Great photographs change the way we see the world; The Ongoing Moment changes the way we look at both.Focusing on the ways in which canonical figures like Alfred Stieglitz, Paul Strand, Walker Evans, Andr Kert sz, Edward Weston, Dorothea Lange, Diane Arbus, and William Eggleston have photographed the same things--barber shops, benches, hands, roads, signs--award-winning writer Geoff Dyer seeks to identify their signature styles. In doing so, he constructs a narrative in which these photographers--many of whom never met--constantly encounter one another. The result is a kaleidoscopic work of extraordinary originality and insight.
Roger Ballen challenges the ways in which we perceive the 'reality' of photography. This body of work is a product of the decades Ballen has spent working with and photographing the common folk of rural and suburban South Africa.
Second only to Mathew Brady as the foremost early American photographer was Alexander Gardner, the one-time manager of Brady's Washington salon and Brady's chief photographer in the field during the early days of the Civil War.
Indeed, Gardner -- who later photographed the War independently -- often managed the famous horse-drawn photographic laboratory and took many of the pictures that used to be attributed to Brady. He accompanied the Union troops on their marches, their camps and bivouacs, their battles, and on their many hasty retreats and routs during the early days of the War.
In 1866 Alexander Gardner published a very ambitious two-volume work which contained prints of some 100 photographs which he had taken in the field. A list of them reads like a roster of great events and great men: Antietam Bridge under Travel, President Lincoln (and McClellan) at Antietam, Pinkerton and His Agents in the Field, Ruins of Richmond, Libby Prison, McLean's House Where Lee's Surrender Was Signed, Meade's Headquarters at Gettysburg, Battery D, Second U.S. Artillery in Action at Fredericksburg, the Slaughter Pen at Gettysburg, and many others. This publication is now amoung the rarest American books, and is here for the first time republished inexpensively.
Gardner's photographs are among the greatest war pictures ever taken and are also among the most prized records of American history. Gardner was quite conscious of recording history, and spared himself no pains or risk to achieve the finest results. His work indicates a technical mastery that now seems incredible when one bears in mind the vicissitudes of collodion applications in the field, wet plates, long exposures, long drying times, imperfect chemicals -- plus enemy bullets around the photographer's ears. It has been said of these photographs: photography today . . . is far easier, but it is no better.
Renowned photographer George Lange's work is guided by one simple truth: An unforgettable photograph is not about what the subject looks like, but what it feels like. In this entirely new kind of photography guide, written by Mr. Lange and Scott Mowbray, magazine editor and longtime amateur photographer, the rest of us will learn how to take photographs that don't just document life but celebrate it.
No fancy equipment required. Just hundreds of simple, inspiring ideas and lessons--each one illustrated with a photograph--organized around the six essential principles of seeing like a photographer. (Here's one: Shoot the Moment, Not the Subject.)
Here's why to shoot in natural light--always. The fun of putting babies in surprising places. How to get intimate with food. Using a dramatic sky as your backdrop. The benefit of learning to know the light in every room of your house. Shooting hands or feet instead of faces. How to move past the "I was here" postcard effect. How to catch the in-between moments. Because in the end, it's about living the moment, shooting the moment--and being in the moment forever.
The book contains more than 250 photographs which are representative of the thousands that were studied. Each photograph is evaluated and interpreted in terms of the intended meaning and purpose of the images. . . . This book is a pleasure to read and represents the distillation of many hundreds of hours reviewing photographic materials. . . . The basic information regarding the interpretation of photographic conventions should be of great interest to both photographers and those with an interest in the cultural histories of Britain and the US. Journal of Biological Photography
With a perspective shaped by recent work in art history and the sociology of knowledge, the authors encourage the reader to analyze photographs as complicated historical documents. They argue that, while photographs may appear to be literal depictions of reality, they actually pose profound problems of historical interpretation. The authors take as their subject matter the representation of medicine in photographs taken in Britain and the United States from 1840 through the present day. They have studied thousands of photographs, more than 250 of which are reprinted in this volume, in conjunction with other primary sources and historical accounts. The text explores the representations of medicine made by photographers and their employers, and the ways that audiences through the years have interpreted their messages.
In this collection of more than 200 stunning and storied photographs, ranging from daguerreotypes to studio portraits to snapshots, historian Bruce White explores historical images taken of Ojibwe people through 1950 and considers the negotiation that went on between the photographers and the photographed-and what power the latter wielded. Ultimately, this book tells more about the people in the pictures-what they were doing on a particular day, how they came to be photographed, how they made use of costumes and props-than about the photographers who documented, and in some cases doctored, views of Ojibwe life.
In his popular Strange Days, Dangerous Nights, Larry Millett delivered Weegee-style images of midwestern noir from the photo files of the St. Paul Pioneer Press. He returns with a focus on the "dangerous"-murder cases from the forties and fifties, memorialized in telling photographs.There is Arthur DeZeler, accused of sinking his wife's body in a northern lake. Laura Miller, who ran for help after gunshots killed her married lover. Dentist Arnold Axilrod, who was arrested when the lifeless body of one of his patients was discovered in a Minneapolis alley. And, finally, Arnold Larson, the personable salesman with a winning smile and a bad temper. Millett traces these four sensational crimes from the moment the victim was found, through the search for the killer, to the court trial and resulting imprisonment or acquittal. All are copiously illustrated with shots from the bulky Speed Graphic camera, views from an era when photographers enjoyed unrestricted access to police matters ranging from found bodies to jail cells. The images dramatically evoke crimes of passion now more than a half-century old, a thrilling immersion into Minnesota noir. Larry Millett is the author of numerous books, including Strange Days, Dangerous Nights and the AIA Guide to the Twin Cities (MHS Press). William Swanson is the author of Dial M: The Murder of Carol Thompson (MHS Press).