Contemporary continuations of the New Objectivity movement.

Andreas Gursky

The price of this photograph actually went up quite significantly. It recently sold for 2.7 million pounds! Here is a link to a short article in defense of this image and Gursky's work.  

Edward Burtynsky

http://www.edwardburtynsky.com/ - Burtynsky's artist web page. 

Candida Hofer 

http://www.benbrownfinearts.com/exhibitions/65/overview/ - an short review and images of the Hofer's work.

Rineke Dijkstra

http://www.guggenheim.org/new-york/exhibitions/past/exhibit/4424 - a great video with the artist discussing her work.
http://www.nytimes.com/2012/07/06/arts/design/rineke-dijkstra-at-the-guggenheim-museum.html?pagewanted=all - New York Times article reviewing the Guggenheim retrospective.

Photography Now

http://photography-now.net/ -  this is a wonderful collection of master photographers' works.  

The Issues of John Szarkowski: Vantage Point

For Monday April 22nd please print 2 prints of Time and 4 prints exploring Vantage Point. Review Szarkowski's chapter on Vantage Point and images below.

"To see the subject clearly - often to see it at all - he had to abandon a normal vantage point, and shoot his picture from above, or below, or from too close, or too far away, or from the back side, inverting the order of things' importance, or with the nominal subject of his picture half hidden." - John Szarkowski 

Andre Kertez

Andre Kertesz

 Alexander Rodchenko 

  Lazlo Moholy Naggy                                                                                                                                   

                                 
















Harry Callahan                                

Andre Kertesz

Andre Keretsz                                                                    Alexander Rodchenko 

                        Bill Brandt

                                                                                                                                                                                       

                                      Bill Brandt     

     Emmet Gowin

                   Alexander Rodchenko                                                Alexander Rodchenko

Denis Manarchy and the 35 foot-long camera!

    http://www.photographicmuseum.com/blog/news-from-the-web/a-35-foot-long-camera/

Submit your work to the Haverford Review

We are seeking poetry, prose, and artwork done by Haverford students for this semester's issue of The Haverford Review. All submissions should be sent to: hc-review@haverford.edu.

Deadline for submission: Friday, April 19th. 

Last semester's issue can be viewed here: review.haverford.edu

Photogram Workshop

This Monday, April 15th, we will begin class with a critique of your photographs and then spend the rest of class time in a photogram workshop. In addition to the photograms we looked through in class here are some contemporary artists working with this process. Don't forget to bring materials and ideas!


Markus Amm
http://www.saatchi-gallery.co.uk/artists/markus_amm.htm

Adam Fuss

http://www.vam.ac.uk/channel/people/photography/shadow_catchers_camera-less_photography_adam_fuss/

Susan Derges

http://www.susanderges.com/

http://www.vam.ac.uk/channel/people/photography/shadow_catchers_camera-less_photography_susan_derges/

Floris Neususs

http://www.telegraph.co.uk/culture/photography/8051406/Floris-Neususs-Interview.html

Hiroshi Sugimoto's Theaters

http://www.sugimotohiroshi.com/theater.html

http://www.pbs.org/art21/artists/hiroshi-sugimoto

Darren Almond

Darren Almond's Full Moon series.

http://www.matthewmarks.com/new-york/artists/darren-almond/
http://whitecube.com/artists/darren_almond/

The Issues of John Szarkowski: Time

"All photographs are time exposures, of shorter or longer duration, and each describes a discrete parcel of time." John Szarkowski

For Monday April 15th please print 4 images that explore the issues of Time in photography. Look over John Szarkowski's essay and photographs to help you with the assignment.  Explore fast shutter speeds to stop motion, slow shutter speed to blur motion, camera shake, and panning. 

"Immobilizing these thin slices of time has been a source of continuing fascination for the photographer. And while pursuing this experiment he discovered something else: he discovered that there was a pleasure and a beauty in this fragmenting of time that had little to do with what was happening."

Garry Winogrand 

     Garry Winogrand

"More subtle was the disvoery of that segment of time that Cartier-Bresson called the decisive moment: decisive not because of the exterior event (the bat meeting the ball) but becasue in that moment the flux of changing forms and patterns was sensed to have achieved balance and clarity and order- because the image became, for an instant, a picture." 

