the United States, where he returned in 1890, reflect this approach, being characterized by constant innovations which were, at the time, believed impossible to achieve. For example, he made, before the turn of the century, the first successful photographs of snow, rain and at night, while undertaking the first use of a small hand-held camera. By 1910, these photos had won many important prizes. Realizing that his fame alone could not bring about the recognition of photography as art, Stieglitz decided that, eventually, the work of a group could be more effective than the work of an individual. He therefore created a new group, in 1902, the Photo-Secession, a title adapted from the German Secessionist painters who, at the time, were also revolting against the traditional art world. Stieglitz gathered around him a group of talented American photographers, with whom he shared his ideals. In 1905, urged by Edward Steichen, the Photo-Secession opened its own space for exhibitions, initially called Little Galleries of the Photo-Secession, in NY, but later known by its street number, the “291”. Stieglitz became so envolved with his work in this gallery that he often signed his personal correspondence “291”. At this time, Stieglitz turned his immense energy and intelligence to the cause of modern art.
In 1908, in a country marked by it’s dependence on the academic art in Europe, the “291” had already held shows of works by the sculptor Auguste Rodin and the paiter Henri Matisse; he also held shows by the painters Toulouse-Lautrec, Henri Rousseau, Paul Cézanne and Pablo Picasso. In 1913, he held the famous Armory Show, often considered to have introduced modern art to the United States. Stieglitz vigorously promoted, along with the European art, shows of emerging American artists, namely of the sculptors Constantin Brancusi and Elie Nadelman, and the painters Francis Picabia, Gino Severini, Stanton Macdonald-Wright and Georgia O’Keefe, who was to become his wife in 1924. For the most part these exhibitions were viewed by a hostile and derisive public. With the closing of “291”, in 1917, and of his own magazine, Camera Work (1903 – 1917), Stieglitz became once more envolved with his own photography, neglected during the years of the gallery. He then produced the best of his work. Stieglitz’ preoccupation with his photography did not deter him from continuing to hold shows of American artists, thus helping them to survive and giving them the freedom to work as they wished. When the artists he promoted became commercially successful, he ceased working for them, for he was not a dealer and never profited financially from his activities for artists.
Stieglitz broke down the barriers against photography in American art museums, his prints being the first photographs accepted as art and received as such by major museums in Boston, New York City and Washington D.C. In those museums, Stieglitz photos were hung and shown in the same manner as other notable works in the graphic arts.
Here are some of his photos:
W. Eugene Smith (1918-1978) was an American photojournalist known for his refusal to compromise professional standards and his brutally vivid World War II photographs.
Born in Wichita, Kansas, Smith began his career by taking pictures for two local newspapers, the Eagle and the Beacon. When he went to New York City, he began work for Newsweek and became known personally for his incessant perfectionism and thorny personality. Smith was fired from Newsweek for refusing to use the type of camera his boss wanted and joined Life Magazine in 1939. He soon resigned from Life and was wounded in 1942 while simulating battle conditions for Parade.
As a correspondent for Ziff-Davis Publishing, Smith entered World War II on the front lines of the island hopping American offensive against Japan, photographing U.S. Marines at Saipan, Guam, Iwo Jima, and Okinawa. On Okinawa, Smith was hit by mortar fire; after his recovery, he rejoined Life and perfected the photo essay from 1947 to 1954. Smith severed his ties with Life again over their use of his Albert Schweitzer and began a series of book-length photo shoots in which he strove for complete control of his subject matter. Complications from drugs and alcohol led to a massive stroke from which Smith died in 1978.
Here are some of his photos:
1935 Jan Saudek born on the 13 May, the son of a bank clerk in Prague where he grows up and goes to school until the age of 15. His father survives the Theresienstadt concentration camp where his six brothers die.
1950-83 Works for a printer. Begins to paint and draw. Describes his first camera, a Baby Brownie Kodak: “The only thing you can do with this camera is load the film and press the button to make a picture; that’s exactly what I did until 1963.”
1953 My Very First Photograph -Jan Saudek views this photograph of his brother as his first important artistic work. Works on a farm.
1954-56 Military service.
