Photographer research
Walker Evans
Walker Evans was an americian photographer best known for his work for the farm security adminidtrations. the fsa documented the effects of the great depression. most of evans work from his time working at the fsa uses uses a large format 8x10 inches camera. evan’s said his goal as a photographer was to was to make pictures that were literate, authoritative and transcendent. most of evans work are in permeant collections of muesems and have been the subject of retrospect of many instituions such as the metropolitian museum of art. some of evan’s photographs were published in a book called let us now praise famous men.
Jeff Wall
Jeff wall is a canidian artist his best know work is largescale backlit cibachrome photographs. jeff wall made his first peice of art in 1977 when he made his first back lit phototransparancies. one of jeff walls most famous oeices of work is a picture called mimic where it is said that a white man makes a rather racist geuster to an asian man why walking down the street. Wall experimented with conceptual art while an undergraduate student at UBC. Some of Wall’s photographs are complicated productions involving cast, sets, crews and digital postproduction e.g. dead troops talk depicted an ambush of red army in Afghanistan.jeff Wall is best known for his large format photographs Jeff Wall uses an 8x10 view camera to take staged pictures of events that could of previous happened or are fantasy events.
William Eggleston
William eggleston is an americian photographer who is wideley known and credited for colour photography. as a legitimate artistic medium to display in art galleries because untill the 1970’s art gallaries often priviled work by photographers making black and white photo’s. eggelston started to become intrested in photography in his university years. eggelstons early photographic effots were inspired by robert frank a swiss born photographer and a book called the decisive moment by a french photographer called henrri brenson. eggelston began to experiment with colour photographs in 1965 and in 1966. colour transparency became his main photograph method in the late 60’s. eggelston used a 35mm medium format camera and a 5x7 inches camera.
Irvine Penn (see Stixy)
August Sander (see Stixy)
Francis Frith
Francis frith was an architectural photographer that was around mid 19th century. firth was an english photographer who photographed many towns in the united kingdom and he also had 3 trips to the middle east where he took photos of things like pyramids in egypt. when frith went to egypt in 1856 he took a very large camera it was a 16x20 format. firth noticed that there was a problem with the composition of the camera when taking photos of the foreground, the eath falling away and an objects like a brick wall intgerfering or any other comman everyday object. firth established a photographic printing business which became the biggest in england. firths printing business was growing around the same time there was major technical advances in photography. these advances in technology helped expand the audience for photography and so firths company was ready to provide for the new audience for photography.
Berenice Abbot
Benrenice Abbot was an architectural photographer who liked to take photos how they were seen on that through the lense instead of editing and playing around with the photo. she was also very particular on getting the camera angle perfect. Abbots work was primiarly a socilogical study imbedded with modern asthspetic practices. abbot did this to try and build up a link between three aspects of urban life. the diverse people of the city, the places they live, work and play and their daily activities. Abbot’s photos were intented to make people think and realise that the envioment they are in is a result of not just one percifiv behavoir but their behavoir as whole collectivly togeather. Abbot was part of the straight photography movement who belived in photographs not being manipulated in both subject matter and development process.
Candida Hofer
Candida Hofer is a german architectural photographer who was born in 1944 in eberswalde province in bandenburg. she is a cologne based photographer and was the student of Bernd and Hilla Becher. Hofer’s work is particularly noticeable because of its technical perfection/precision and a strictly conceptual approach. in 1968 Hofer began working for newspapers as a portrait photographer. Hofer went to the Kunstakademie kDusseldorf from 1973 to 1982, where she studied film under Ole John and, from 1976, Hofer studied photography under Bernd Becher. Hofer was one of the first of Becher’s students to use color, showing her work as slide projections.Höfer began taking color photographs of interiors of public buildings, like offices, banks, and waiting rooms, in 1979 while studying in Düsseldorf.[2] Her breakthrough to fame came with a series of photographs showing guest workers in Germany, after which she concentrated on the subjects “Interiors”, “Rooms” and “Zoological Gardens”. Höfer specialises in large-format photographs of empty interiors and social spaces that capture the “psychology of social architecture”. Her photographs are taken from a classic straight-on frontal angle or seek a diagonal in the composition.[3] She tends to shoot each actionless room from an elevated vantage point near one wall so that the far wall is centered within the resulting image. From her earliest creations, she has been interested in representing public spaces such as museums, libraries, national archives, or opera houses devoid of all human presence. Höfer’s imagery has consistently focused on these depopulated interiors since the 1980s.[4] Höfer groups her photographs into series that have institutional themes as well as geographical ones, but the formal similarity among her images is their dominant organizing principle.
In her Zoologische Gärten series (1991), Höfer shifts her focus away from interiors to of zoos in Germany, Spain, England, France, and the Netherlands. Implementing her typically descriptive style, Höfer’s images again seek to deconstruct the role institutions play in defining the viewer’s gaze by documenting animals in their caged environments.[5]
http://en.wikipedia.org/wiki/Candida_Höfer
In her Zoologische Gärten series (1991), Höfer shifts her focus away from interiors to of zoos in Germany, Spain, England, France, and the Netherlands. Implementing her typically descriptive style, Höfer’s images again seek to deconstruct the role institutions play in defining the viewer’s gaze by documenting animals in their caged environments.[5]
http://en.wikipedia.org/wiki/Candida_Höfer
Eric de Mare
Eric de mare was a British author and architectural photographer. He was described as one of Britain’s greatest ever architectural photographers. He was born in 1910 and died in 2002. He was born in London to a Swedish family. He was educated at st Paul’s school and after he became a student of the architectural association in London in 1928 and he graduated in 1933. De mare joined the architectural press and became the editor of architect’s journal in 1943. He also published his first book in 1942 called britian rebuilt. Canals and waterways feature significantly in de Maré’s work. In 1948, he boated a dozen of the English canals during a 600 mile tour, photographing the landscapes, buildings and people he encountered. In 1956, he was commissioned to travel throughout England to photograph early industrial sites and buildings. The resulting images were combined with JM Richard’s text in The Functional Tradition in Early Industrial Buildings, which was published by the Architectural Press in 1958.
A list of eric de mare’s books
Eric de Maré, The Canals of
Eric de Maré, Bridges of Britain
Eric de Maré, London’s Riverside (1958)
Eric de Maré, City of Westnminster; Heart of London (1968)
Eric de Maré, Photography (1957
Eric de Maré, Photography and Architecture (1961
Eric de Maré, Architectural Photography (1975) Eric de Maré, Wren’s London (1975)
Eric de Maré, A Matter of Life or Debt (1983)
Higgott, Andrew, Eric de Maré : Photographer, Builder with Light.
Elwall, Robert, Eric De Mare. London : RIBA Publishing, 2000. ISBN 9781859460832
http://en.wikipedia.org/wiki/Eric_de_Mar%C3%A9
A list of eric de mare’s books
Eric de Maré, The Canals of
Eric de Maré, Bridges of Britain
Eric de Maré, London’s Riverside (1958)
Eric de Maré, City of Westnminster; Heart of London (1968)
Eric de Maré, Photography (1957
Eric de Maré, Photography and Architecture (1961
Eric de Maré, Architectural Photography (1975) Eric de Maré, Wren’s London (1975)
Eric de Maré, A Matter of Life or Debt (1983)
Higgott, Andrew, Eric de Maré : Photographer, Builder with Light.
Elwall, Robert, Eric De Mare. London : RIBA Publishing, 2000. ISBN 9781859460832
http://en.wikipedia.org/wiki/Eric_de_Mar%C3%A9
Henry Huet
Henry Huet was a french vietnarm war photographer. he was born in 1927 april 4th and died in 1971 febuary 10th. he was most well know for his covering of the vietnarm war. heut had a vitaminese mother and an english father. he moved to france when he was only 5 years old and he was educated there. heut joined the french marine army where he recived training in photography. heut went to vietnarm in 1949 as a combat war photographer. in 1954 when the war ended huet was discharged from the navy buyt stayed in vietnarm to become a civilian photographer working for the french and british government. but in 1965 huet went to cover the vietnarm war. Huet’s photographs of the war were influential in moulding American public opinion. One of his most memorable series of photographs featured Thomas Cole, a young medic of the First Cavalry division, tending fellow soldiers despite his own injuries. In 1967 the oversees press club awarded Huet the Robert Capa Gold Medal for the “best published photographic reporting from abroad, requiring exceptional courage and enterprise”.
http://en.wikipedia.org/wiki/Henri_Huet
http://en.wikipedia.org/wiki/Henri_Huet
Roger Fenton
roger fenton was born in 1819 on march 28th and died in 1869 on 8th august. in 1838 he went to university college of london and graduated in 1840. roger fentonwas a pioneering British photographer, one of the first war photographers. Fenton visited the Great Exhibition in Hyde Park in London in 1851 and was impressed by the photography on display there. He then visited Paris to learn the waxed paper calotype process. By 1852 he had photographs exhibited in England, and travelled to Kiev, Moscow and St. Petersburg making calotypes there, and photographed views and architecture around Britain. A photographic society was set up in 1853, with Fenton as founder and first Secretary. it, later became the Royal Photographic Society under the patronage of Prince Albert.
In 1855 Fenton went to the Crimean War on an assignment for the publisher Thomas Agnew to photograph the troops. roger fenton went with a photographic assistant called Marcus Sparling and a servant, with a large van of equipment. Despite high temperatures, breaking several ribs, and suffering from cholera, fenton managed to take over 350 usable large format negatives. Fenton was sent to the Crimean War as the first official war photographer because Prince Albert insisted. The photographs produced were to be used to offset the general aversion of the British people to an unpopular war, and to counteract the antiwar reporting of The Times. The photographs were to be converted into woodblocks and published in the less critical Illustrated London News, published in book form and displayed in a gallery. Fenton avoided making pictures of dead, injured or mutilated soldiers.
http://en.wikipedia.org/wiki/Roger_Fenton
In 1855 Fenton went to the Crimean War on an assignment for the publisher Thomas Agnew to photograph the troops. roger fenton went with a photographic assistant called Marcus Sparling and a servant, with a large van of equipment. Despite high temperatures, breaking several ribs, and suffering from cholera, fenton managed to take over 350 usable large format negatives. Fenton was sent to the Crimean War as the first official war photographer because Prince Albert insisted. The photographs produced were to be used to offset the general aversion of the British people to an unpopular war, and to counteract the antiwar reporting of The Times. The photographs were to be converted into woodblocks and published in the less critical Illustrated London News, published in book form and displayed in a gallery. Fenton avoided making pictures of dead, injured or mutilated soldiers.
http://en.wikipedia.org/wiki/Roger_Fenton
link to different applications of photograpy