Robert Frank               

                          

                           Henri-Cartier Bresson

         Henri Cartier-Bresson 

Motion blur often emphasizes the subject's movement and speed, the sense of the fleeting moment, and impermanence of time. The effect increases when there is a contrast in the image between motion blur of the moving subject and sharp detail in the stationary subject. By "panning" the photographer can reverse these expectations, rendering the moving objects with clarity and sharpness, while the stationary objects become blurred. 

                          Jacque Henri Lartigue 

 Henri Cartier-Bresson 

Roy DeCarava 

Ralph Eugene Meatyard  

Blurring motion can distort the  subject to create fantastical and bizarre realities. The slow shutter can abstract the figure completely or partially, often creating an atmosphere of mystery, tension and unease.  

Francesca Woodman     

 Francesca Woodman

The effect called camera shake occurs when during a slow shutter speed exposure the entire camera moves. It creates overlapping exposures of various degrees, depending on how much the camera moves. The effect is often dizzying, creating abstractions and a sense of dynamic movement. 

Ralph Eugene Meatyard 

Gary Winogrand 

Jacques Henri-Lartigue

"All the jumping and flying in Lartigue's photographs, it looks like the whole world at the turn of the century is on springs or something. There's a kind of spirit of liberation that's happening at the time and Lartigue matches that up with what stop action photography can do at the time, so you get these really dynamic pictures. And for Lartigue part of the joke, most of the time, is that these people look elegant but they are doing these crazy stunts." Kevin Moore (Lartigue biographer)

http://www.lartigue.org/us2/jhlartigue/
http://www.atgetphotography.com/The-Photographers/Jacques-Henri-Lartigue.html

Alfred Stieglitz

Alfred Stieglitz

http://www.metmuseum.org/toah/hd/stgp/hd_stgp.htm

http://www.youtube.com/watch?v=8YhwYgdtphE

Eadweard Muybridge

http://www.eadweardmuybridge.co.uk/

http://www.biography.com/people/eadweard-muybridge-9419513

Felix Nadar

Felix Nadar, Revolving Self-Portrait. 

http://www.moma.org/collection/artist.php?artist_id=4196

http://publicdomainreview.org/2012/03/07/photographs-of-the-famous-by-felix-nadar/

               Felix Nadar Baron Isidore Taylor, 1872

            

Felix Nadar, Paris Catcombs, 1861

The Issues of John Szarkowski: Framing

For critique on Monday April 8th, please shoot a roll of film and print four 8x10" images that deal with the concepts of framing. Review John Szarkowski's selections of images and the ones below to help you understand the issues. Make sure your four images deal with at least four of the sub-categories found within framing: Content, Juxtaposition, Fragment, Frame within a Frame, and Meaning.

"The central act of photography, the act of choosing and eliminating, forces a concentration on the picture edge -- the line that separates in from out -- and on the shapes that are created by it."


"The photograph's edge defines content." 

Joseph Koudelka

What you choose to include and exclude from the picture defines the subject of your image and how it is communicated to the viewer.

"It isolates unexpected juxtapositions. By surrounding two facts, it creates a relationship."

Manual Alvarez Bravo 

Through your choice of framing the photographer can create juxtapositions and comparisons between various objects or subjects. This is a powerful device that forces the viewer to create meaning or experience an emotional tension based on the juxtapositions created in the photograph. 

      Roy De Carava 

"The edge of the photograph dissects familiar forms, and shows their unfamiliar fragment."

           Minor White

Subjects are transformed through tight framing. Framing allows you to select only a small fraction of the scene, or selecting the scene in such a way that it becomes something completely other then itself. Through this device new formal patterns can be created through the use of the negative and positive shapes, texture and tone. 

Arron Siskind 

  "It creates the shapes that surround objects."

Helen Levitt   

Within the frame of your image subjects can also be framed with existing shapes - windows, mirrors, doorways, organic shapes, any two lines, etc. Creating a frame within a frame establishes a kind of resonance between the physical and the photographed frames. This device also serves to isolate the subject from the rest of the picture, which in turn can create layers of meaning and possibilities for interpretation.

    Henri Cartier-Bresson 

"The photographer edits the meanings and patterns of the world through an imaginary frame. This frame is the beginning of his picture's geometry."


Robert Frank