1958 Marries Marie with whom he has two children: Samuel and David.
1959 Is given his first ‘real’ camera, Flexaret 6 x 6.
1963 First exhibition of his own in Prague. Decides to become a photographer; inspired by Edward Steichen’s exhibition catalogue “The Family of Man” he wants to make a book about the people of his own time. Only photographs people that he is personally connected with – “You could call it love”.
1966 Takes his most famous photograph: Life.
1969 Travels to the USA where Hugh Edwards encourages him to continue with photography. First solo exhibition at the University of Indiana, Bloomington.
1970 Separation from Marie.
1972 Discovers the decaying’cellar wall’ which is to become a synonym of his artistic work. Growing international reputation from the mid-seventies onwards. Works together with various artists including Paule Pia (Antwerp and Brussels), Karsten Fricke (Bonn), Marlene and Jean-Pierre Vorlet (Lausanne), Pierre Borhan (Paris), Anita Neugebauer (Basle) and David Travis (Art Institute of Chicago).
1977 Travels to Arles for the exhibition “Rencontres Internationales de la Photographie” and also to Paris.
1976-84 Collaboration and exhibitions with the Jacques Baruch Gallery, Chicago. In 1983 the first monograph on Saudek, The World of Jan Saudek, appears in English, German and French. Starts tinting black and white prints (around 1977).
1984 After years of working in a factory he is given a work permit as a photographer and now, freed from the constraints of earning a weekly wage, he is able to devote himself entirely to photography. He becomes a member of the Unity of Czech Artists, having been ignored for a long time. “With my work I am trying to capture all the things I know and love; and above all I would like to leave behind a sign of the times that have elapsed.”
1988-95 Collaboration and exhibitions with the Galerie Torch in Amsterdam, and from 1990 with the publishers ‘Art Unlimited’ in Amsterdam.
1989-91 Fashion pictures for the Japanese firm ‘Matsuda’.
1990 Honoured as a’Chevalier des Arts et Lettres’. The French director, Jerome de Missolz, makes a short film him: “Jan Saudek – Photograph tchéque”.
1995 Publishes his first book, Dopis (Letters), edited by Sarah Saudek. Since the mid-nineties he has devoted more attention to painting, transferring important motifs from his photographic output to canvas.
1998 Major retrospective of his photographs and paintings in Los Angeles, Bergamot Station Arts Center, BGH Gallery.
These are some of his photos:
Born in 1944 in Aimorés, Minas Gerais, Brazil, the sixth child and only boy in a family of eight children, the son of a cattle rancher, Sebastião Ribeiro Salgado studied economics in Brazil (1964-1967) and earned his M.A. in economics in 1968 from the University of São Paulo and Vanderbilt University (USA). In 1971 he completed his coursework for his Ph.D. in economics at the University of Paris and worked as an economist for the International Coffee Organization until 1973.
After borrowing his wife Lélia’s camera on a trip to Africa, in 1973 he decided to switch to photography and joined the Sygma photo agency (1974-75) followed by the Gamma agency (1975-1979). He then was elected to membership in the international cooperative, Magnum Photos, and remained with the organization from 1979-94. From his base in Paris he covered news events such as wars in Angola and the Spanish Sahara, the taking of Israeli hostages in Entebbe, the attempted assassination of President Ronald Reagan, and also started to pursue more personal and in-depth documentary projects.
For seven years (1977-1984) he roamed Latin America, his native region, walking to remote mountain villages to produce the images for his eventual book and exhibition Other Americas (1986), a meditative exploration of peasant cultures and the cultural resistance of Indians and their descendants in Mexico and Brazil. In the mid-1980s he worked for fifteen months with the French aid group Doctors Without Borders in the drought-stricken Sahel region of Africa and created Sahel: L’Homme en Détresse (Sahel: Man in Distress) (1986), a document on the dignity and endurance of people in their deepest suffering. From 1986 to 1992 he focused on Workers (1993), a documentary shot in 26 countries on the end of large-scale manual labor. After Terra: Struggle of the Landless (1997), a project on those fighting to reclaim their land in his native country of Brazil, Salgado published Migrations and The Children (2000) on the plight of displaced persons, refugees and migrants in 41 countries.
