Front | Back |
![]() Still Life in the artist’s studio |
Louis Jacques Mandé DAGUERRE1837First daguerrotype, silver plated sheet of copper, exposed to light and mercury
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![]() The Open Door |
William Henry Fox TALBOT 1844-46reproduced in The Pencil of Naturecalotype, v clear compared to 1st daguerrotype
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![]() Dawn and Sunset |
Henry Peach ROBINSONAlbumen combination print from three negatives1885, v stylized/pictorial, put together how he wants it, like a painting, symbol of light, placement, beginning and end of day-birth and death, proponent of photography as fine art, v popular w/ victorian public
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![]() Phantoms on a Paris Street Corner |
Eugene ATGETc. 1900, they were moving so the effect is like that
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![]() Cabaret of Hell, blvd de Clichy |
Eugene ATGET 1910, northern part of city, shot is angled, not what you think is in paris, it's so refined, sophisticated, cabaret is something you find at a cheesy fair
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![]() Avenue des Gobelins, Paris |
Eugene ATGET1925, mannequins, wealth of social class, can see across street, commercialization of city, we've become mannequins to consumerism
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![]() Ragpickers, Poterne desPeupliers |
Atget 1913, at border of paris, low class, not staged, takes a few min to expose. documentary style, feel part of photo
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![]() Samson Chatillon blind alleyway |
Eugene ATGET1922, cart left but no one, typical of his photos, void of ppl, quiet paris, empty, abandoned
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![]() Prostitute, Paris |
Eugene ATGET1920, commissioned, lots of pics, she's more seductive, dynamic, ground not flat, she doesn't care she's a prostitute
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![]() Chaste Venus, Versailles |
Eugene ATGET1922-23
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![]() Parc de Sceaux |
Eugene ATGET1925, tree trunk obstructs view of lake, different textures, v open, more nature
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![]() Watching an Eclipse, Place de la Bastille, Paris |
Eugene ATGETApril 17, 1912, all transfixed at sky, doesn't view self as artist, doesn't want credit on cover of surrealist magazine w/ this photo
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![]() Paula, or Sun Rays, |
Alfred STIEGLITZ Berlin1889, personal vision of a person writing on a table in bands of
light and shadow, STIEGLITZ had enormous skill because it was difficult to achieve this kind
contrast and clarity
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![]() Rowing Home the Schoof-Stuff, from album Pictures of East Anglian Life |
Peter Henry EMERSON 1888, photogravure, advocated the photography that capture the integrity
- to put
the camera slightly out of focus and make image slightly blurred to mimic human
vision
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advocated certain type of printing process that achieved a Impressionistic
style
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advocated platinum print
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gum bichromate - they allowed the artist to
produce soft blurred tones
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photogravure - copper plate that is covered with
light-sensitive gelatin
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![]() Winter on Fifth Avenue |
Alfred STIEGLITZ photogravure 1893, waited 3 hrs for perfect shot, “success and hand camera work depends on patience”
- image
was cropped
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