FAMOUS LF IMAGES,PHOTOGRAPHERS
Harold Clark
>
> Certainly, no one is limited to American photographers or images. Again, the
> image of Hy Peskin (perhaps, even a fluke of sorts) is considered to have
> transcended the moment and even the sport of golf.
>
> Can you lead us to specific images made by Karsh that may be considered to have
> had the same impact?
> Keith
I believe Karsh's strongest image is probably his portrait of Churchill,
illustrating his bulldog determination. My darkroom instructor(72-75)
had been Karsh's darkroom technician for 2 years, he said the scowling
expression resulted because Karsh took away Churchill's cigar just
before he made the exposure.
Another strong picture which comes to mind is the sinister portrait of
the German industrialist Krupp, which I think was 4x5, but I'm not sure.
The photographer's name has escaped me at the moment. I believe he was
Jewish, and sending him to photograph a Nazi produced powerful results.
Harold Clark
len...@my-dejanews.com
he'd ever set out to create such a horrific portrait. It was a "tribute" to
Krupp's use of slave labor in Krupp's factories, one of which is the
background of the portrait.
> Another strong picture which comes to mind is the sinister portrait of
> the German industrialist Krupp, which I think was 4x5, but I'm not sure.
> The photographer's name has escaped me at the moment. I believe he was
> Jewish, and sending him to photograph a Nazi produced powerful results.
>
> Harold Clark
>
************* Len Cook, Photographer ***************
** 20 years of photojournalism -- DANG that was fun! ***
But there's more to life than News, Weather, and Sports, eh?
http://www.glamourline.com
-----------== Posted via Deja News, The Discussion Network ==----------
http://www.dejanews.com/ Search, Read, Discuss, or Start Your Own
ellis...@my-dejanews.com
ashwood, @, eagle.ca wrote:
> VILNTFLUID wrote:
> I believe Karsh's strongest image is probably his portrait of Churchill,
> illustrating his bulldog determination. My darkroom instructor(72-75)
> had been Karsh's darkroom technician for 2 years, he said the scowling
> expression resulted because Karsh took away Churchill's cigar just
> before he made the exposure.
>
> Another strong picture which comes to mind is the sinister portrait of
> the German industrialist Krupp, which I think was 4x5, but I'm not sure.
> The photographer's name has escaped me at the moment. I believe he was
> Jewish, and sending him to photograph a Nazi produced powerful results.
>
> Harold Clark
The photographer was Arnold Newman. Newman, who is still a working
photographer, last I heard, pretty much invented enviromental portraiture.
Among his most famous portraits: Igor Stravinsky at his piano, shot in
Stravinsky's home, Andrew Wyeth outside of his home, US presidents Truman,
Eisenhower, Kennedy, and Johnson, profesor Robert Oppenheimer, Prodfessor
Albert Einstein anybody who was really important in the fifties, sixties, and
seventies in the worlds of politics, finance and the arts. Arnold Newman is
one of the few true photographic geniuses. Compared to the stunning
straightforward vitality of his work most portrait work looks like bad
embalming. Karsh's wartime portrait of Churchill, and Steichen's portrait of
J.P. Morgan, Edward Weston's portraits of his sons and his work with Charis
Weston, some of Timothy Greenfield-Sanders contemporary work, Nicholas
Nixon's contemporary work, and Alfred Steiglitz's extended portrait of
Georgia O'Keefe making up the bulk of those exceptions. You are being
influenced by Newman's groundbreaking work even if you have never heard his
name before today. Ask Annie leibowitz, Herb Ritts or Gregory Heisler:
they'll tell you.
Ellis Vener
Houston, Texas
Luc Novovitch
> Krupp's use of slave labor in Krupp's factories, one of which is the
> background of the portrait.
In the same veine (nazi era), the picture of the crash of the Hindeburg is
certainly one.
--
mailto:l...@overland.net
Helge Nareid
No objection to any of the above, but there is one glaring omission -
August Sander. To a lesser extent, I also miss Julia Margaret Cameron
from the list.
>You are being
>influenced by Newman's groundbreaking work even if you have never heard his
>name before today. Ask Annie leibowitz, Herb Ritts or Gregory Heisler:
>they'll tell you.
--
- Helge Nareid
Nordmann i utlendighet, Aberdeen, Scotland
ellis...@my-dejanews.com
he...@nareid.demon.co.uk (Helge Nareid) wrote:
> >Arnold Newman is
> >one of the few true photographic geniuses. Compared to the stunning
> >straightforward vitality of his work most portrait work looks like bad
> >embalming. Karsh's wartime portrait of Churchill, and Steichen's portrait of
> >J.P. Morgan, Edward Weston's portraits of his sons and his work with Charis
> >Weston, some of Timothy Greenfield-Sanders contemporary work, Nicholas
> >Nixon's contemporary work, and Alfred Steiglitz's extended portrait of
> >Georgia O'Keefe making up the bulk of those exceptions.
>
> No objection to any of the above, but there is one glaring omission -
> August Sander. To a lesser extent, I also miss Julia Margaret Cameron
> from the list.
>
> >You are being
> >influenced by Newman's groundbreaking work even if you have never heard his
> >name before today. Ask Annie leibowitz, Herb Ritts or Gregory Heisler:
> >they'll tell you.
>
> --
> - Helge Nareid
> Nordmann i utlendighet, Aberdeen, Scotland
Helge, Absolutely right, I made a terrible oversight. Richard Avedon, no
slouch with a large foramt camera himself, credits August Sander as a huge
influence. And Julia Margaret Cameron pretty much invented the idea of the
portrait as an outright theatrical performance. Also missing here is Cecil
Beaton, Paul Outerbridge, Horst, and George Hurrell, the magician from
Hollywood whose work still defines stardom & celebrity style. Also Gjon Mili.
VILNTFLUID
Keith
VILNTFLUID
Keith
Richard Moore
Mother" image was made with a 4 x 5 Graphlex and Bourke-White shot alot
with 8 x 10 for Life magazine.
Richard Moore