A world-renowned photographer and part of the tradition of “concerned photography,” Sebastião Salgado has been awarded virtually every major photographic prize and award in recognition of his accomplishments from institutions around the world. In 1994 he founded his own press agency, Amazonas Images, which represents him and his work. He lives in Paris with his wife and collaborator Lélia Wanick Salgado, who has designed most of his books. They have two sons.
These are some of his photos:
URSS (Rusia), 1891-1956
Born November 23, 1891, in St. Petersburg, Rodchenko died on December 3, 1956. He attended the School of Arts in Kazan, Russia, from 1910 to 1914, then studied graphic arts at the School of Applied Arts in Moscow (1915). The artist was influenced by the Futurists, Cubism and Art Nouveau, and his mentor was Vladimir Tatlin.
Rodchenko’s first job was as an assistant to Tatlin at a 1916 Futurist exhibit in Moscow, at which ten of Rodchenko’s pictures were shown. In 1918 Rodchenko helped found the Museum of Artistic Culture and became its first director.
By 1920 he was one of the most active members of the Institut Khudozhestvennoy Kultury – also known is Inkhuk – and he taught a Vkhutemas (High-Grade Art – Technical Workshops). Beginning in 1918 he was active for several years with the Committee of Applied Arts, a government agency.
In 1921-22 he did illustrative work in theater, films, typography and advertising, and continued throughout the 1920s to provide cover designs for a remarkably wide range of publications – from the poet Mayakovsky’s books (1925-29) to scientific and technical literature for Moscow publishers. He also designed the cover of Kino-Fot, a periodical of the Russian Constructivists which began in 1922 and in which Rodchenko was regularly published.
He took up photography in 1924 and gave a short series of talks on the medium at Vkutein (Fine Arts Technical School) in the early 1920’s. From 1920 to 1930 he taught at the newly organized Free Public Art Studio (formerly his alma mater, Stroganov School of Applied Arts), where he also served as dean of the faculty of metal-work. Rodchenko began photo-reporting in 1926, working for the magazines Ogonok, Radioslushatel, Prozhektor, Krasnoye Studenchestvo, Dayosh, Za rubezhom, Smena, Borba klassov and the daily Vechernaya Moskva, among others. In 1932 the photographer, whose work was – and still is – widely exhibited, began working in photomontage.
During his first and only trip abroad Rodchenko was awarded four silver medals at the Paris Exhibition of March 1925.
Also involved in the film world, Rodchenko shot a newsreel series directed by Dziga Vertov, originally called Kino-Pravda and later called One-sixth of the World, which was begun in 1922. Between 1927 and 1930 he was “constructor-artist” of the films The Woman Journalist, Moscow in October, Albidum, The Puppet Millionaire and What Shall I be?. He also directed the documentary The Chemicalization of the Forest. Seemingly unlimited in his versatility, Rodchenko was also involved in theater, designing the costumes and props for Glebov’s Pendulum and The Bed Bug in 1929, and was one of Russia’s foremost painters, collagists and poster artists.
A Constructivist, Rodchenko was one of the earliest photo-collagists. Some of his favorite themes were sports, the circus, festive processions and the Soviet way of life. He successfully experimented with close-up photography, and “the lens of his camera discovered objects of unusual architecture, rhythm, and plasticity” in objects removed from their usual surroundings. “The viewer who sees only a study in the picture of the glass jug illuminated from behind fails to appreciate the masterly composition, the noble purity of the lines, the rich plasticity of the form and consequently also the poetry and beauty of the picture, and still more important, its specifically photographic qualities” (Karginov, Rodchenko).
These are some of his photos:
“Photographing a cake can be art,” Irving Penn asserted when he opened his studio in 1953. Before long he was backing up his statement with a series of advertising illustrations that created a new high standard in the field and established a reputation that has kept him in the top bracket ever since.
Penn has won renown as much in editorial photography as in advertising illustration, and his innovations especially in portraiture and still life have set him apart stylistically. In later years he turned to television commercials as a outlet for his unique talent. One of the most imitated among contemporary photographers, his work has been widely recognized and extolled
In addition to his work for Vogue magazine (the American, British, and French editions) Penn has been represented in many important photographic collections, including those of the Museum of Modem Art, the Metropolitan Museum of Art, the Addison Gallery of American Art, and the Baltimore Museum of Art.
In 1958 Irving Penn was named one of “The World’s 10 Greatest Photographers” in an international poll conducted by Popular Photography Magazine. Penn’s statement at the time is a remarkable summation of purpose and idealism: “I am a professional photographer because it is the best way I know to earn the money I require to take care of my wife and children.”
Irving Penn was born June 16, 1917 in Plainfield, N.J. Educated in public schools, he enrolled at the age of 18 in a four-year course at the Philadelphia Museum School of Art, where Alexey Brodovitch taught him advertising design. While training for a career as an art director, Penn worked the last two summers for Harper’s Bazaar magazine as an office boy and apprentice artist, sketching shoes. At this time he had no thought of becoming a photographer.
His first job on graduating in 1938 was art director of the Junior League magazine, later he worked in the same capacity for Saks Fifth Avenue department store. At the age of 25, he quit his job and used his small savings to go to Mexico, where he painted a full year before he convinced himself he would never be more than a mediocre painter.
Returning to New York, he won an audience with Alexander Liberman, art director of Vogue magazine, who hired Penn as his assistant, specifically to suggest photographic covers for Vogue. The staff photographers didn’t think much of his ideas, but Liberman did and asked Penn to take the pictures himself. Using a borrowed camera, and drawing on his art background and experience, Penn arranged a still life consisting of a big brown leather bag, beige scarf and gloves, lemons, oranges, and a huge topaz. It was published as the Vogue cover for the issue of October 1, 1943, and launched Penn on his photographic career.
Penn soon demonstrated his extraordinary capacity for work, versatility, inventiveness, and imagination in a number of fields including editorial illustration, advertising, photojournalism, portraits, still life, travel, and television.
In his earlier work Penn was fond of using a particular device in his portrait work, replacing it with a fresh one from time to time. At one time he placed two backgrounds to form a corner into which his subject was asked to enter. It was, as Penn explains, a means of closing people in. Some people felt secure in this spot, some felt trapped. Their reaction made them quickly available to the camera.” His subjects during this “corner period” included Noel Coward, the Duchess of Windsor, and Spencer Tracy, most of whom complied readily.
Another time Penn used an old rug he had picked up in one of the shops on Third Avenue in New York. It was his portrait prop for a period of about three months. “The rug merged with the background in tone value,” he recalls, “and its form could be changed by the number and placement of boxes used under it. It was a good foil for peoples’ faces.” Among the great subjects for this series was John Dewey and Alfred Hitchcock.
Two series of portraits are especially memorable. One was made during Christmas in Cuzco, Peru, the other in studios in London, Paris, and New York. The first, in 1948 high in the Andes, followed a fashion assignment. With a few days to spend between planes, Penn persuaded the local photographer to rent him his studio. Pushing aside the ancient studio camera and picking up his Rollei, Penn made some 200 portraits in color and in black-and-white, in a studio that had a stone floor, a painted background, a small rug, and an upholstered posing chair similar to a piano stool.
The other series was the famous “Small Trades” project, a large number of workers posing formally in their work clothes and holding the implements of their trade or occupation. Each was posed against a plain background and lighted from the side, the characteristic lighting that has become identified with most of Penn’s portraiture.
Penn varied his equipment, materials, and methods in line with the assignment and his interpretation of it. Thus, he will turn to the Leica or Nikon and a selection of lenses. Or he will go to the 4X5 or 8X10 Deardorff view cameras, or the Rolleiflex or Hasselblad. Penn supervised all the black-and-white processing in his studio, but sent his color work to an outside laboratory.
We are fortunate that Irving Pen, now in his 80’s, is still alive and living in New York City. His legacy to the art and craft of photography will not soon be forgotten!
These are some of his photos:
French writer, caricaturist, and photographer who is remembered primarily for his photographic portraits, which are considered to be among the best done in the 19th century.
As a young man, he studied medicine in Lyon, Fr., but, when his father’s publishing house went bankrupt in 1838, he was forced to earn his own livelihood. He began to write newspaper articles that he signed “Nadar.” In 1842 Nadar settled in Paris and began to sell caricatures to humour magazines.
By 1853, although he still considered himself primarily a caricaturist, he had become an expert photographer and had opened a portrait studio. Nadar’s immediate success stemmed partly from his sense of showmanship. He had the entire building that housed his studio painted red and his name printed in gigantic letters across a 50-foot (15-metre) expanse of wall. The building became a local landmark and a favourite meeting place of the intelligentsia of Paris. When, in 1874, the painters later known as Impressionists needed a place to hold their first exhibit, Nadar lent them his gallery. He was greatly pleased by the storm the exhibit raised; the notoriety was good for business.
In 1854 he completed his first “PanthéonNadar,” a set of two gigantic lithographs portraying caricatures of prominent Parisians. When he began work on the second “Panthéon-Nadar,” he made photographic portraits of the persons he intended to caricature. His portraits of the illustrator Gustave Doré (c. 1855) and the poet Charles Baudelaire (1855) are direct and naturally posed, in contrast to the stiff formality of most contemporaneous portraits. Other remarkable character studies are those of the writer Théophile Gautier (c. 1855) and the painter Eugène Delacroix (1855).
Nadar was a tireless innovator. In 1855 he patented the idea of using aerial photographs in mapmaking and surveying. It was not until 1858, however, that he was able to make a successful aerial photograph, the world’s first, from a balloon. This led Daumier to issue a satirical lithograph of Nadar photographing Paris from a balloon. It was titled “Nadar Raising Photography to the Height of Art.”
Nadar remained a passionate aeronaut until he and his wife and other passengers were injured in an accident in Le Géant, a gigantic balloon he had built.
In 1858 he began to photograph by electric light, making a series of photographs of Paris sewers. And, in 1886, he made the first “photo interview,” a series of 21 photographs of the French scientist Eugène Chevreul in conversation. Each picture was captioned with Chevreul’s responses to Nadar’s questions, giving a vivid impression of the scientist’s personality. Nadar also wrote novels, essays, satires, and autobiographical works.
These are some of his photos:
Hungarian painter, designer, and experimental photographer. He turned to art after studying law. While living in Berlin he was one of the founders of constructivism, experimenting with photograms and translucent materials. As a professor in the newly opened Bauhaus from 1923 to 1928, Moholy-Nagy was coeditor with Walter Gropius of the school’s regular publications. While there he experimented with a form of kinetic art, which he called “light space modulators,” a stunning array of motor-driven shapes that he illuminated to produce elaborate shadows on the nearby walls. He worked in Berlin until 1934 as a typographer and designer of stage sets.
In 1937 he directed the Bauhaus School of Design in Chicago until it failed (1938). Thereafter he opened the Chicago Institute of Design, which he headed until his death. His greatest contribution to modern art lay in his teaching, which deeply influenced American commercial and industrial design. He was the author of The New Vision (tr. 1928) and Vision in Motion (1947).
These are some of his photos:
Leibovitz, Annie (1949- ), American photographer, known for her portraits of celebrities, who range from political figures to musicians and athletes. Her work has included magazine, fashion, and advertising photography. Many of Leibovitz’s portraits of rock music celebrities have become signature images. A notable example is her portrait of the nude John Lennon on a bed with his fully clothed wife, Yoko Ono, the last portrait of Lennon before his death in 1980.
Born in Westport, Connecticut, Leibovitz received a bachelor of fine arts degree from the San Francisco Art Institute in 1971. She subsequently continued her studies with photographer Ralph Gibson. In 1969 she lived on a kibbutz in Israel and participated in an archaeological dig at the site of King Solomon’s temple. From 1970 to 1983 she was a freelance photographer and the chief photographer for Rolling Stone magazine, and in 1975 she served as a concert-tour photographer for The Rolling Stones band. She has been a contributing photographer for Vanity Fair magazine since 1983, and in the early 1990s she founded the Annie Leibovitz Studio in New York City.
Like portrait photographer Arnold Newman, Leibovitz has contrived in her work to emphasize some aspect of each subject’s public persona. Using the whole of the subject’s body, typically captured in the midst of physical action, Leibovitz achieves her effects without apparent artificiality and with a flair—often outrageous—that sets her work apart from that of other portrait artists. Leibovitz’s advertising work, to which she brings a similar freshness and drama, has attracted many important clients.
Three of Leibovitz’s exhibitions have toured the United States and Europe. Two were organized by the Sidney Janis Gallery (1983-1985 and 1986-1989), and the National Portrait Gallery (Washington, D.C.) honored her in 1991 with a retrospective that subsequently toured the United States, Europe, and Asia. Her awards include the American Society of Magazine Photographers (ASMP) Photographer of the Year Award (1984); the ASMP Innovation in Photography Award (1987); the Clio Award and the Campaign of the Decade Award from Advertising Age magazine (1987); and the Infinity Award for applied photography from the International Center for Photography (1990).
These are some of her photos:
(* Disney and Queen Elizabeth photos added Dec 2014).
HORST, HORST P.
In 1931 Horst began his photography career working for Vogue in Paris. Shortly thereafter he suceeded his friend and mentor, George Hoyningen-Huene, as head photographer of Vogue’s Paris photo studios. It was during the 1930’s that Horst established his trademark style. Using dramatic lighting and an unparalleled eye for grace, Horst created images that display his subjects as the epitome of elegance and grace. For example, Horst took a portrait of Coco Chanel, a woman who was rarely photographed, and created a striking composition of the designer integrating her regal profile and the exquisite chair.
For sixty years, Horst photographed the world of high society with a style and class that is virtually unpracticed today.
These are some of his photos:
Philippe Halsman (1906-1979) set the standard for celebrity portraiture. From the 1940s until the 1970s his portraits of actors, intellectuals and politicians appeared on the covers and pages of the biggest magazines in Europe and the US. He arrived in New York in 1940, with little English, no money, no contacts and a camera. Within two years his work appeared on the cover of Life magazine, beginning a 30 year association with the magazine. Life published 101 covers by Halsman – a record unmatched by any other photographer .
Halsman grew up in Riga, Latvia, and began his photography career in Paris in the 1930s, contributing to Vogue and other fashion magazines. He shunned the old fashioned portrait style of soft focus in favour of dark sharp images and soon gained a reputation as one of the best portrait photographers in France. However, with the invasion of France by Hitler’s troops he fled to America having obtained a visa with the help of his friend Albert Einstein.
Halsman’s big break in New York came when he met Connie Ford, a model who agreed to pose for him in exchange for prints for her portfolio. When Halsman showed the resulting pictures of Ford against an American flag to the cosmetics company Elizabeth Arden they used the image to launch a national advertising campaign for “Victory Red” lipstick. A year later he was commissioned by Life to photograph new hat designs. His portrait of a model in a Lily Daché hat was the first of his many covers for Life.
In the 1950s Halsman photographed a group of comedians from the TV channel NBC including Bob Hope and Groucho Marx. Each comedian performed while Halsman shot pictures, sometimes taking 300 frames in a single session. Photographing the comedians in action inspired Halsman to produce his famous “jump” pictures, which capture noteworthy people, from Richard Nixon to the Duke and Duchess of Windsor, mid-air, jumping for the camera. Halsman felt that asking a person to jump distracted them from posing for the camera and so revealed more of their natural personality. A special section of the exhibition is devoted to Halsman’s “jump” portraits.
Of all the great photographers of his time, Halsman belongs most completely to the magazine era. His subjects create a vivid picture of prosperous American society in the middle years of this century and he captures the laughter, high spirits and glamour of his time, as well as its intense emotions and true optimism.
These are some of his photos:
Franco Fontana was born in Modena, Italy, 9 December 1933.
He began working as an amateur photographer in 1961. His first personal exposition was in 1968 in Modena. Since then he has participated in more than 400 expositions – collective and personal – and his work is bought in approximately 60 museum collections all over the world.
He has been signed for numerous publicity campaigns, as FIAT, VOLKSWAGEN, National Railways, VOLVO, VERSACE, CANON, KODAK, SNAM, STET, MONDRIAN, J.WALKER, ALITALIA, SWISSAIR, LA RINASCENTE.
He works with TIME-LIFE, VOGUE USA, VOGUE FRANCE, VENDERDI DI REPUBBLICA, PANORAMA, FRANKFURTER ALLGEMEINE, EPOCA and many more distinguished publications.
His work has been published in more than 40 books in various editions in Italian, Japanese, French, German, Swiss, English and Spanish. His numerous awards include the 1989 Tokyo Photographer Society of Japan – The 150 Years of Photography – Photographer Award.
These are some of his photos: