Podcasts about Edward Weston

Send us a textEver since she picked up her father's camera at age twelve, Rachael Short has been captivated by the art of photography. Listen to our conversation to learn more from and about Rachael's remarkable story.LINKS:Relay for RachaelGallery ExposedRachael Short Photography>>>>>>>>>>>SUMMARIES:Rachael's Nature-Inspired Photography JourneyRachael and Magnus reminisced about their past interactions and shared experiences. Rachael, who grew up in Carmel Valley, expressed her gratitude for her upbringing, which included spending time in nature and observing the environment. She credited this upbringing for influencing her photography and creativity. Magnus and Rachael discussed how Rachael's experiences, such as horseback riding and long drives through nature, shaped her perspective and artistic vision.Rachael's Photography Journey and Technical SkillsRachael discusses her early experiences with photography, starting in high school and continuing through her education at Brooks Institute. She was drawn to black and white photography and the darkroom process, which she began learning as a sophomore. Rachael explains that she didn't fully appreciate the significance of famous photographers from her area, like Ansel Adams and Edward Weston, until later in her studies. She describes her time at Brooks Institute, where she experienced the transition from film to digital photography, and highlights the technical skills she gained there, particularly in lighting and the zone system. Rachael also mentions her focus on fine art photography and portraiture, which led to her work in wedding photography as a means to fund her artistic pursuits.Neurological Trauma Experiences ComparedRachael and Magnus discussed their experiences with neurological traumas. Rachael shared her vivid memories of a 15-year-old accident that left her paraplegic, while Magnus described his wife's recent stroke. They compared their experiences, noting similarities and differences. Magnus asked Rachael about her memories of the accident and how she has coped with the trauma over the years. Rachael confirmed that she still remembers painful aspects of the accident and has no memory of the first few days in the hospital.Quadriplegia and Community SupportRachael discussed her quadriplegia, emphasizing the difference between paraplegia and quadriplegia. She acknowledged the fragility of life and the ongoing challenges of finding the right care to manage her condition. Rachael also expressed gratitude for the community support she receives, particularly through the annual run organized by a core group of friends. Despite the difficulties, she remains hopeful and appreciative of the love and support she receives.Rachael's Photography and New ProjectIn the meeting, Rachael discussed her photography work, including a series of images taken at her grandparents' property after it was sold. She explaineSupport the show_________________________________________________This podcast is a production of the Henry Miller Memorial Library with support from The Arts Council for Monterey County! Let us know what you think!SEND US AN EMAIL!

During the Pandemic, commercial and fine art photographer Beth Galton created an art piece that eventually turned into an art book she titled, Covid Diary. Now she has started a Kickstarter to help her fully realize the scope of this passion project.  On this episode, we're talking about the Covid Diary, which is on its final fundraising stretch. We discuss the origin of the project, its evolution, and how this experience has helped Beth grow. Click here to learn more about the kickstarter! About Beth: A born and bred New Yorker, Beth is continually inspired by the sights, sounds, and tastes of the city she calls home. The path to a prolific career as an award-winning New York City photographer began in a childhood animated with Marvel Comics, choral music, a natural science education, flute lessons, and the chaotic and composed meals she had at home and abroad. Photography became her method to synthesize life. Drawn to the organic classicism of Edward Weston, Ansel Adams and Edward Steichen, Beth's work is informed by her sensitivity to how light falls and shapes the subject. Her work is exceptional in its ability to invest her images with emotion. Whether making a photo look so compelling you want to pick it up off the page, or conceptually exploring an idea, she applies her deep knowledge and love of craft to each photograph she creates. Beth's personal warmth and generosity infuse her working and shooting environment. She enjoys creative and collaborative relationships with stylists and Art Directors many of whom she works with again and again. Her images and short films tell stories – the story of memories, of what and how we eat together, a love of nature, and the pleasure of shared experiences. Visit Beth's website.  

Sotheby's in London meldet Rekordergebnisse: Die Versteigerung von 220 Fotografien aus den zwanziger und dreißiger Jahren bringt Millionen. Die Fotografien von Man Ray, Edward Weston, El Lissitzky oder Umbo galten als verschollen, bis Sotheby's mit einer Geschichte aufwartete, die nicht nur wie ein Märchen klang. Der Sohn einer Helene Anderson, hieß es im Auktionskatalog, habe die von seiner Mutter angelegte Sammlung zufällig in einem Koffer auf einem Frankfurter Dachboden gefunden. Von Anja Kempe - Deutschlandfunk Das Feature

HT1981 - Seeing a Focal Length I remember hearing a story about Edward Weston that I hope is true. It's said that once he set his tripod down to make a photograph he never needed to move it because he knew the focal length of his lens so well he could predict exactly where the camera needed to be. Does this mean that choosing our focal length changes the way we see?

After a fun morning of photography, the Shutter Brothers are back to the podcast table - and Kevin has questions! Lately, he's been in the darkroom trying out fiber based paper for the first time, and he has much to learn about the differences between resin coated and fiber based paper when it comes to exposing, developing, fixing, washing, and drying processes. Fortunately, Wayne has been printing on FB paper for decades, so get ready to learn, everybody! The look and feel of FB paper makes mastering the learning curve worth it. Kevin also reviews a fine photo book, New York Changing:  Revisiting Berenice Abbott's New York by Douglas Levere. Berenice Abbott had a long and very successful photography career and is well known for her documentary photography of 1930's New York City. Levere attempts to rephotograph Abbott's subjects to demonstrate the changes time has brought about, and the book contains many side by side comparisons of both Abbott's and Levere's photography. Anyone who has interest in urban large format photgraphy will enjoy it very much! Next, Wayne leads a discussion about Edward Weston's quote, "To photograph a rock, have it look like a rock, but be more than a rock." Exactly how does a developing phoographer begin to make images that express feelings or tell stories? Wayne has some practical and useful tips. Don't forget about our 3rd Annual Photowalk with the Shutter Brothers, which will happen on Saturday, October 26, at Fort Southwest Point in Kingston, Tennessee. If you've ever thought about photographing a military reenactment, this is your chance. There will be hundreds of reenactors patroling the reconstructed Fort Southwest Point providing ample photographic opportunities. Mark your calendar! Our show notes can be found at https://unclejonesyscameras.blogspot.com. Happy Photography!

Podcst Notes: https://www.moneymakerphotography.com/edward-weston/ Edward Weston was a famous 20th-century photographer known for pioneering high-detail photography work. His personal life was also tempestuous. Here is the interesting story of this remarkable American cultural personality.

1921 – Edward Weston conoce a quien sería su musa, su amante, su asistente y su mejor alumna, Tina Modotti que por entonces está casada con un artista que se apoda Robo. En la primera etapa del romance que dura años, Tina le escribe. Un espacio de Bárbara Espejo.

In this episode of PhotoWork with Sasha Wolf, Sasha and photographer, Kelli Connell discuss her brand new book, Pictures for Charis, published by Aperture. Kelli talks about her fascination with and subsequent extensive research on Charis Wilson and the eleven year relationship she had with legendary photographer Edward Weston, and how what she learned guided her own exploration of portrait-making and landscape work while collaborating with her wife of fourteen years, Betsy Odom. Sasha and Kelli also discuss Kelli's renowned series, Double Life, which also explores the relationship between photographer and model as well as gender and identity. https://www.kelliconnell.com https://aperture.org/books/kelli-connell-pictures-for-charis/ http://www.decodebooks.com/connell.html Kelli Connell is an artist whose work investigates sexuality, gender, identity and photographer / sitter relationships. Her work is in the collections of the Metropolitan Museum of Art, Los Angeles County Museum of Art, J Paul Getty Museum, Philadelphia Museum of Art, Columbus Museum of Art, Museum of Fine Arts Houston, Dallas Museum of Art, Milwaukee Art Museum, and the Museum of Contemporary Photography, among others. Publications of her work include Kelli Connell: Pictures for Charis (Aperture, March 2024), PhotoWork: Forty Photographers on Process and Practice (Aperture), Photo Art: The New World of Photography (Aperture), and the monograph Kelli Connell: Double Life (DECODE Books). Connell has received fellowships and residencies from The Guggenheim Foundation, MacDowell, PLAYA, Peaked Hill Trust, LATITUDE, Light Work, and The Center for Creative Photography. Connell is an editor at SKYLARK Editions and a professor at Columbia College Chicago. This podcast is sponsored by picturehouse + thesmalldarkroom. https://phtsdr.com

Plongez dans l'univers féminin des fleurs, où la pivoine rouge, les roses d'Aphrodite et les camélias de Coco Chanel s'entrelacent dans une épopée botanique. Découvrez comment les femmes, des guérisseuses médiévales aux suffragettes du 20e siècle, ont utilisé les fleurs comme symboles de résistance, de créativité et de liberté. Rejoignez-nous pour explorer la question intrigante : Les fleurs peuvent-elles être féministes ?Références :La Pivoine Rouge (1970) - Film japonais "yakusa".Hamlet - Œuvre de William Shakespeare."Herbier curieux" (1739) - Ouvrage d'Elizabeth Blackwell.Marché Elizabeth II - Lieu à Paris, rebaptisé en l'honneur de la Reine Élisabeth II.Georgia O'Keeffe - Artiste américaine du 20e siècle.Blow Up (1954) - Technique photographique utilisée par Edward Weston.Coco Chanel - Icône de la mode française."La Dame aux Camélias" - Œuvre influente pour Coco Chanel.Journée Internationale des Droits des Femmes - Célébrée le 8 mars.Langage des fleurs - Floriographie.Mimosa - Symbole politique en Italie après la Seconde Guerre mondiale.Suffragettes françaises - Utilisation de fleurs violettes, vertes et blanches.Roses Elizabeth - Variété de roses associée à la Reine Élisabeth II.Bienvenue dans « Purple Theorie », Là où les questions deviennent féministes , le podcast qui explore les questions de féminisme à travers la culture, l'histoire et bien plus encore. Bienvenue dans « Purple Theorie", le podcast qui explore les questions de féminisme à travers la culture, l'histoire et bien plus encore.Chaque chronique a pour déclencheur, une scène de film de cinéma, qui nous entraine dans les trajectoires féministes, en abordant des questions culturelles, historiques et philosophiques. Écoutez, partagez et laissez-vous emporter par "Purple Theorie" sur Apple Podcast et Spotify & Co. Préparez-vous à vivre des sensations fortes à chaque épisode !Production: Mikrophonie Emission écrite et réalisée par Marie SuchorskiMusique: Royalty-free music by Slip.stream / https://slip.stream Rejoignez-nous pour une exploration passionnante du féminisme….Instagram : www.instagram.com/purpletheorieSite web : www.purpletheorie.com#purpletheorie #podcast #féminisme #feministe #femme #art #cinema #Mikrophonie#Fleurs #Botanique #PivoineRouge #GeorgiaOKeeffe #Suffragettes #Roses Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

HT1757 - Seek What They Sought Some 2,600 years ago, the Chinese sage Lao Tzu advised us, "Do not seek the wise men of old. Seek what they sought." I can't help but think that he was speaking directly to us photographers here in the 21st century. Instead of chasing the Yosemite of Ansel Adams, the Point Lobos of Edward Weston, or the New York of André Kertéz, perhaps we should look beyond their work to the deeper beauty, honesty, and introspection they were trying so diligently to capture in their photographs.

HT1694 - Even Winners Produce Losers Can we all agree that not every Ansel Adams, or Edward Weston, or Wynn Bullock image is a winner? Sometimes even the great photographers would produce a questionable image. When I produce crap, I find it comforting to remember that.

Tina Modotti è stata una delle più grandi fotografe del '900, ma spesso si parla di lei in funzione delle sua biografia. Tina Modotti e Frida Kahlo, Tina Modotti musa di Edward Weston, ma chi era Tina Modotti come fotografa? A rispondere a questa domanda e a prendere parte insieme a noi a questo viaggio meraviglioso c'è Riccardo Costantini, curatore della mostra "Tina Modotti. L'opera" che puoi visitare a Palazzo Roverella, Rovigo fino al 28 gennaio 2024. Prima di visitare la mostra, ti consigliamo di ascoltare le parole di Riccardo! Qui trovi maggiori informazioni sulla mostra: La straordinaria mostra di Tina Modotti a RovigoTina Modotti, storia di una fotografa e attivista politica + libri da leggereVisita il sito web di Palazzo Roverella

HT1586 - Most Influential Book Daybooks by Edward Weston? The Decisive Moment by Cartier-Bresson? The Americans by Robert Frank? For me, there is no question that most influential book has been Photographers On Photography by Nathan Lyons. This is the one book I go back to and reread over and over again.

Formerly a photographer and founder of The Center for Photography in Woodstock in 1977, Howard Greenberg has been one of a small group of gallerists, curators and historians responsible for the creation and development of the modern market for photography. Howard Greenberg Gallery—founded in 1981 and originally known as Photofind—was the first to consistently exhibit photojournalism and 'street' photography, now accepted as important components of photographic art. Howard Greenberg Gallery maintains diverse and extensive holdings of photographic prints including Eugène Atget, Henri Cartier-Bresson, Bruce Davidson, André Kertész, William Klein, Gordon Parks, Edward Steichen, Paul Strand, Josef Sudek, and Edward Weston on its roster of artists. More recent additions include Edward Burtynsky, Jungjin Lee, Joel Meyerowitz, and Vivian Maier. In 2013 Howard Greenberg Gallery announced exclusive representation for the estates of Berenice Abbott and Arnold Newman. In 2018 Howard Greenberg Gallery became the primary representative of the Ray K. Metzker Archive. In 2019 Greenberg sold 447 photographs from his collection to the Museum of Fine Art in Boston. This conversation took place over Zoom in January 2023.

Full show notes and photos here: allthroughalens.com And on this episode - the big 8-0! - we are talking to photographer Kristie Cornell (@kccornell on IG) and sculptor Marla Kristicevich (@marla_kristicevich on IG) about a project they collaborated on around Louisiana's Bayou Teche . We'll also tell you about Esther Bubley, one of Roy Stryker's photographers who became much more than just one of Roy Stryker's photographers. There's also the answering machine and some witty banter!   Kristie Cornell & Marla Kristicevish   Kristie Cornell and Marla Kristicevich collaborated on a project called Meander Mindset that took them down the 124mi length a Bayou Teche, a vital waterway in Louisiana. The project was a combination of photography and sculpture, as well as various other skills - all aboard a small 1970s Boston Whaler.   Flickr: https://www.flickr.com/photos/kccornell/albums/72177720300912386   Kristie: www.kristiecornell.com   Marla: marlakristicevich.com         Esther Bubley     Lately, our stories have involved the various and alarming sexual escapades of any number of wriggling photographers. But not today! There's actually almost nothing known about this photographer's private life (which means she probably didn't date Edward Weston!)    Today we are talking about Esther Bubley, a Midwestern photographer who had the ability to essentially disappear into the background and capture people at their most normal and vulnerable - all while making them feel truly seen and understood.    Here are some of her FSA images:     And here are her Assignment images:         Link her her government archives: https://www.loc.gov/pictures/search/?q=LOT%20939&fi=number&op=PHRASE&va=exact&co!=coll&sg=true&st=gallery   www.esterbubley.com   PATREON   Thank you to everyone who supports us!   Check out our Patreon for bonus episodes, extended interviews, early drops. Tons of stuff!   patreon.com/allthroughalens   THE CREDITS OF ENDING   www.allthroughalens.com   Vania: IG, Flickr, Zines Eric: IG, Flickr, Zines, ECN-2 Kit  

Full show notes and photos here: allthroughalens.com   We are back from our long winter's nap with a wonderful show for you. We'll be talking with the amazing Kat Swansey (@katswanseyphoto on IG) about her new book, and then sharing with you another story of collaboration and love gone wrong with Lee Miller and Man Ray. We've got the answering machine question, and a bit of housekeeping, so welcome the hell back to All Through a Lens! Kat Swansey We first talked to Kat Swansey all the way back in episode 18. We fell in love with her straight forward depictions of small town Texas. But now she's back with a book called Texas Textures, and we we're excited as hell to hear what she has to say… Her book: https://www.katswansey.com/book Web: https://www.katswansey.com/ IG: @katswanseyphoto And here are some of her photos:   Lee Miller and Man Ray One of the topics we've been exploring lately is the idea of collaboration. We examined the love between Claud Calhoun and Marcel Moore; Talked with Taylor and Kate Miller-Wilson about their water-side photos; and most recently looked at the toxic dependency between Margrethe Mather and Edward Weston. Today, we're entering into the intense and desperate four year relationship between Lee Miller and Man Ray. How might a self-centered, aristocratic Vogue model of 22 get along with a short, odd, working class, surrealist photographer pushing 40? As we'll see, Lee Miller was not your average fashion icon, and Man Ray wasn't your typical surrealist. In fact, Lee might have fit that definition far better than Man. Lee Miller and Man Ray shot hundreds of photos together. Some of them we can even share with you. We also referenced a few other photos by Lee and Man separately:   PATREON Thank you to everyone who supports us! Check out our Patreon for bonus episodes, extended interviews, early drops. Tons of stuff! patreon.com/allthroughalens THE CREDITS OF ENDING www.allthroughalens.com Vania: IG, Flickr, Zines Eric: IG, Flickr, Zines, ECN-2 Kit

LW1334 - The Flame of Recognition The Flame of Recognition is the title of an Edward Weston monograph published by Aperture in the 1960s. I've come to realize this is a much more important idea than I thought when I purchased the book so many years ago. It describes one the of central cores of fine art photography. You might also be interested in. . . Every Picture Is a Compromise, a series at www.brooksjensenarts.com. and... "How to" tutorials and camera reviews are everywhere on YouTube, but if you're interested in photography and the creative life, you need to know about the incredible resources you can access as a member of LensWork Online. LensWork Online includes hundreds of hours of audio, video, and downloadable content - literally terabytes of content, content, and more content. All 1200+ of Brooks Jensen's podcasts, the complete Here's a Thought... video library, Looking at Images commentaries, Creative Labs and new channels for 2021 including Exploring the Back Issues and Q&A with Brooks and friends. We add new content literally every day. You can learn more about memberships to LensWork Online at www.lenswork.com. And don't forget that all members can download the digital versions of LensWork for your tablet or computer. LensWork Online is the most content-rich resource for ideas and inspiration you'll find anywhere on the Internet.

HT1403 - Georgia's Hands There is a history of photographers photographing their loved ones, not as family snapshots, but rather as an artistic pursuit. Stieglitz photographing Georgia O'Keeffe's hands; Harry Callahan and those portraits of Eleanor; Edward Weston and his portrait of Charis. This idea intrigues me.

Michael Torosian has spent his life taking photographs, interviewing great photographers, and making fine press photography books. He's in the process of making another entitled Lumiere Press, Printer Savant and Other Stories to commemorate the establishment of the Lumiere Press Archive at the Thomas Fisher Rare Book Library in Toronto. It's full of life lessons and back-stories illuminating each of the twenty-two books he's published over the past four decades.    We sat down in his workshop, behind his house in Toronto, to talk about the book. Topics covered in this first installment of a two part conversation include: photography, bookmaking, relentless exploration, 'general aesthetics,' cultivating aptitudes, the blossoming of the photography market, Edward Weston, Aaron Siskind, decoding visual language, composition, respect, paying homage, the Ninth Street Show, Gordon Parks, learning as the key to existence, making every word count, the Paris Review's Writers at Work series, capturing the voice of the artist, the book as the medium of photography, and more. 

For full show notes and photos, head here: allthroughalens.com   We're talking to Travis Cannady (@travis_cannady on IG), photographer and publisher of Better Off Zine. For our main feature, we'll tell you the story of the nearly-forgotten, yet wildly influential Margretha Mather (@betteroffzine). And that means we'll have to talk about Edward Weston too, so… apologizes all around. We've also a zine review and maybe even the answering machine.  Travis Cannady Along with being a film photographer and lab technician, our guest today, Travis Cannady is a zine maker. He creates and publishes his own, but he also does something pretty remarkable. He puts out a zine called Better Off. Each issue, the entire zine is dedicated to a single photographer. It's the zine equivalent of a solo-show. Or really, it's how some early photography periodicals used to do things. We've got him here, so let's talk his ear off. IG: @travis_cannady IG: @betteroffzine Web: traviscannady.com Buy Better Off Zine: betteroffzine.com Here are some of his photos: Margrethe Mather (and That Other Guy) The story of Margrethe Mather is not a simple story to tell. She was not a simple woman, nor a simple photographer. She was an anarchist in every sense of the word and held neither gods nor masters above her. Though wildly creative, she had little ambition for self-promotion, once telling Edward Weston, to leave her unremembered, to “pretend that I didn't exist.” In biographies of Edward Weston prior to the 1980s, if she is mentioned at all, Margrethe Mather is hardly more than a footnote. She was thought of as a woman, often naked, who posed for the great Edward Weston. The story of the two of them together had been consumed into his story alone. And it is our job to separate them. But that is no easy task. However, by Imogen Cunningham's reckoning, “in artistic matters Margrethe was, of course, the teacher. Edward, the pupil.” Margrethe's influence upon Weston can hardly be overstated. He followed her lead, and sometimes flat out copied her style. They were friends, companions, lovers, collaborators and ultimately estranged. Their relationship was in many ways mutually toxic. But since humans are always complicated, it was also mutually essential to their growth as artists. Here are some of Margrethe's photos:   And here are some of Weston's photos taken of and with Margrethe: The Center for Creative Photography issue we reference is available here: https://repository.arizona.edu/handle/10150/641064 You can borrow Artful Lives by Beth Gates Warren online here: https://archive.org/details/artfullivesedwar0000warr/page/n7/mode/2up We also recommend: Margrethe Mather & Edward Weston; A Passionate Collaboration also by Beth Gates Warren. There are no other books about Margrethe Mather. There are a shit ton of books about Edward Weston. Zine Review Fool Me Once, Fool You Twice by Tee Ferguson This is highly saturated, full color, 88 page perfect bound zine made up entirely of double exposures, all of which happened in-camera. She'd shoot an entire roll, re-roll it and shoot it again. This allowed for happenstance and serendipity to work their magic.  IG: @tee.ferguson Etsy Shop: https://www.etsy.com/uk/shop/teeonfilm   PATREON Thank you to everyone who supports us! Check out our Patreon for bonus episodes, extended interviews, early drops. Tons of stuff! patreon.com/allthroughalens THE CREDITS OF ENDING Music by Last Regiment of Syncopated Drummers Vania: IG, Flickr, Zines Eric: IG, Flickr, Zines, ECN-2 Kit   All Through a Lens: IG, Website, Patreon, Spotify Playlists

HT1289 - Once Again, the Pace of History Amazes Do you realize that 100 years ago, [well, technically 105 years ago when Stieglitz published issue #48 — the final issue — of Camera Work] high quality photography publications used tipped-in photogravure prints? It would be another 30 years before offset lithography was used in state-of-the art books like Edward Weston's My Camera on Point Lobos, another 60 years before Ansel Adams' Yosemite and the Range of Light used duotones. Today, we can share our work instantly via the Internet to people all over the world. How is this not the best time in the history of photography to be a photographer?

In the early 50's Peter Vincent saw a car that changed his life forever.  He was a 6th grader standing on the corner for junior traffic control when a lowered, drop top Merc pulled up with frenched headlights, nosed and decked with a smooth bumper and no grill. Needless to say, it made an impression. He has been hooked on cars ever since, and his passion stayed with him as he bounced from mechanical engineering to architecture and finally landed in his true passion, photography. Like that Merc, the act of creation in photography grabbed Peter like nothing else and never let go.   Peter learned photography from workshops with Ansel Adams and Edward Weston, taking in their formalism and methodical zone system of visualizing, measuring and capturing images. As he honed his craft, he turned his camera to cars. Much like architecture and landscape photography, cars provided subjects with lines and shapes that appealed to his passion for disciplined image making. Bonneville provided the perfect setting to capture hot rods in their purest form, built by like-minded car enthusiasts with their own spin on disciplined craftsmanship.  Since those first images, Peter has published five books of photography and made a reputation for himself as the premier hot rod photographer. We talk with Peter about his extensive experience in photography, his own cars and getting to know early hot rod legends like Keith Cornell and Ken Schmidt of the Rolling Bones hot rod shop.  Don't miss the Speedway Motors Museum of American Speed feature of Peter Vincent https://www.museumofamericanspeed.com/peter_vincent_photographer.html 

In 1930 three people, Edward Weston, Lincoln Steffens, and Jack Black (not THAT Jack Black) have some life-changing experiences and their stories intersect with a woman named Ginny Williams who buys a portrait 60 years later.

Stefano Karadjov, direttore di Brescia Musei ai microfoni di Claudio Chiari ha parlato della mostra fotografica "WESTON. Edward, Brett, Cole e Cara una dinastia di fotografi". Si tratta della prima mostra che ha come centro Edward Weston, gigante indiscusso che ha "ucciso" la pittura e portato la fotografia fino alla modernità. Mostra che comprende 100 anni della storia della fotografia, dalle prime foto di Weston in Messico del 1923 alle foto contemporanee della nipote Cara. Oltre a questa mostra, un'altra molto importante che Stefano ci ha consigliato è intitolata Lo sguardo restituito curata da Renato Orsini che vede presenti 170 fotografie di ritratti di più di 100, tra i più grandi autori della fotografia a raccontare il corpo e la sua evoluzione. Tutte le informazioni sono presenti su bresciamusei.com.

Clima frizzante a Milano, la settimana della Milano Art Week ha portato l'arte in tutta la città; Musei, gallerie, spazi espositivi e parchi ad accogliere Miart, la..26a edizione della Fiera dell'arte moderna e contemporanea, titolo: “Primo Movimento” - ..Vi proponiamo un viaggio fra mostre e fiera..- Ma non è da meno Brescia dove ha preso il via la quinta edizione di Photo Festival: “Le forme del ritratto” coi più bei nomi della fotografia e un omaggio a Edward Weston

Clima frizzante a Milano, la settimana della Milano Art Week ha portato l'arte in tutta la città; Musei, gallerie, spazi espositivi e parchi ad accogliere Miart, la..26a edizione della Fiera dell'arte moderna e contemporanea, titolo: “Primo Movimento” - ..Vi proponiamo un viaggio fra mostre e fiera..- Ma non è da meno Brescia dove ha preso il via la quinta edizione di Photo Festival: “Le forme del ritratto” coi più bei nomi della fotografia e un omaggio a Edward Weston

Alberto Rossetti - presidente Civita Mostre e Musei"Frida Kahlo. Una vita per immagini"Ancona, Mole Vanvitellianahttp://civita.it/http://www.lamoleancona.itFrida Kahlo. Una vita per immagini è il titolo della mostra promossa dal Comune di Ancona, Assessorato alla Cultura e organizzata da Civita Mostre e Musei con Diffusione Italia International Group, che sarà aperta al pubblico alla Mole Vanvitelliana fino al 22 maggio."E' un anno speciale per la fotografia e l'arte ad Ancona. La mostra, che racconta attraverso gli scatti di grandi fotografi la vita di Frida Kahlo, testimonia la capacità della Mole di ospitare eventi e coinvolgere pubblici utilizzando codici differenti, anche contemporaneamente. Così, questa prima parte dell'anno vede due grandi eventi espositivi diversi, la mostra su Frida Kahlo e la mostra Terra Sacra, accomunate da una ricerca della qualità, del respiro nazionale, dell'arte che sta a cavallo tra il Novecento e il contemporaneo", afferma Paolo Marasca, Assessore alla Cultura e Turismo del Comune di Ancona.Attraverso un centinaio di scatti, per la maggior parte originali, la mostra ricostruisce le vicende della vita controcorrente della grande artista messicana, alla ricerca delle motivazioni che l'hanno trasformata in un'icona femminile e pop a livello internazionale. In effetti le foto sono state realizzate dal padre Guillermo durante l'infanzia e la giovinezza della figlia e poi da alcuni dei più̀ grandi fotografi della sua epoca: Leo Matiz, Imogen Cunninghan, Edward Weston, Lucienne Bloch, Bernard Silbertein, Manuel e Lola Alvarez Bravo, Nickolas Muray e altri ancora. In questo straordinario “album fotografico” si rincorrono le vicende spesso dolorose ma sempre appassionate di una vita, oltre agli amori, alle amicizie e alle avventure di Frida. In mostra è esposto anche un gruppo di piccole fotografie molto intime di Frida, scattate dal gallerista Julien Levy.Il percorso di mostra ricostruisce innanzitutto il contesto in cui si è affermata la sua personalità: è il Messico del primo Novecento, attraversato da una rivoluzione che ne ha cambiato la storia, grazie a umili campesinos ed eroici protagonisti come Pancho Villa e Emiliano Zapata. L'epopea e il mito della rivoluzione messicana resteranno impresse nella mente di Frida e ne forgeranno il carattere indomito, alimentando il suo senso di ribellione verso le convenzioni borghesi e le imposizioni di una società̀ fortemente maschilista. In questo contesto si innestano le vicende della famiglia Kahlo. Guillermo, il padre, è un fotografo di professione di origine tedesca, giunto in Messico nel 1891 e ben presto innamoratosi del paese che lo ha accolto. La sua attività è testimoniata da alcune fotografie realizzate su incarico del governo austriaco, per documentare le chiese del Messico, erette nel periodo coloniale.Di sangue misto, tedesco e messicano, Frida cresce nel mito di un Messico rivoluzionario, introiettando tutti i caratteri di una personalità̀ libera e indomita, che trova nella pittura un linguaggio appassionato, viscerale, dai forti contenuti impietosamente autobiografici, con cui si racconta senza ipocrisie. Tutta la sua opera è una forma di autoanalisi, alla ricerca di una propria identità̀ e di una ragione di vita. Nei suoi numerosi autoritratti non teme di mettere a nudo le proprie debolezze e le proprie inquietudini. Accanto a Frida è spesso ritratto Diego Rivera, il pittore e muralista con cui ha condiviso un rapporto intenso e turbolento, che ha attraversato gran parte della sua vita. Ma vi appaiono anche altri personaggi come Leon Trotsky e André Breton. In mostra è esposto anche un gruppo di piccole fotografie molto intime di Frida, scattate dal gallerista Julien Levy ed alcuni documenti come il catalogo originale della mostra di Frida, organizzata da André Breton a Parigi, il primo “manifesto della pittura rivoluzionaria” firmato da Breton e Rivera, una documentazione fotografica della sua famosa Casa Azul, alcune litografie di Rufino Tamayo e un grande dipinto realizzato dal pittore cinese Xu De Qi che riproduce Las Dos Frida. La mostra si chiude con un video che raccoglie le poche immagini filmate della grande artista messicana. Tutto il percorso espositivo è accompagnato da un'audioguida a disposizione di tutti i visitatori, inclusa nel biglietto. Il catalogo, curato da Vincenzo Sanfo, è edito da Papiro Art.Esibendo il biglietto di Frida Kahlo Una vita per immagini si può visitare con tariffa ridotta la mostra Terrasacra, in corso alla Mole. La promozione è reciproca e quindi esibendo il biglietto di Terrasacra si può accedere alla mostra dedicata a Frida Kahlo con biglietto a tariffa ridotto. IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Episode 49: Today I sit down with California landscape photographer and climber, Claude Fiddler, to chat about:How an early experience on the John Muir Trail laid the foundation for his passion for the mountains and mountaineeringHow to think about risk assessment and learning how to safely dig deep mentally and physicallyThe photographers and writers who influenced how he approaches photographyWhat makes a photograph a picture rather than just a photoThe key element that makes a composition compelling and impactfulThe creative benefits of using a large or medium format cameraBehind the scenes of what it was like to create his new book, Inside the High Sierra, and the legacy of photographers and climbers of this region he hopes to share through itLINKS MENTIONED:Website: http://www.claudefiddler.com/Claude's book: Inside the High SierraFollow Claude on FacebookSign up for the Outdoor Photography School NewsletterFull Show Notes***HAVE A QUESTION?Record a Question for Tidbit TuesdayLOVE THE OUTDOOR PHOTOGRAPHY PODCAST?Ways you can support the show:Buy Me a CoffeeLeave a Rating and ReviewShare the show with others!CONFUSED ABOUT WHERE TO FOCUS?Download my FREE Hyperfocal Distance Made Easy EbookABOUT BRENDA PETRELLA (host)Learn more about meVisit my online portfolioConnect with me on Instagram

Het is niet altijd makkelijk, om bezig te zijn met fotografie. In aflevering 20 van de fotografie podcast bespreek ik wat manieren om te zorgen dat je bezig blijft met fotograferen. Hoe zorg je dat je regelmatig aan de slag gaat. Verbreed je kennis en kunde in de fotografie. Maar ook een vraag over fotograferen in de kou én hoe je het Noorderlicht op de foto zet. Links uit deze podcast: Pepper 30 van Edward Weston https://en.wikipedia.org/wiki/Pepper_No._30 De masterclass landschapsfotografie door Arnoud https://www.heelhollandfotografeert.nl/masterclass-landschapsfotografie/ De Foto7weekse https://www.heelhollandfotografeert.nl/foto7weekse/ Het Fotojaar https://www.heelhollandfotografeert.nl/fotojaar/ Wil jij jouw fotografie-vraag in de podcast behandeld hebben? Stuur dan je audio whatsapp naar 0651305374 Wie weet komt jouw vraag en het antwoord daarop wel terug in de fotografie podcast. Vergeet niet om jezelf te abonneren op deze podcast en help deze podcast beter vindbaar te maken door een review te schrijven.

HT1051 - Photographing Point Lobos I once made the obligatory trek to the photographic mecca of Point Lobos, knowing that the spirit of Point Lobos had guided Edward Weston and in the hopes that the spirit of Point Lobos would guide me, too. I learned an incredibly important lesson that day.

Se me antoja difícil transmitirte el impacto que el invitado de hoy - con el que arranca la segunda teporada de Calle Oscura - ha tenido en mi vida. Recuerdo perfectamente la primera vez que sostuve en mis manos uno de sus libros, era un ejemplar de Fotografía de Viajes (https://amzn.to/3uFU6Iq) que encontré en una estantería de una biblioteca pública hace un buen puñado de años. Me lo llevé a casa y lo devoré de principio a fin tan fascinado por las imágenes como por las palabras. Con aquel pequeño volumen aprendí muchas cosas, una de las más valiosas que es posible enseñar divirtiendo. Entonces ni lo sospechaba, pero aquel libro de color amarillo anaranjado acabaría por convertirse en una de las semillas de lo que ha acabado siendo mi vida. En todos estos años Tino Soriano no ha dejado de enseñarme e inspirarme. Es uno de los pocos fotógrafos con los que en algún momento me dije aquello de “yo quiero hacer esto”, antes de entender que cuando tienes la suerte de descubrir a grandes como él lo mejor es subirse a sus hombros para encontrar tu propio camino. En este episodio hablamos de - La conveniencia de olvidarse de la cámara de vez en cuando. - Esa parte menos visible - y también mucho menos agradecida - del trabajo de reportero. - Compatibilizar encargos y trabajo personal. - La transición de la fotografía analógica a la digital. - Todo lo que nos puede enseñar los lugares que conocemos bien. - Cómo disfrutar de los lugares que visitamos. - Viajar bien. - Dedicar tiempo a las personas con las que nos cruzamos. - Que la fotografía es el resultado de la experiencia. - Y una excusa para compartir nuestra vida. Entre muchas, muchas cosas más, y es que tantas décadas de carrera profesional dan para un buen puñado de lecciones que Tino comparte con todos nosotros. Quién me acompaña Tino Soriano nació en Barcelona en 1955 y vive cerca del lago de Banyoles, un lugar que en sus propias palabras le ha enseñado mucha fotografía y al que recientemente ha dedicado BanyolesSpeculum, uno de sus, por ahora, veinte libros. Fotógrafo y comunicador, el trabajo de Tino ha sido reconocido por la Unesco, la Real Sociedad Fotográfica y las organizaciones del World Press Photo y el Premio Nacional Piedad Isla, entre otras muchas entidades que componen una lista interminable. Pensad en una publicación relevante y Tino habrá publicado en ella sin lugar a dudas: Geo, Altair, El País Semanal, Time Magazine, Paris Match, Der Spiegel… Y sí, también en National Geographic, de la que se enamoró de pequeño en casa de su padrino, con la que trabaja desde hace más de 20 años y que lo ha reconocido como docente experto. Encuentra y descubre más cosas de Tino: - En su web: https://www.tinosoriano.com/ - En las estanterías de las mejores librerías (tienes algunos de sus libros unas líneas más abajo). - En su perfil de Instagram: https://www.instagram.com/tinosoriano/ Referencias y enlaces Autores - Agustí Centelles. - Alex Webb. (https://jotabarros.com/mejora-fotografia-calle-street-photography-alex-webb/) - Andoni Candela. - Ansel Adams. (https://jotabarros.com/libro-400-fotografias-ansel-adams-anaya-photo-club/) - César Lucas Abreu. - Colita. - Cristina García Rodero. (https://jotabarros.com/grandes-fotografias-cristina-garcia-rodero/) - David Alan Harvey. - Edward Weston. - Emilio Morenatti. (https://jotabarros.com/grandes-fotografias-emilio-morenatti-afganistan-2008/) - Francesc Catalá Roca. - Gerardo Vielba. - Henri Cartier-Bresson. (https://jotabarros.com/curso/monografico-henri-cartier-bresson/) - Isabel Muñoz. - José Manuel Navia. (https://jotabarros.com/aprende-de-jose-manuel-navia/) - Juan Manuel Castro Prieto. - Oriol Maspons. - Oriol Alemany. - Richard Avedon. - Robert Doisneau. - Samuel Aranda. - Steve McCurry. (https://jotabarros.com/steve-mccurry-no-me-emociona/) - William Albert Allard. (https://jotabarros.com/grandes-fotografias-william-albert-allard-henry-gray-1970/) - Xavier Miserachs. Trabajos - Ayúdame a Mirar. (https://amzn.to/3ovvPnj) - BanyolesSpeculum. (https://www.tinosoriano.com/es/llibres/veure/BanyoleSpeculum) - CurArte. (https://amzn.to/2Yk4gTq) - El Libro de la Fotografía Creativa, de John Hedgecoe. (https://amzn.to/3ledQjk) - Fotografía con una Sonrisa. (https://amzn.to/3iT18VF) - Ligeramente Desenfocado, de Robert Capa. (https://amzn.to/3oB0waO) - Los Colores y Tú. (https://amzn.to/3iBzOe6) Muchas gracias por tu escucha Si te ha gustado este capítulo de Calle Oscura, deja tu valoración positiva en Ivoox, Apple Podcast y Spotify, donde también puedes encontrar este podcast. No olvides suscribirte a través de cualquiera de esas plataformas para no perderte ningún episodio. Por favor, comparte este contenido entre tus redes para que llegue a más gente, puede suponer una gran diferencia. Muchas gracias por estar ahí, al otro lado. Muy pronto, más Calle Oscura. Hasta entonces, nos vemos en la calle. Jota.

“Festival du Regard“ 6ème éditionIntime & Autofictionsà Cergy-Pontoisedu 1er octobre au 21 novembre 2021Interview de Sylvie Hugues et de Mathilde Terraube, directrices artistiques du Festival du Regard,par Anne-Frédérique Fer, à Cergy-Pontoise, le 23 septembre 2021, durée 26'12.© FranceFineArt.Communiqué de presseDirection artistique : Sylvie Hugues et Mathilde TerraubeÉdito – Intime & AutofictionsL'approche autobiographique a toujours existé dans la photographie, mais elle est longtemps restée à l'arrière-plan… Si on peut considérer que la première photo de l'intime est, en 1840, l'incroyable autoportrait d'Hippolyte Bayard en noyé (protestant ainsi contre l'oubli par l'Etat de sa propre invention de la photographie), pendant longtemps la mission du photographe était de montrer le monde extérieur, d'être un témoin, un observateur, un reporter. Bien sûr on peut retrouver des traces d'intimité chez Edward Weston, dès 1935, quand il réalise des nus de Charis Wilson qui deviendra sa compagne. Mais celui qui va définitivement ancrer l'intime dans une photographie de témoignage, c'est Robert Frank dans « Les Américains », qui se clôt par une photo prise au petit matin sur une route où l'on devine sa famille endormie dans un véhicule mal garé le long de la route. Quelques figures titulaires ont définitivement fait basculer la photographie dans l'autobiographie et l'intime. On peut citer Nan Goldin et sa « ballade de la dépendance sexuelle » (1986), toute l'école japonaise issue de Nobuyoshi Araki et de Daido Moriyama, ainsi que la filiation nordique qui s'ouvre avec Christer Strömholm, s'épanouit avec Anders Petersen et se multiplie au XXIème siècle avec JH Engstrom, Jacob Aue Sobol et beaucoup d'autres… En France, l'arrivée quasi simultanée dans le sillage de Christian Caujolle de l'agence Vu d'Antoine d'Agata et de Michael Ackerman, à la fin des années 1990, ancrent définitivement le corps du photographe comme étant un élément constitutif du travail artistique. Désormais, le photographe est autant derrière l'appareil que devant, dans une sorte de dédoublement de personnalité. En accueillant dans cette édition quelques photographies emblématiques de Michael Ackerman et un film sur Antoine d'Agata, nous mettons justement en valeur ce basculement où l'intimité du photographe dialogue en prise directe avec le monde extérieur. Cette façon d'affirmer le « je » (que l'on pourrait prendre pour une forme d'égotisme quand il est mal géré) va aussi permettre de renouveler et de revivifier la photographie créative. En se rapprochant d'une forme de narration, les « mises en scènes » de l'intime vont devenir le pendant photographique de ce que l'on nomme en littérature « l'autofiction ». Ce genre mal défini nous a paru intéressant à mettre en parallèle avec la notion de l'intime photographique. Comment se dévoiler sans aller trop loin ? Comment faire de sa propre personne un personnage « extérieur » ? Comment éviter le piège de l'autocongratulation ou de l'autoflagellation ? Comment trouver la bonne distance quand on est à la fois l'auteur et l'acteur, le sujet et l'objet ? Mais surtout comment mêler fiction et réalité dans ce qui est à la fois une création artistique et un témoignage documentaire ?Sylvie Hugues et Mathilde Terraube, Directrices artistiques du Festival du RegardLes lieux et les expositions -> À l'ancienne poste• Alberto Garcia Alix : De donde no se vuelve• Jen Davis : Eleven Years, et sa suite Stephen and I• Marc Riboud et Catherine Chaine : Clémence• Patrick Taberna : Autres journées• Eva Rubinstein : Elégies• Lolita Bourdet : Plamondon• Marilia Destot : La Promesse• Sylvia Ney : De l'autre côté de l'eau• Patrick Cockpit : Franco et moi• Franck Landron : Ex Time• Kourtney Roy : Enter as Fiction• Robert Doisneau : Meilleurs voeux• Deanna Dikeman : Leaving and waving• L'intime et l'autofiction vus par : Hippolyte Bayard, Araki, Lucienne Bloch, Miroslav Tichý, Ralph Eugene Meatyard, Michael Ackerman et une sélection de tirages du XIXème.• Projections des court-métrages de Kourtney Roy et des films documentaires de Franck Landron (Limite(s) d'Antoine d'Agata et Un flirt photographique sur l'oeuvre de Claude Nori)-> Sur la place des arts• Exposition Bambino (le Festival du Regard à destination du jeune public) Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Prima puntata della seconda stagione del podcast dedicata a Edward Weston, grandissimo fotografo americano.

L'ispirazione fotografica è il tema di questa ottava puntata di “Le Forme della Luce”, il podcast visivo dedicato alla Fotografia, a cura di Valerio Cappabianca.Partendo da una foto scattata da René Burri a Pablo Picasso, si tenterà di comprendere cosa realmente può muovere la nostra ispirazione fotografica nel quotidiano.Arrivando alla conclusione che forse, più del mito romantico del grande artista, quello che è in grado di ispirarci è il gesto stesso del fotografare, magari riflesso in altri accanto a noi. Sarà questa l'occasione anche per riscoprire nell'ascolto una stupenda pagina tratta dal diario del grande fotografo Edward Weston, dove l'ispirazione fotografica è raccontata con grande sentimento e poesia.Una puntata per non lasciare la macchina fotografica a casa, ma portarla invece con sé in cerca di nuove, straordinarie e quotidiane ispirazioni. Le Forme della Luce è un podcast offerto e supportato da Accademia Fotografica, Scuola di Fotografia a Roma (www.accademiafotografica.com).Valerio Cappabianca è Fotografo e Docente di Fotografia. Il suo sito è www.valeriocappabianca.com

« Nature inanimée », écrivait Diderot. Mais quoi de plus étrange que de qualifier de « nature morte » la représentation d'objets du quotidien, de fleurs, de fruits et d'animaux, tout ce qui a à voir avec les sens, le plaisir, la vie même… Dans ce format Épisode enregistré à la Galerie Huit à Arles, nous accueillons comme toujours plusieurs invité(e)s. Pour cet épisode, nous avons plaisir de recevoir Cédric Porchez et Mathilde Hiley, tous deux photographes de nature morte. Cédric travaille depuis plus de 30 ans, Mathilde fait partie de cette génération de photographes expérimentant de nouvelles facettes de ce genre photographique. Deux approches et regards, qui parfois concordent.  Ce terme a été forgé au milieu du 18e siècle au moment où se déployait la peinture de Chardin. Autour de 1650, c'est aux Pays-Bas que les peintres hollandais, dans leurs ateliers, évoquent le still-leven, littéralement « nature immobile » ou « nature posant comme un modèle ». De là sont issus l'allemand Stilleben et l'anglais still-life, où s'ajoute à la notion d'absence de mouvement, celle d'une « vie silencieuse. »  Évidemment, vous écoutez un podcast sur la photographie, nous parlons donc de la nature morte par le biais de ce médium et de son évolution au cours des dernières années. Entre héritage des beaux-arts et statut d'image publicitaire et corporate, la nature morte est en réalité riche et englobe plusieurs démarches et visions. Aujourd'hui, beaucoup de jeunes photographes sortant d'école se prêtent au jeu. Ce sont des photographies qui nécessitent en tout cas une formation technique avancée, une connaissance et un attrait pour la composition, la lumière, le décor, les couleurs… Elles se réalisent également souvent sur un temps long, donc la nature fait appel logiquement à la patience et à une certaine forme de dévouement. Excellente écoute !  Nous soutenir  https://visionspodcast.fr/nous-soutenir/  Pour aller plus loin  Charles Negre, Irving Penn, Chema Madoz, René Magritte, Yves Trémorin, Edward Weston, AM+PM Studio, Pierre Vaillant (set designer), La photographie de nature morte contemporaine : vers une hyperréalité (mémoire de master de Margaux Jannin) Liens  https://www.instagram.com/cedricporchez/  https://www.instagram.com/mathildehiley/  https://www.instagram.com/daily_stilllife/  https://www.visionspodcast.fr/   https://www.instagram.com/podcastvisions/  

Today is the 135th birthday of the photographer Edward Weston. His images are hauntingly beautiful and rates as some of the highest priced photographs sold at auction. The world is a better place because he was in it and still feels the loss that he has left. This episode is also available as a blog post. --- Send in a voice message: https://anchor.fm/waldina/message

A few weeks ago, I had a great exchange with Joel, a friend of the show. We were talking about a set of original Ansel Adams prints on sale. Some of the photos are amazing and stop me dead in my tracks. They simply captivate. Yet other works… are less enthralling. They are, dare I say, average. I think that's fair when measured against today's standards. Maybe they are images we have seen already. Or maybe it is a concept we are familiar with now.So what makes photographers like Ansel Adams so great? What makes the past masters of photography deserve our reverence? It comes down to a single word - vision. The masters of old had singular, unique vision. They showed us our world in a different way, made visible something the rest of us didn't see.Dorothea Lange's work capturing images during The Great Depression put a face on struggle. She made others see hunger. And, rightly so, her work influenced generations of photojournalists and documentarians.Edward Weston's work is all about detail for me. Whether it is a nautilus shell or sand dunes or those famous bell peppers… a viewer is transfixed by his images. We get lost in the lines and curves that weave through the frame, creating forms and shapes we didn't see after the first glance.And what about Ansel Adams? He had the singular talent to incoprorate weather into the landscape. Weather became a central character in his imagery, an essential part of the photo.And for those of us that aspire to have vision like the past masters, what lessons can we take away? Don't be afraid to capture the subject that move you, that stir some feeling or emotion in you. When that little voice in your head says “take a photo” … go ahead and listen. Also, concern yourself more with the content of the photo and less about the technical aspects. Technique is important, sure, but the content is most important. The past masters made incredible images with far less technically capable equipment. Their vision is what mattered, and their vision continues to stand the test of time.Resources mentioned in this episode:Ansel Adams Gallery, https://shop.anseladams.com/collections/original-photographs-by-ansel-adamsRate & ReviewIf you enjoyed this episode, please rate and review it on Apple Podcasts, Stitcher, or Podchaser.com. Fresh, current ratings help other photographers find out about the show.Supporters Of The Show - Thank You!Thanks to everyone that supports this show, through comments, reviews, and shares. Sharing this podcast with your photo friends and camera clubs is one of the many zero-cost ways you can support the show. If you wish to support the show financially, you can also make a one-time donation.Affiliate LinksProduct links in this post may contain affiliate tags. Depending on the purchase, Scott Davenport Photography may receive compensation if you purchase a product via one of those links. There is no additional cost to you. The use of affiliate links never influences the content or opinions of the episodes.

A few weeks ago, I had a great exchange with Joel, a friend of the show. We were talking about a set of original Ansel Adams prints on sale. Some of the photos are amazing and stop me dead in my tracks. They simply captivate. Yet other works… are less enthralling. They are, dare I say, average. I think that's fair when measured against today's standards. Maybe they are images we have seen already. Or maybe it is a concept we are familiar with now.So what makes photographers like Ansel Adams so great? What makes the past masters of photography deserve our reverence? It comes down to a single word - vision. The masters of old had singular, unique vision. They showed us our world in a different way, made visible something the rest of us didn't see.Dorothea Lange's work capturing images during The Great Depression put a face on struggle. She made others see hunger. And, rightly so, her work influenced generations of photojournalists and documentarians.Edward Weston's work is all about detail for me. Whether it is a nautilus shell or sand dunes or those famous bell peppers… a viewer is transfixed by his images. We get lost in the lines and curves that weave through the frame, creating forms and shapes we didn't see after the first glance.And what about Ansel Adams? He had the singular talent to incoprorate weather into the landscape. Weather became a central character in his imagery, an essential part of the photo.And for those of us that aspire to have vision like the past masters, what lessons can we take away? Don't be afraid to capture the subject that move you, that stir some feeling or emotion in you. When that little voice in your head says “take a photo” … go ahead and listen. Also, concern yourself more with the content of the photo and less about the technical aspects. Technique is important, sure, but the content is most important. The past masters made incredible images with far less technically capable equipment. Their vision is what mattered, and their vision continues to stand the test of time.Resources mentioned in this episode:Ansel Adams Gallery, https://shop.anseladams.com/collections/original-photographs-by-ansel-adamsRate & ReviewIf you enjoyed this episode, please rate at review it on Apple Podcasts. Fresh, current ratings help other photographers find out about the show.Thank You Patrons!A special thank you to supporters on Patreon. Your support makes this podcast possible. If you are interested in learning more about the Patreon community, visit https://patreon.com/scottdavenportphoto. There are many zero-cost ways you can support the show. You can also make a one-time donationAffiliate LinksProduct links in this post may contain affiliate tags. Depending on the purchase, The Stop Down Podcast may receive compensation if you purchase a product via one of those links. There is no additional cost to you. The use of affiliate links never influences the content or opinions of the episodes.Support the show (https://www.stopdownpodcast.com/support)

Oggi parliamo di Tina Modotti, una fotografa, attivista e attrice italiana. È considerata una delle più grandi fotografe del '900. Alcune sue opere sono conservate nei più importanti musei del mondo, come l'International Museum of Photography and Film at George Eastman House di New York e la Library of Congress a Washington. Le 3 parole sono: fabbrica, paesaggio e rivale.☕ Supporta Oggi Parliamo: www.patreon.com/oggiparliamo

HT0717 - Backstories Sometimes the story behind the story is more interesting than the story. In fact, sometimes the story behind the story is the story and without it there's not much there, there. Consider this example from Edward Weston.

During his early years, Carl Chiarenza started moving closer and closer to his subjects, resulting in photographs that looked more and more abstract. Here he is discussing that transition with LensWork magazine editor Brooks Jensen in 2000: Well, when I started making serious photographs, after I got through with the photojournalism stuff and got back on some kind of track, I was really trying to work in the tradition of Minor [White] and Edward [Weston] and Ansel [Adams]. And I used to go out daily with Paul Caponigro—we lived together for a while—and we would go out to various parts of New England and photograph. He would always come back with wonderful landscape pictures and I would always come back with mosquito bites… and halfway decent pictures. But, you know, it took a long time for me to understand that that was not where I was going to be able to function, in terms of expressing what I needed to express. Because I didn't know any other way, there was no other way open to me but that tradition I inherited. So until I found myself getting smaller and smaller and smaller in terms of the parts of the world that I was looking at and closer and closer and closer that I began to understand that I wasn’t really interested in this landscape as a picture. Though I loved the landscape, it wasn’t that that was my picture. So I began making pictures that were smaller and smaller, more and more abstract Source: LensWork Interview (2000)

HT0639 - The Subject and the Meta-subject There is the thing you photographed, and then there is the reason you photographed it. The art part of photography is all about the latter. Why did Edward Weston photograph those bananas and pears, and why does the pepper become the famous one? "Why" is always a more interesting question than "what."

Ansel Adams lived in Yosemite; Edward Weston lived next to Point Lobos. Many of you live in suburbia, but why no photographs from there?

Hey everyone!Welcome to episode 178 of the F-Stop Collaborate and Listen podcast.For this week's episode of the podcast I finally got the opportunity to sit down and have a conversation with one of my favorite black and white photographers and someone whom I have always admired, Cole Thompson. Cole has a totally unique philosophical approach to photography which is often misunderstood by many people. It is something he refers to as photographic celibacy and I think it has tremendous merit.Cole and I discuss some interesting topics this week, including: How he got his start in photography, Why he has chosen black and white as his medium, External validation of our photography and its impact on our creative vision, How to develop a personal vision in your photography, The influence of praise, ... and more! Over on Patreon this week, Cole and I explore the question, "Do you need to go to great locations to get great photographs?" I hope you enjoy our conversations! Here are the people that Cole recommended listeners check out: 1. Edward Weston's Daybooks. 2. Hamidah Glascow & The Center for Fine Art Photography. I love hearing from the podcast listeners! Reach out to me via Instagram, Facebook, or Twitter if you'd like to be on the podcast or if you have an idea of a topic we can talk about. Join the discussion over on Nature Photographer's Network! We have weekly discussions about each episode of the podcast. It's also free! We also have an Instagram page and a Facebook page for updates. Thanks for stopping in, collaborating with us, and listening. See you next week.

La italiana Tina Modotti fue actriz de cine mudo en Hollywood, modelo y pionera del fotoperiodismo social. En Estados Unidos, conoció al fotógrafo Edward Weston. Primero fue su musa, luego su alumna y, finalmente, amantes durante cinco años. En la década del 20, Tina se estableció en México, donde colaboró con el Partido Comunista y se hizo amiga de artistas como Diego Rivera, David Siqueiros y Frida Kahlo. Su trabajo fotográfico es escaso pero fantástico. Una obra maestra, que muestra las desigualdades, la lucha social y la vida de los indígenas mexicanos. Esta carta pertenece a su etapa romántica. Está dirigida a Edward Weston y describe esos encuentros amorosos. Carta hecha fuego. Exaltación del placer. Lee la actriz y fotógrafa Malena Figó. ****** Edward: Repito tu nombre con ternura una y otra vez para acercarte, en cierto modo, a mí en esta noche en la que sola recuerdo. Anoche, a esta hora, tú me leías un libro hermoso. ¿O bebíamos vino y fumábamos? ¿O ya la oscuridad nos había envuelto y tú…? Ah, recordarlo me emociona al borde del desmayo. Dime, a esta hora, ¿me besabas mi seno izquierdo? Ah… ¡La belleza de todo eso! El vino, los libros, las fotos, la luz de las velas, los ojos para mirarnos, la oscuridad, los besos… A veces, me parece que no soporto tanta belleza, que ésta me rebasa. Y vienen las lágrimas. Y la tristeza. Pero esa tristeza llega como una bendición y como una nueva forma de belleza. Ay, Edward, ¡cuánta belleza le has dado a mi vida! Y, ¿sabés? Ya pasó casi un año. Tu carta anterior la tuve debajo de mi cabeza hasta la mañana. ¿Fue su leve fragancia lo que me despertó? ¿O el espíritu de tus deseos y de los míos que parecían emanar de ella? Sí. Embriagarse de deseos. Y, al mismo tiempo, temerlo y demorarlo. Ésa es la forma suprema del amor. Ya es muy tarde. Y la intensidad de mis sentimientos me ha agotado. El sueño me cierra los ojos pero en mi corazón hay una alegría oculta por todas las cosas que seguirán siendo nuestras. Tina.

Chris and Rob discuss their own top 5 photographers, who they felt have left the greatest lasting impressions on them. It was very difficult to come to these five names for each of them; whittled down from dozens. Some of the honourable mentions include Helmut Newton, Nadav Kander, Ed Burtynsky, Platon, Cindy Sherman, Chris Buck, Floria Sigismondi, Gregory Crewson, Andreas Giursky, Henri Lartrigue, Dorthea Lange, Edward Weston, Rich Gilligan, Matthew Thompson, Ken O’halloran, Noel Boyle, Jill Quigley, Sally Mann, Nan Goldin. Links Helmut Newton https://helmut-newton-foundation.org/en/ Nadav Kander https://www.nadavkander.com/ Ed Burtynsky https://www.edwardburtynsky.com/ Platon http://www.platonphoto.com/ Cindy Sherman https://www.instagram.com/cindysherman/ Chris Buck https://www.chrisbuck.com/ Floria Sigismondi http://www.floriasigismondi.com/ Gregory Crewdson https://gagosian.com/artists/gregory-crewdson/ Andreas Gursky https://www.andreasgursky.com/en Jacques Henri Lartigue https://thephotographersgallery.org.uk/print-sales/our-artists/jacques-henri-lartigue Dorothea Lange https://www.moma.org/artists/3373 Edward Weston https://edward-weston.com/ Rich Gilligan http://www.richgilligan.com/ Matthew Thompson https://matthewthompsonphotography.com/ Ken O’Halloran http://www.kennethohalloran.com/ Noel Bowler http://www.noelbowler.com/ Jill Quigley https://jillquigley.ie/ Sally Mann https://www.sallymann.com/ Nan Goldin http://www.artnet.com/artists/nan-goldin/

"Photography is my Church" is what is going to stand out from my conversation with Joshua Redwine. I think I might steal that from him when I describe photography to others. Thanks, Joshua! In this talk we touch one some fantastic topics including the struggles of artists in the time of Covid-19, his change of careers from engineer to photographer, some insight into his mindset when photographing, why community and kindness matters, and he gives us some great stories from the road. It was an amazing and fulfilling conversation. His website: https://www.jredwinephotography.com/ Instagram: https://www.instagram.com/jwine05/ From his bio: Redwine is a former Engineer, turned photographer. Realizing that engineering wasn't a fulfilling career, Redwine set out on a new path to capture nature at it's most remarkable. Inspired by greats such as Ansel Adams, Gordon Parks and Edward Weston, Redwine captures the very essence and emotion that landscapes inspire in all of us. Redwine's art uses a blend of colors, movement and textures to create a seemless masterpiece that many find to speak to their very soul. Are you interested in more of a positive, fulfilling photography community? Come join me at https://community.camerasandcoffeecups.com/ for some community away from the distractions of Facebook, the comparisons on Instagram (even though I love Instagram!), and ask questions without judgement from an open and inviting collaborative (that's just launching!). --- Send in a voice message: https://anchor.fm/jerredz/message

Építő kritika mint olyan létezik?  Tovább folytatjuk az előző epizód gondolatait - immáron Grafival kiegészülve. A beszélgetés alatt szóba kerül többek közt az, hogy  Milyen szempontok alapján értékelhetünk egy képet.  Edward Weston vécécsészéje (igazából nem is az övé)  Mennyire befolyásolnak minket az alkotásban a social mediaból kapott visszajelzések  Beáldozható - elhanyagolható egy -egy kép tökéletessége a kattintásvadász tartalomért cserébe.  Hol érdemes egyáltalán megmutatni a képeinket: kiállítás, internet, fotókönyv  Szóba kerül az Életrevalók c. film "festője"  Elmélkedünk arról is, hogy milyen lehet egy jó fotókönyv  Örülünk mindenféle visszajelzésnek. Csatlakozz FB csoportunkba és kedveld az oldalunkkat is.  A legfontosabb, iratkozz fel a csatornánkra. Youtube-on is és persze megtalálhatsz minket a legnépszerűbb podcast appokban is. Örülünk mindenféle visszajelzésnek. Csatlakozz FB csoportunkba és kedveld az oldalunkkat is. A legfontosabb, iratkozz fel a csatornánkra. Youtube-on is és persze megtalálhatsz minket a legnépszerűbb podcast appokban is. Lájkolj, kommentelj, legyél a közösség része! Új kibeszélő FB csoportunk: https://www.facebook.com/groups/49885...  Téma ezúttal is fotózás, a társaság a régi. Kövessetek, iratkozzatok fel a csatornánkra.   Ez is érdekelhet! #sotetkamra #fotózás #vác #2020 #fotós csatornák   ►http://sotetkamra.com   ►https://www.facebook.com/sotetkamracast/   ►https://anchor.fm/sotetkamra   Csatlakozz hozzánk és kövesd adásainkat, nemsokára újra jelentkezünk! Addig is, hogy ne maradj le semmiről, iratkozz fel a csatornára a legújabb tartalmakért és persze nézd vissza a régebbi adásokat is. --- Send in a voice message: https://anchor.fm/sotetkamra/message

Gideon Barnett: After EdithNovember 2 – December 18, 2015Kathleen O. Ellis GalleryGallery Talk: Thursday, November 19, 6pmReception: Thursday, November 19, 5-7pmGideon Barnett’s exhibition After Edith brings together a collection of images that he produced by documenting vandalized photography books found in public libraries. The project began in Miami, Florida, with the discovery of a copy of Emmet Gowin’s Photographs in which the iconic nude portraits of Gowin’s wife Edith had been defaced by prurient library visitors. Parts of the images had been cut with a razor blade and, in some instances, entirely torn out of the book. This deliberate removal of “provocative” imagery and the psychology of what may have sparked such an act fascinated Barnett, and prompted a closer look at the visual by-products—the way in which the cuts open through to another image, for example, or how the tearing of a page can create a compelling juxtaposition of photographs. The vandalized images are unquestionably elegant and beautiful when taken out of context and framed on the wall, yet all together Barnett’s photographs also point to a disconcerting fearful, destructive, or even violent intention behind them.Some librarians would attempt to mend the most heavily vandalized books by pasting inky black-and-white photocopies of the original pages back into the books. These replacements, reminiscent of smudged charcoal drawings, were equally intriguing to Barnett, so he physically removed the sheets of paper and collected them along the way as a counterpart to the photographs he was making. In his exhibition at Light Work, Barnett shows the photocopies as unique objects, pinned by small magnets into playful forms onto pieces of chalkboard. Barnett visited libraries across South Florida and discovered a number of books that had been altered, and his collection of photographs grew to include traces of other well-known images spanning the last century of photography, from Edward Weston to Gregory Crewdson. Though the reference points within the medium of photography are certainly interesting to see, After Edith aims to consider larger cultural and political concerns of censorship and human nature. Through a thoughtful combination of photographs of vandalized book pages and original found photocopies, Barnett simultaneously recounts that so much of what a photograph signifies will be determined by what the viewer brings to the image. “I’m interested in the generative potential of this vandalism,” explains Barnett, “and how just by reframing it with a camera it can become something new, something on its own.”lg.ht/AfterEdith—Gideon Barnett is an artist from Jasper, Tennessee. He received his MFA from the Yale School of Art in 2011 where he was awarded the Toby Devan Lewis Fellowship (selected by Robert Storr). Since 2012 he has exhibited at the Miami Art Museum, Miami, FL; The Museum of Art Fort Lauderdale, Fort Lauderdale, FL,; and The Wolfsonian–FIU, Miami, FL. In 2013 he was awarded a Visual and Media Artists Fellowship from the South Florida Cultural Consortium.gideonbarnett.com—Special thanks to Marcia Dupratmarciaduprat.comSpecial thanks to Daylight Blue Mediadaylightblue.comLight Worklightwork.orgMusic: Kai EngelMusic: "Vela Vela" by Blue Dot Sessionssessions.blue See acast.com/privacy for privacy and opt-out information.

Marco invited Bryan Minear to the PPN Camera & Inspiration show where they discussed how to follow your passion in photography, choosing a photo style and genre, while dealing with the restrictions of our daily lives. Bryan is based in the midwest of the United States and found his passion for design and photography at an early age. He is a designer and photographer and his skills, the quality of his work, and his open mind make him a very popular person to be around. Companies such as Fujifilm, Capture One, and Gnarbox made him their brand ambassador. He also joined the podcast community with his own show on creativity called “We the Creators Podcast”.   This show is sponsored by Luminar 4: https://bit.ly/ppnluminar4    Marco will be speaking at this WORLD PRESS PHOTO event on February 27th, 2020: https://worldpressphotoausstellung-oldenburg.de/programm/street-photography-poesie-des-zufalls/    Inspirational photographer of the month: Bryan picked two famous photographers as the inspirational photographer of the month:    Edward Weston (Born 1886 Illinois - Died 1958 Carmel by the Sea) One of the most important US photographers of the 20th century and co-founder of the f/64 collective. He is known for his artistic B&W photography and he turned ordinary objects like peppers, cabbage leaves, or halved onions into surrealistic pieces of art. You can find out more about his work by visiting his website: https://edward-weston.com    Brett Weston (Born 1911 L.A. - Died 1993 Hawaii) was Edward Weston’s son. His father took him out of school at the age of 13 and made him his photo apprentice. Edward followed into his father's footsteps but found his own style of photography. He focused a lot on shapes through macro photography as well as shapes in urban space. You can find out more about his work by visiting his website: http://www.brettwestonarchive.com Main Topic: How and why to choose your genre in photography and your style / Do you really choose your genre or does your genre chooses you?   Bryan and Marco share their experiences and thoughts on how you can find your style and genre of photography - during their inspiring discussion they also concluded that sometimes your genre finds you. Besides tips on what you can do in order to find your genre, they also touched on the advantages of being an amateur photographer - as the lack of financial interests by having to take pictures to sustain your income, you are free to take pictures of people, things, and places that may not be commercial interesting but that can put you in the spotlight as an artist.  Inspirational Photo Book Pick of the Month: “Aeroglyphs & other Nocturnes” by Reuben Wu. Reuben Wu is a British photographer, born 1975 in Liverpool. He is also the co-founder of the electronic band Ladytron. An introduction to the book from the publisher: “Simultaneously reminiscent of the slick, neon glow of sci-fi aesthetics and the cryptic symbolic language of ancient petroglyphs, Reuben Wu’s work is clean, yet mysterious. His photography hovers somewhere between the mythic and the surreal, between dream and memory, with an undulating sense of temporality slipping between the ancient past and the imagined future. Light and land are entwined equally at the center of Wu’s practice. By affixing lights to drones and using them to illuminate select parts of the landscapes he photographs, Wu draws precise geometric marks that hover in the air like beacons, harbingers, and signs. His work is concise, yet versatile in concept, offering new ways to approach the human relationship to nature, technology, and the overlay between past, present, and future.” The book is published by: +KGP 30 Pages $28 at: https://www.krisgravesprojects.com/book/aero  Links to Bryan Minear: Web: https://www.bryanminear.com   Instagram: https://www.instagram.com/bryanminear/  Facebook: https://www.facebook.com/bryanminear   Twitter: https://twitter.com/bryanminear   Podcast: https://www.bryanminear.com/wethecreators/     Links to Marco Larousse: Web: www.MarcoLarousse.com  Twitter: @HamburgCam Instagram: https://www.instagram.com/marco.larousse/  Facebook: https://www.facebook.com/MarcoLarousse1  Workshops: https://www.marcolarousse.com/street-photography-workshops/    Links to PPN: Web: www.PhotoPodcasts.com or PPN.fm Twitter: @Photopodcasts Facebook: https://www.facebook.com/photopodcasts/ YouTube: http://www.youtube.com/c/PPNPhotoPodcastNetwork  Apple Podcasts: http://bit.ly/ppn-apple-podcasts  Google Podcasts: http://bit.ly/PPN-GooglePodcast Spotify: http://bit.ly/PPN-fm Please support our show by using our B&H affiliate link (click here) or Amazon Germany link (click here) that will not cost you a penny more than when you are buying at B&H or Amazon without our link.   Check out the Skylum LUMINAR software: Link: https://bit.ly/ppnluminar4 (use the discount code “PHOTOPODCASTS” at checkout for extra savings)   And please share this podcast with your friends and subscribe via Apple Podcasts, Google Podcasts, or search for “PPN” in your favorite podcast app. We would also love to get your feedback. Is there anything that you want us to cover on the show in the future? And we would appreciate if you could take a short moment to rate or post a quick review for our shows on iTunes.   About this show: On the monthly “Camera and Inspiration” podcast show of the PPN - Photo Podcast Network, Marco and usually a guest discuss the essence of photography and how to photograph with more intent. Determining the “why” before the “how” in photography is essential to understanding your subject better and create stronger images. In each episode, they introduce you to an inspirational photographer of the month and also share an inspirational photo book of the month.

So, after our almost universally acclaimed and made for YouTube extravaganza better known as #100, we’re back on the radio/podcast. Normal service is resumed with Johnny & Perry going on about scale focusing issues that could easily be dealt with by adapting to digital or just shooting an SLR camera, and we still love our panorama cameras. We have some excellent emails this week leading to plenty of lens and camera talk, plus we launch our latest lens giveaway. Be warned attempting to win the lens will come at a heavy price… ________ LISTEN TO THE PODCAST
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With the holiday season upon us (and today's celebration of the 86th anniversary of the repeal of prohibition) we figured it a good time to revisit a wonderful episode on food photography. We will return next week with a new "Cameras of the Year" episode. ------------------------------------------------------------------------ Photographing food is far from being a new facet of photography. Whether for commercial or artistic purposes—think William Henry Fox Talbot, Edward Weston, Irving Penn—it can be found throughout eras and styles, but it sure seems like we are currently witnessing a boom in food photography. With the foodie culture exploding and the profusion of #foodstagramming, there is no shortage of photographed meals flying around the Internet. Our guests on today’s episode of the B&H Photography Podcast have a wealth of experience in this arena, having shot food photography for a combined total of... many years. Specifically, they join us to talk about their latest book, "Eating Delancey: A Celebration of Jewish Food", but while at it, we discuss food photography in general, from gear and technique to workflow for editorial and commercial assignments, and even for cookbooks. We also discuss the change in food photography styles over the years and ask their opinions on the proliferation of “food selfies.” Aaron Rezny has photographed major campaigns for Nestlé, Duncan Hines, Kellogg's, Russell Stover, Nabisco, and Applebee’s, and his work has appeared in Bon Appétit, Food & Wine, New York Magazine, and other publications. Jordan Schaps is an author, Professor of Photography at the School of Visual Arts, and the former Director of Photography at New York Magazine. He has produced shoots for inStyle, GQ, Lincoln Motors, and many other commercial and editorial clients. Together, they have produced a wonderfully engaging book. Join us for this educational and, at times, hilarious episode. Guests: Jordan Schaps and Aaron Rezny Photograph © Aaron Rezny www.rezny.com www.bhphotovideo.com/explora/podcast        

Of course, there are several renowned photography book publishers, but if you know just one name in photo book publishing, it should be Aperture. Edward Weston, Diane Arbus, Stephen Shore, Sally Mann, Deana Lawson, and Martin Parr are just a few of the artists who have had at least one of their most significant books published by Aperture Publishing. Book publishing is just one of the ways that this non-profit organization, founded by Minor White and others, supports the art and craft of photography; they produce their quarterly magazine, host exhibitions, workshops, panel discussions, sponsor book and portfolio awards, and publish The PhotoBook Review and the Aperture blog.       On today’s episode of the B&H Photography Podcast, we welcome Lesley Martin, Creative Director at Aperture and Publisher of The Photobook Review. Who better to speak about the process of photography-book publishing and, in general, the state of the photobook community today? With Martin, we discuss the important books from their 2019 catalog and how their editorial team decides which projects to publish each year, how large the runs will be and the costs associated with publishing in the US and abroad. We also examine what distinguishes Aperture—their non-profit status, the platform they create for artists, their collaborative philosophy, and the need to balance contemporary photo projects with compilation and themed photo books, classic editions and works about photography. We also ask about the impact of Amazon on their book trade and general questions on the current state of the photo-book business. In the second half of our show, we discuss the recently announced winners of the Paris Photo–Aperture Foundation PhotoBook Awards. This important award has three categories: Photography Catalogue of the Year, First PhotoBook of the Year, and Photobook of the Year. We ask about the criteria for judging in each category, about the subtle distinctions between a good photo series and a good photo book and clarify who can submit to the contest. Finally, we ask Martin about some of her personal dos and do nots when it comes creating your own photography book. This is a very enlightening conversation for those interested in creating a photobook and for anyone curious about what goes into running a successful editorial house. Guest: Lesley Martin

Welcome back to the Not Real Art Podcast! Today we have a great friend, creative powerhouse and generally lovely citizen of the world on the show, none other than Anne Martin of Sugar Press Art! Anne is here to share her own creative journey, how she found her niche helping other artists get their work out there and why she is living the dream, doing exactly what she should be doing! Since art school, when she started realizing that she was always highly involved in her friends' and peers' artworks, Anne was destined to find her place in the publishing world, championing the work she loved and believed in. In our conversation, we talk about Sugar Press, how the agency started and its founding principles, before Anne breaks down some of her concerns for emerging artists, exposure deals and some tips for copyrighting and cataloging one's work. She shares about some of the artists she is excited to be working with at Sugar Press and the recent KAABOO event they hosted! For this and a whole lot more, join us for this great show!  Key Points From This Episode: A little bit about Sugar Press Art, what they do and their three-year history! Some of Anne's early work in the publishing and art world. The holistic and collaborative approach that Sugar Press has adopted. Artists' responsibility to work on the marketing side of their career. Legal concerns and the frequency of uncredited use of artworks by big brands. Exposure bucks and how brands exploit artists to work for free. The price of copyrighting and cataloging pieces correctly. Some of the artists that Sugar Press is currently working with. The rise of legal psychedelics and how this impacts art openings. Sugar Press' event called KAABOO and some of the highlights from the exhibition. The constant instability of art prices and investing in expensive pieces. Big conglomerates that are buying up small independent galleries in New York. The project that Anne and Sourdough worked on together recently. Anne's concerns about showing art out of commission-based spaces.    Links Mentioned in Today’s Episode: Sugar Press — https://sugarpressart.com/ Anne Martin — https://www.linkedin.com/in/anne-martin-7ba94042 Picasso — https://www.pablopicasso.org/ Pollock — https://www.jackson-pollock.org/ Edward Weston — http://www.artnet.com/artists/edward-weston/ Craigslist — https://craigslist.org Warhol — https://www.biography.com/artist/andy-warhol H&M — https://www.hm.com Cadillac — https://www.cadillac.com Mercedes — https://www.mercedes-benz.com Gillette — https://gillette.com Colette Miller — https://colettemiller.com David Young — https://sugarpressart.com/april-by-david-young-v/ Haydee Escobar — https://www.instagram.com/ibelieveart The Last Bookstore — http://lastbookstorela.com Erin Yoshi — https://www.erinyoshi.com Amanda Lynn — http://www.alynnpaint.com Virgin — https://www.virgin.com Richard Branson — https://www.virgin.com/richard-branson Target — https://www.target.com/ DesignerCon — https://www.designercon.com Man One — http://www.manone.com/ Man One on Twitter — https://twitter.com/ManOneArt Scott “Sourdough” Power — https://www.instagram.com/sourdoughpower/ Not Real Art Conference — https://www.notrealartconference.com/ Not Real Art on Instagram — https://www.instagram.com/notrealartofficial/

Today’s show is about origin stories (what made YOU interested in photography?). Also a story about Edward Weston that taught me how the best of the best use the simplest tools you can imagine. Photo by Terry Vlisidis [sc:podlovebutton] Links: Photography Secrets of Edward Weston’s Darkroom – YouTube Edward Weston – Wikipedia SPONSOR: HoneyBook. Get … Continue reading "875 One Leg at a Time" The post 875 One Leg at a Time appeared first on PHOTOGRAPHY TIPS FROM THE TOP FLOOR.

This podcast is about the discovery of a valuable Edward Weston modernistic nude by the Dennos Museum. This Weston modernistic nude is one of the most valuable in the United States. There are only three known photographs.   The Dennos Museum is located in Traverse City,  Michigan. It has a unique collection, of sculpture, Inuit art, photographs, and paintings.  The Edward Weston photograph is the most valuable item in their collection. It's a fascinating story of how the Museum acquired this photograph. www.dennosmuseum.org  

There is so much soul in Mark McKnight's dark, complex, psychological photographs, whether he's photographing the bodies of men he’s attracted to, still lives or landscapes, all which have a distinct relationship to one another.Just last week, Mark was awarded the very prestigious Aperture Portfolio Prize. I encourage you to go and read Brendan Embser’s write-up on Aperture’s site because he really hits the nail on the head with Marks work and introduces it so beautifully. Embser says:“ Mark McKnight is a modern-day modernist. His black-and-white photographs of skin and sand, brick and tar, with their rich tones and sparkling light, are redolent of twentieth-century masterworks, those pictures by men like Edward Weston who cast the world in silver-gelatin. Weston once said the camera should be used for recording the “quintessence of the thing itself, whether polished steel or palpitating flesh.” But for McKnight, who was born in Los Angeles to a New Mexican, Hispana-identified mother, something was missing from Weston’s vision. Something that would ignite a flame of recognition in a young queer man with ideas about male beauty more expansive than the Eurocentric standard. Something that would make “straight” photography a little less straight.”Mark and I got together at his studio in the Boyle Heights area of LA, where he showed me some recent stunning prints that he’d been labouring over in darkroom. We got to talking about another big part of his life - teaching - which he spoke about with the same enthusiasm and energy that comes through in his work. See acast.com/privacy for privacy and opt-out information.

Very interesting conversation with Antonio Rosario about very prolific photographer of old, Edward Weston.  Who's photographs seem to be all over the place, not following any specific genre.  Yet if you look carefully a theme will appear.  

Lumiere Press is the private press of Michael Torosian. In the fine press tradition, the books are composed in lead, hand printed and hand bound. The press is devoted exclusively to photography, and each book aspires in its concept, graphic design, and bookmaking craftsmanship to be the manifestation of its artistic content. The shop's first printing press was acquired in 1981, and in 1986 the publishing program was launched with the publication of Edward Weston: Dedicated to Simplicity. I met with Michael in his Toronto workshop. We talk here, among other things, about Edward Weston and his son Cole, simplicity, abstraction, the homage series, self-education, the octavo format, Mohawk letterpress paper, harmony, marketing, Aaron Siskind, modernist photography, idols, completionists, Walter Gretzky, The Complete Photographer, Alfred Stieglitz, composition, the photo album, the book as the medium of photography, Glenn Goluska, privates presses as the vision of individuals, Stan Bevington, antiquarian book dealers, Buffalo NY, instincts and good taste, Printing for Poetry, matching typefaces to the times, recording conversations, a 10-zillion-photograph-a-minute universe; ambition, research and Saul Leiter; Eduard Steichen, and the Lumiere Press archive at the Thomas Fisher Rare Book Library. 

“Don’t be repressed in your work, dare to experiment, consider any urge, if in a new direction all the better.” – Edward WestonWelcome to the Outerfocus Podcast!Episode 27. I can’t quite believe we’ve been jabbering away for so long. Are you not sick of us yet?This milestone episode (every episode is a milestone, for like, a metaphorical mile or something) we are joined by World Champion skate boarder, Ed Templeton. Ed is a pro skateboarder, photographer, designer, painter, skateboard company (Toy Machine) owner and all round nice guy. Among many other things.We were delighted that he gave us his time and chatted for a good two hours, and we could have gone way longer. The conversation started going as soon as the record button went down, so I’ve pretty much left this episode uncut. I’ve chopped a couple of bits that I didn’t think were relevant, due to time and file size constraints, but this is how it went down. We also mention Edward Weston. Oh, and Ansel Adams. Ed’s LinksWebsiteToy Machine WikipediaInstagram - @ed.templeton & @wires_crossedWires CrossedPodcast Links:https://www.outerfocuspodcast.cominfo@outerfocuspodcast.comIan’s LinksWebsiteInstagramIan Weldon - Photography EducationBradley’s Links:WebsiteFacebookInstagramTwitterMusic - James William NicholsonThank you for listening, see you in two weeks!Ian & BradleySupport the show (https://www.patreon.com/outerfocuspodcast)

Shape of Light: 100 Years of Photography and Abstract Art, a new exhibition at Tate Modern, explores the intertwined stories of the two art forms from the early photographic experiments to the digital innovations of the 21st century. The two curators discuss the relationship between artists, including Jackson Pollock, Georges Braque and Bridget Riley, and photographers, including Man Ray and Edward Weston.Stephen Deuchar, chair of the judging panel for the Art Fund Museum of the Year prize, reveals the shortlist for this year's award. Oh My God, What a Complete Aisling was the bestselling novel of 2017 in Ireland, beating David Walliams to the coveted Christmas number one slot. The main character, Aisling, started life as a fake Facebook account created by two friends, Emer McLysaght and Sarah Breen. They discuss bringing their surprise hit novel to the UK. The chief economist at the Bank of England has said that popular trends in streaming music can be as important indicators of upcoming consumer confidence as more traditional statistical methods. Can trends in happy or sad downloads really be a basis for fiscal strategy? The BBC's Economics Editor Kamal Ahmed looks at the possibilities of the arts for economic forecasting.Presenter: Kirsty Lang Producer: Edwina Pitman.

Photographing food is far from being a new facet of photography. Whether for commercial or artistic purposes—think William Henry Fox Talbot, Edward Weston, Irving Penn—it can be found throughout eras and styles, but it sure seems like we are currently witnessing a boom in food photography. With the foodie culture exploding and the profusion of #foodporn and #foodstagramming, there is no shortage of photographed meals flying around the Internet. Our guests on today’s episode of the B&H Photography Podcast have a wealth of experience in this arena, having shot food photography for a combined total of... many years. Specifically, they join us to talk about their latest book, Eating Delancey: A Celebration of Jewish Food, but while at it, we discuss food photography in general, from gear and technique to workflow for editorial and commercial assignments, and even for cookbooks. We also discuss the change in food photography styles over the years and ask their opinions on the proliferation of “food selfies.” Aaron Rezny has photographed major campaigns for Nestlé, Duncan Hines, Kellogg's, Russell Stover, Nabisco, and Applebee’s, and his work has appeared in Bon Appétit, Food & Wine, New York Magazine, and other publications. Jordan Schaps is an author, Professor of Photography at the School of Visual Arts, and the former Director of Photography at New York Magazine. He has produced shoots for inStyle, GQ, Lincoln Motors, and many other commercial and editorial clients. Together, they have produced a wonderfully engaging book. Join us for this educational and, at times, hilarious episode. Guests: Jordan Schaps and Aaron Rezny

Your topic for Photo Assignment #14 will be somewhat seasonably appropriate this time… we're talking about food photography. Photographing food is very similar to still life photography. There are a number of ways that you can communicate visually such as organic metaphor, concept, color, the unexpected - different approaches but all capable of interesting results. I took a photography history approach to the examples as we look at the work of Edward Weston, Wynn Bullock, Tom Baril, André Kertész, Josef Sudek, Irving Penn and of course - William Eggleston. Follow me on Instagram: https://www.instagram.com/tedforbes/ Music from Epidemic Sound: https://goo.gl/v5wWKr

En este episodio repaso la obra del fotógrafo estadounidense Edward Weston, considerado uno de los mejores fotógrafos del siglo XX. Y utilizo su ejemplo para dar un repaso por los inicios de la historia de la fotografía. Más información y ejemplos de la obra de Weston en en Blog: https://www.theimagen.com/le-belleza-lo-sencillo-edward-weston/ Te recuerdo y te animo a […] La entrada 91. Edward Weston y los orígenes de la fotografía se publicó primero en the imagen.

Art in Medicine: In the first episode of our ongoing series about the intersection of Art & Medicine, we sit down with Dr. Gibson, interventional cardiologist joining us from Harvard Medical School, and a panel of artists to discuss how photography, painting, and other artistic endeavors can impact healing and prevent physician burnout. Resources for artists mentioned in the show can be found below. Thank you to Lori Esposito and Stephen McNulty for being our SPOTS (Special People Off The Street). This show was produced by Todd Fredricks, hosted by Nisarg Bakshi, engineered by Kyle P. Snyder and edited by Brian Plow. Rotations is a production of Media in Medicine, a family of medical storytelling initiatives developed by faculty from Ohio University’s Heritage College of Osteopathic Medicine and the Scripps College of Communication. Views and opinions expressed here are our own or those of our guests and do not necessarily represent those of the colleges or Ohio University. Follow us on Twitter @RotationsPcast or visit www.mediainmedicine.com to learn more about the show and what we’re up to. Dr. Gibson's Flickr page: www.flickr.com/photos/cmichaelgibson/ Ann Gale: http://www.dolbychadwickgallery.com/artists/ann-gale William Egleston: http://www.egglestontrust.com/ Kim Weston: https://www.kimweston.com/ Edward Weston: http://edward-weston.com/ Sally Mann: http://sallymann.com/

New York is one of the most the most photographed cities in the world. Amateur and professional photographers alike have long found inspiration in the Big Apple. On this week's Cityscape, we're focusing in on two great photographers in New York City history -- Alice Austen and Todd Webb. Austen was one of the nation's earliest and most prolific female photographers, and Webb has been called the best mid-century photographer you've never heard of. That's because he's not nearly as well known as some of his predecessors and contemporaries, like Edward Weston and Berneice Abbott. A new exhibit at the Museum of the City of New York aims to change that. It's called “A City Seen: Todd Webb's Postwar New York 1945-1960.”

New York is one of the most the most photographed cities in the world. Amateur and professional photographers alike have long found inspiration in the Big Apple. On this week's Cityscape, we're focusing in on two great photographers in New York City history -- Alice Austen and Todd Webb. Austen was one of the nation’s earliest and most prolific female photographers, and Webb has been called the best mid-century photographer you've never heard of. That’s because he’s not nearly as well known as some of his predecessors and contemporaries, like Edward Weston and Berneice Abbott. A new exhibit at the Museum of the City of New York aims to change that. It’s called “A City Seen: Todd Webb’s Postwar New York 1945-1960.”

Samantha Geballe is a passionate artist who believes that everyone needs to use their voice in one way or another. She discovered her voice through the lens of a disposable camera while living in LA taking photographs of street art and hasn’t looked back. In our conversation, we cover how she got into photography, the evolution of her art, how she started getting into galleries, and what project she is excited about now. MEET SAMANTHA (http://www.advanceyourart.com/wp-content/uploads/2017/02/SamanthaGeballe_CottageUntitled.jpg) Samantha Geballe, a California native, was born and raised in a small town just outside of San Francisco. Art is an interest of her family’s but that is not what propelled Samantha to create. Her ability to express herself through creative form is in her nature and she has been producing art in many different mediums since early childhood. Currently, Samantha’s work focuses on conceptual portraiture, allowing her to explore human emotion from the inside out. She is working on an ongoing self-portrait series focused on body image and healing that challenges viewers to question what it means to accept oneself. Samantha is based in Los Angeles, CA. EXTRAS: Carleton Watkins (https://www.carletonwatkins.org/) Ansel Adams (http://anseladams.com/) Edward Weston (http://edward-weston.com/) LENSCRATCH (http://lenscratch.com/) https://www.callforentry.org/ (https://www.callforentry.org/) http://mediumsandiego.org/ (http://mediumsandiego.org/) http://visitcenter.org/overview/ (http://visitcenter.org/overview/) https://www.stockpotimages.com/ (https://www.stockpotimages.com/) CONTACT: http://www.samanthageballe.com/ (http://www.samanthageballe.com/) samantha@samanthageballe.com (mailto:samantha@samanthageballe.com) BONUS: This podcast is brought to you by Audible. I have used Audible for years, and I love audiobooks. Click on the link to get a 30-day free trial, complete with a credit for a free audiobook download Audible.com (http://www.audibletrial.com/Yuri) QUESTION(S) OF THE DAY: What was your favorite quote or lesson from this episode? Please let me know in the comments.

Lord Lloyd Webber discusses joining forces with Downton creator Julian Fellowes and a cast of 39 children for his new stage adaptation of the Jack Black film School of Rock. He tells Samira how he hopes the production will serve as a reminder of how important the arts are in education.Actor Ewan McGregor talks about adapting Philip Roth's Pulitzer Prize-winning novel, American Pastoral, in his directorial debut and why he's returning to the role of Renton, 20 years on from Trainspotting.Elton John owns one of the best photography collections in the world and now he's loaned some of them to the Tate Modern in London. The Radical Eye: Modernist Photography includes Man Ray's Glass Tears, Dorothea Lange's Migrant Mother and Edward Weston's portrait of Igor Stravinsky. Newell Harbin, Sir Elton John's curator, shows us around.The Goldsmiths Prize was established three years ago to recognise fiction that breaks the mould or opens up new possibilities for the novel. Previous winners have included Eimear McBride's A Girl is a Half-Formed Thing and Ali Smith's How to be Both. We talk to this year's winner Mike McCormack about his book Solar Bone. Presenter: Samira Ahmed Producer: Marilyn Rust.

For more than thirty years Thomas Palmer has been making printing separations for books. His credits include work by Lee Friedlander, Nicholas Nixon, Walker Evans, Robert Adams, Paul Strand, Edward Weston and many others. In spring of 2015 I visited Palmer at his home in Newport, Rhode Island to talk with him about his start in photography, his earliest job in printing and making books with Irving Penn and Lee Friedlander. The Newport Art Museum is currently hosting a show of Palmer's photographs titled "This Newport," on display until September 5, 2016.

Davin Lavikka - The Alternative Processes Davin is a Fine Art and Commercial Photographer based in Scottsdale Arizona. You may know Davin from his YouTube channel filled with instructional videos on all things photography. From understanding gear to learning on how to be better prepared on your next shoot. Davin Lavikka is a photographer and artist in Scottsdale Arizona. Photography is his primary tool and has been for the last fifteen years. He is known for his architectural and commercial work but has become known for his fine art photography first. He is influenced by early masters like Eugene Atget, W. Eugene Smith, Diane Arbus, Walker Evens, Ansel Adams, Albert Renger-Patzsch, Horst P. Horst, Ernst Haas, Herbert Bayer, Jacques Henri Lartigue and Edward Weston. From the very beginning Davin has been a visionary translating his ideas into a physical form through drawing, painting, illustrating and photography. Davin's ultimate goal is to fully explore the artistic side of photography through alternative processes and ideas. He is fascinated with visual composition and how we react to it. "You can look at a master painter's work like Marcus Pierson, Philip Curtis or Van Gogh, see a painting they did and automatically know it was them. It's harder to do that with photography but that's the goal, to see identify me without knowing the work." Happy Shooting! W: http://www.lavikkaphotography.com/ http://www.dxomark.com/ http://www.photozone.de/ http://www.method-wedding-photography.com/  Blog: http://www.lavikkaphotography.com/blog    Get your FREE business coaching call with Rob! Sign up for one of the last few spots here! 2015 © Take&TalkPics

This week's episode was sponsored by Greer Amps. They make the Little Samson, a balanced dirt box designed from the ground up to be the ultimate distortion pedal.In the 108th edition of the 60 Cycle Hum podcast, Dingus and Squirrel catch up on Ryan's new songwriting board, full of digital drums and...other...things? Sure. Then we talk about a heavy "sumbich" acrylic guitar, and an odd Guild piece from the 70s. By the way, if you were the guy selling three Mr. Black SuperMoons on Reverb, congrats I guess. Oh yeah..this is the right way to be a pro bass player. This guy is full of win. There's nothing quite like running your fingers along the edges of a smooth, contoured body and really feeling the way it weighs on your shoulders, but are all the good guitar shapes gone? Let's find out.This week's song submission was from Ken. He sent "Edward Weston" from his band Claws that Catch.

Hoy inauguramos una nueva sección de nuestro podcast, dónde hablaremos de la vida, situación social y política de los grandes fotógrafos de nuestra era. Hoy nos acercamos a la biografía de Ansel Adams, dónde intentaremos recorrer parte de su vida desde la niñez hasta su muerta con el fin de entender mejor su obra. Biografía de Ansel Adams Nació el 20 de Febrero de 1902 en San Francisco, Estados Unidos. “Espero ansioso nuevos procesos y nuevos desarrollos. Creo que la imagen electrónica será el próximo gran avance. Estos sistemas tendrán características estructurales ineludibles, y por tanto los artistas como los técnicos deberán hacer un renovado esfuerzo para comprenderlos y controlarlos.” Conocido por sus fotografías en blanco y negro de paisajes del Parque Nacional Yosemite en Estados Unidos, entre otros muchos. Y autor de numerosos libros sobre fotografía donde podemos destacar su trilogía (La Cámara, El Negativo y la Copia) estamos ante uno de los grandes fotógrafos de la historia. Un personaje tan interesante como atrevido, con unos ideales férreos y un visionario que lo aleja de su arquetipo de purista. Posiblemente sea uno de los fotógrafos que más haya hecho por el mundo de la fotografía. Sus imágenes, increíblemente bellas e impresas con una técnica impoluta, favorecieron que muchos adaptaran la idea de que la fotografía, podía ser un medio de expresión. De hecho, este fue uno de sus propósitos principales a la hora de realizar fotografías. Su legendario “sistema de zonas” proporcionaba al fotógrafo una gama monocromática más amplia, y con ello más expresiva. Un método para calcular el tiempo de exposición y de revelado que debía aportar una gradación óptima a los valores del gris. Un año después del nacimiento de Ansel, sus padres Charles Hitchock Adams y Olive Adams, se trasladaron a la casa que su padre había estado construyendo en San Francisco. Su niñez estuvo marcada por los muchos momentos que tuvo que guardar cama debido a su predisposición a enfermar. Él mismo dijo de su niñez, que estuvo marcada por su estado mental precario y por su hiperactividad, dos elementos que le fueron acompañando a lo largo de su vida. A los cuatro años de edad, le tocó vivir de cerca el drama del terremoto de San Francisco de 1906, donde las consecuencias para su familia fueron únicamente pequeños daños en la estructura de su casa, y para él, una fractura de nariz. Sin embargo, en su propia biografía recuerda este momento como la experiencia más cercana con el intenso sufrimiento humano. Recuerdo que se le grabó con fuego aún con su corta edad. En esta misma época, en su familia tuvo lugar una desgracia, aunque él no fue consciente de lo que pasaba. La quiebra del negocio químico de su padre debido a la traición de sus socios, su cuñado Ansel Easton y su abogado y amigo George Wright. La familia cayó en una embarazosa situación social y económica y su madre cayó en una depresión constante que arrastró durante años. El padre de Adams intentó ganarse la vida con otros negocios, pero al final desistió y acabó trabajando como vendedor de seguros y jefe de una oficina. Curiosamente, la enfermedad fue la responsable del interés de Ansel por la fotografía. Cuando tenía doce años, enfermó de sarampión, por lo que tuvo que permanecer en la cama, con las persianas bajadas. Ahí en la cama, fue donde se percató que los espacios entre la persiana y la parte superior de las ventanas hacía las veces de primitivos objetivos, que proyectaban en el techo vagas imágenes del paisaje exterior. Su padre le explicó el fenómeno convirtiendo su cámara Kodak Bulls-Eye en una cámara oscura. Este fue su primer e interesante contacto con el mundo de la fotografía que le dejó marcado por la curiosidad del hecho de por vida. Ansel Adams fue hijo único y muy querido, según la correspondencia que se conserva de la familia parece que hicieron todo lo posible para lograr que pudiera llevar la vida que sus padres habían deseado. Como consecuencia, este hizo que Ansel viviera con un constante deseo de complacer a sus padres. Su madre tocaba el piano y con doce años empezó a mostrar interés por la misma afición de su madre. El aprendizaje de este instrumento fue algo de vital importancia para su vida, ya que en su biografía recalca que le infundió el sentido de la disciplina. Su paso por el colegio fue bastante problemático y la situación económica que estaba viviendo hizo mella en sus estudios, tampoco le ayudó mucho su timidez y la dislexia que padecía, que le causó ciertos problemas al intentar integrarse en la escuela. Ansel era un entusiasta de la naturaleza, gracias a un libro que le regaló su tía sobre Sierra Nevada, animó a su familia a pasar las vacaciones en el Parque Nacional de Yosemite. Poco después de llegar a Yosemite, le regalaron su primera cámara, una Kodak Box Brownie. Quedó tan enamorado del lugar que volvió a repetir la experiencia al siguiente año al mismo lugar con su familia. Durante toda su vida Ansel luchó por defender y proteger la naturaleza. Al cumplir los 16 años, Adams trabajó a tiempo parcial en una tienda de servicio de fotografía cercana a su casa. Durante el verano de ese año realizó su primera visita a Yosemite en solitario. No sólo empezaba a distanciarse de su familia, sino también a darse cuenta de lo esencial para su desarrollo físico, emocional y espiritual que significa Yosemite. Un año después, se hizo miembro del club: Sierra Club, organización ecologista a la que perteneció activamente hasta su muerte. Su ingreso en el club acentuó su interés por la fotografía donde acostumbraba a llevar su cámara de gran formato Graflex a todas sus excursiones. En este club estableció una relación de amistad con Cedric Wright, violinista y fotógrafo aficionado y también hijo del antiguo socio de su padre. Juntos empezaron a difundir sus experiencias por las tierras salvajes estadounidenses mediante conferencias. Ansel orientó su esfuerzo para dedicarse al piano y trabajar como concertista. Con 21 años compró un piano de cola de 6.700 dólares que tuvo que ser pagado con la venta de un terreno que le había regalado su tío, junto al esfuerzo económico de su padre que tenía que pagar los plazos a la misma vez que mantener a la familia. Los esfuerzos de sus padres con la dura realidad económica muestra lo importante que era para ellos las altas metas de su hijo. Adams empezó a ver la fotografía como algo lucrativo y del cual le gustaría empezar a vivir. Su primer éxito fue conseguir financiación para un viaje a las Montañas Rocosas de Canadá como fotógrafo oficial. Desde los 18 años ya empezaba a mostrar dudas sobre su planeada carrera como concertista de piano y su recién descubierto amor por la fotografía. Este dilema que le acompañó durante años, y la intensa necesidad de vender sus fotografías, lo llevaron al estudio de Harry Cassie Best, un pintor de paisajes que había encontrado un mercado para sus cuadros de Yosemite. Best tenía una hija con 17 años: Virginia, con la que Adams acabó casándose y con la que tuvo 2 hijos. En 1927, su amigo Cedric Wright le presentó a Albert Bender, socio de éste en una compañía de seguros y comprometido patrocinador de las artes. Bender introdujo a Andsel en el ambiente cultural de San Francisco e hizo realidad la publicación de una colección de sus fotografías: Parmelian Prints of the High Sierras. Bender fue un personaje decisivo en la vida de Ansel ya que gracias a él pudo acceder a su carrera como profesional dentro de la fotografía. Le aportó energía y seguridad a la vez que contactos. En uno de sus viajes con Bender conoció a Paul Strand, sus imágenes le causaron gran impacto, ayudándolo a alejarse del estilo pictorialista y a encaminarse hacia el estilo de “straight photography” (fotografía directa o pura), donde la claridad de la lente es lo más importante y  dónde la fotografía ha de sufrir el menor número de ajustes y retoques posibles. En palabras de Adams, este encuentro fue una revelación: su “destino” no era la música, sino la fotografía. La madre y la tía de Adams le rogaron que no abandonara el piano defendiendo que “La cámara no puede expresar el alma humana”. Su respuesta consistió en dedicar el resto de su vida a demostrar que estaban equivocadas. Adams estaba introducido totalmente en el círculo cultural, se rodeó de grandes fotógrafos y amantes del arte, conoció a Edward Weston con quien entabló una gran amistad y crearon un club fotográfico llamado “F/64” en honor a la apertura más cerrada de las cámaras de gran formato. Este grupo se oponía frontalmente al pictorialismo en favor de una estética directa.   Poco a poco, fue desarrollando las bases de lo que sería su estilo fotográfico. Durante un viaje a Yosemite, experimentó un momento inspirador mientras trataba de decidir cómo trasladar a una fotografía el qué sentía ante la presencia del Half Dome, un enorme domo granítico en el extremo oriental del valle de Yosemite. Precisamente, al que hace honor en su fondo de pantalla el sistema operativo de Apple Yosemite, un guiño a la figura de Ansel Adams. En esa toma, se le ocurrió utilizar un filtro rojo, consiguiendo oscurecer el cielo en la copia afirmando que había logrado su primera verdadera visualización. La visualización, o lo que llamó más tarde, la “previsualización”, se convirió en uno de los dos dogmas de su credo estético. El otro fue el “sistema de zonas”. Empleando los términos musicales propios de su formación, manifestó: “El negativo es la partitura, la copia es la ejecución.” En 1933, Adams y Virginia viajaron a Nueva York para mostrar sus trabajos a Alfred Stieglitz, fotógrafo al que siempre había admirado. Tres años más tarde, Stieglitz le ayudó a llevar a cabo su primera exposición personal. Aunque podríamos considerar a Ansel Adams cómo un fotógrafo paisajista, no sería fiel reflejo de su vida como profesional de la fotografía, ya que también se dedicó a la fotografía de publicidad, anuncios, retratos, arquitectura, ilustraciones, reproducciones de obras de arte, fotomicrofototografías, ciudades, paisajes, animales y noticias, a lo que podríamos añadir su colaboración con revistas como Life y Fortune además de ser fotógrafo asesor para Polaroid y Hasselblad. Con lo cual, podemos ver que su intrusión en la fotografía fue muy completa y tocando prácticamente casi todos los palos de la fotografía que le ayudó como sustento financiero. Sus imágenes se han convertido en un símbolo angloamericano, muchas de ellas centradas en el Parque Natural de Yosemite, siendo los paisajes el principal tema de sus fotografías. Precisamente por esto obtuvo alguna que otra crítica, como por ejemplo la del fotógrafo francés Henri Cartier-Bresson, que sin duda traeremos a este podcast biográfico muy pronto, y que dijo sobre Adams: “El mundo se está cayendo a trozos y todo lo que Adams y Weston fotografían son piedras y árboles.” incluso fue muy criticado por la ausencia de personas en sus fotografías paisajísticas. Tres años antes de su muerte, recibió el premio internacional de la fundación Hasselblad, con el tiempo este fotógrafo se ha convertido en leyenda, fotografiando lugares a los que ha ayudado a conservar. En 1984 murió debido a un fallo en su corazón, posiblemente agravado por un cáncer pancreático. Personalmente, después de adentrarme en la vida de este genio de la fotografía, podría decir que ha sorprendido gratamente sus convicciones e ideales. Defendió la fotografía como arte y método expresivo ante las críticas recibidas y el poco recorrido de este trabajo en aquella época, supo rodearse y dejarse influir por profesionales de la fotografía que le hicieron definir la visión de su fotografía y nunca abandonó su instinto y visión de futuro, entendiendo la fotografía en cada época y cambiando su visión respecto al tiempo y la tecnología. Tengo mucha curiosidad sobre cómo hubiese interpretado este genio los tiempos modernos de la era digital. Se fue justo antes de este cambio tan importante pero del cual ya anunciaba que habría que comprenderlos y controlarlos. Todo un personaje que nos ha acompañado en este podcast. Referencias: Vidas de los Grandes Fotógrafos (Juliet Hacking) Wikipedia: Ansel Adams

Tina Modotti was born Assunta Adelaide Luigia Modotti Mondini in 1896. At the age of 16, she moved from her native Italy to the United States with her father. Modotti soon developed an interest in performing arts and appeared in several plays, operas and silent movies while living in San Francisco. Five years later, she moved to Los Angeles to pursue a career in film. Modotti became known for playing the femme fatale and in 1920 landed the staring role in The Tiger’s Coat. Tina showed an interest in photography from an early age. Her uncle Pietro Modotti ran a photography studio in Italy and later her father ran a similar studio in San Fransisco. After moving to Los Angeles with her boyfriend Robo Richey, Tina soon became friends with Edward Weston. Weston became a mentor and inspiration for Modotti’s development as a fine art photographer an by 1921 she was modeling for Weston and the two soon began an affair. Modotti’s boyfriend, Robo went to Mexico in December of 1921. Unaware of Tina’s affair with Weston, he took a portfolio of Weston’s work hoping to work out an exhibition in Mexico. While Tina was on her way to Mexico to join him, she found that he had died 2 days before her arrival of smallpox. The following year, Tina mounted a two week exhibition of Robo’s and Weston’s work at the National Academy of Fine Arts in Mexico City. Weston moved to Mexico the following year leaving behind his wife and 3 of 4 children. Tina set up and managed Edward’s studio in return for his mentoring her as a photographer. Weston was taken by Mexican culture and was inspired by local folk art and landscape. Modotti was more interested in people and the Modernest aesthetic. She soon found a community of cultural and political avant-gardists who she became closely associated with including Frida Kahlo and Diego Rivera. As her photography skills began to mature, Modotti’s work included lyrical images of peasants and workers and experiments with architectural interiors, flowers and urban landscapes. Mexican photographer Manuel Alvarez Bravo notes 2 distinctions in Modotti’s work being both “romantic” and “revolutionary”. The romantic aspects of her work undoubtedly influenced by Weston and the revolutionary from her growing interest in politics. In 1926, Weston signed a contract with writer Anita Brenner to photograph her book on Mexican folk art. Modotti and Weston were joined by Edward’s son Brett. The job was quite large requiring over 400 8×10 negatives and prints. Brett was brought up to speed at a breakneck pace and learned how to make prints while traveling through Mexico in search of lesser known native art. The project took months and by the end, Edward’s relationship with Tina was over. At the end of the project, Edward and Brett returned permanently to California. Modotti continued her works as a photographer and in 1929 did her first one-woman retrospective exhibition at the National Library which was advertised as the “First Revolutionary Photographic Exhibition In Mexico”. By this time, Tina had been a member of the Mexican Communist Party for several years and her work was very politically focused. In 1929, Modotti’s close friend Julio Antonia Mella was assassinated presumably by agents of the Cuban government. Soon there was an assassination attempt on Mexican President Pascual Ortiz Rubio and Modotti was questioned about both crimes. In 1930, she was expelled from Mexico as the result of an anti-communist and anti-imagrant press campaign. Modotti evaded police through Rotterdam, Berlin and Switzerland before making her way back to Italy to join the anti-fascist resistance before proceeding to Moscow in 1931. After this move to Russia no photographs survive and it is presumed that Moditti never photographed again. During the rise of the Spanish Civil War, Modotti left Moscow for Spain. Following the collapse of the Republican movement, she returned to Mexico under a false identity. Two years later, Modotti died under somewhat suspicious circumstances though the official autopsy indicated heart failure. She was 46. ine art photographer an by 1921 she was modeling for Weston and the two soon began an affair. MoMA Collection :: http://www.moma.org/collection/artist.php?artist_id=4039 Philadelphia Museum of Art Collections :: http://www.philamuseum.org/collections/results.html?searchTxt=modotti&keySearch=+Search+&searchNameID=&searchClassID=&searchOrigin=&searchDeptID=&accessionID=&page=1

Tina Modotti (1896 – 1942) was an Italian photographer who was most active in Mexico between 1923 and 1930. Known for her romantic and business relationship with Edward Weston and her friendships with Diego Rivera, Frieda Kahlo and other Mexican artists, Modotti was also a political activist during the Mexican Revolution and beyond. Links for … Continue reading History of Photography Podcast 7 : Tina Modotti →

Blumen stehen für Schönheit und Vollkommenheit, versinnbildlichen aber ebenso Vergänglichkeit und Tod. Seit Beginn der Fotografie wurden blühende Pflanzen in ihrer vergänglichen Schönheit abgelichtet. Karl Blossfeldt, Irving Penn, Edward Weston, Robert Mapplethorpe kommen uns in den Sinn, wenn wir an fotografische Abbildungen von Blumen denken. Ornamentales, Graphisches, Abstraktes, Erotisches entdecken wir in ihren Bildern. Annabelle Fürstenau erweitert das Spektrum der Pflanzenfotografie um eine zunächst typologisch, fast botanisch-wissenschaftlich anmutende Facette. Für ihre Fotografien bricht sie die vollkommene Schönheit unversehrter Blütenstände, zerlegt sie in ihre einzelnen Bestandteile und ordnet diese neu an. Immer gleiche Teile werden zueinander sortiert, es entstehen Anordnungen von Wiederholungen und Varianten aus dem „Zeichensatz“ je einer Pflanze. Doch diese Ordnung besteht nur für kurze Zeit: eine falsche Bewegung während der Arbeit, ein heftiger Atemzug und aus der fragilen Ordnung entsteht Chaos. Und schon kurze Zeit nach der Aufnahme welken die Pflanzenteile und das Bild wandelt sich erneut. Die Fotografie bewahrt das Bild der von der Künstlerin erarbeiteten temporären Ordnung und jenes der unversehrten frischen Pflanzenteile. Nur hie und da schleicht sich die Vergänglichkeit gleich einem Kommentar ins Bild: ein welkes Blatt, eine braune Stelle in der sonst makellosen Schönheit, ein Teil, das „aus der Reihe tanzt“ oder sich anders krümmt als die nebenliegenden Teile es tun. Die Ästhetik der Bilder weist über die sachliche Ordnung des Botanischen hinaus: Sie entziehen sich in ihrer eigenartigen Schönheit der rein wissenschaftlichen Betrachtung. Im Ergebnis assoziieren die Neuordnungen der Blütenteile eine bekannt wirkende, doch unlesbare Schrift. Die Blätter scheinen mit rätselhaften Zeichen bedeckt, gleich einer unbekannten Blütenschrift. Diese verweist jedoch auf nichts als sich selbst. Ihr Geheimnis liegt an der Oberfläche. Die Lektüre erschließt Formen- und Farbreichtum jeweils einer bestimmen Blüte, eines bestimmten Blütenstandes.

In this video, Phillips Collection curator Elsa Smithgall introduces special exhibition TruthBeauty: Pictorialism and the Photograph as Art, 1845-1945, on view at The Phillips Collection Oct. 9, 2010 through Jan. 9, 2011. Like impressionism, which challenged the traditions of painting, pictorialism expanded the possibilities of photography beyond the literal description of a subject. Pictorialist photographers produced some of the most spectacular photographs in the history of the medium and influenced subsequent developments in modernist photography. Comprising over 120 photographs, this exhibition retraces pictorialism's beginnings with the experiments of Hill and Adamson and Julia Margaret Cameron; through its mastery by Alfred Stieglitz, Gertrude Käsebier, and Alvin Langdon Coburn; to its lasting legacy in early works by Edward Weston and Imogen Cunningham.

In this video, Phillips Collection curator Elsa Smithgall introduces special exhibition TruthBeauty: Pictorialism and the Photograph as Art, 1845-1945, on view at The Phillips Collection Oct. 9, 2010 through Jan. 9, 2011. Like impressionism, which challenged the traditions of painting, pictorialism expanded the possibilities of photography beyond the literal description of a subject. Pictorialist photographers produced some of the most spectacular photographs in the history of the medium and influenced subsequent developments in modernist photography. Comprising over 120 photographs, this exhibition retraces pictorialism's beginnings with the experiments of Hill and Adamson and Julia Margaret Cameron; through its mastery by Alfred Stieglitz, Gertrude Käsebier, and Alvin Langdon Coburn; to its lasting legacy in early works by Edward Weston and Imogen Cunningham.

In the third History of Photography Intersession, we look at some interesting events from January first, as we commemorate the birth date of photographer William Klein, the anniversary of the death of Edward Weston, some facts about George Eastman and his inventions and the birth of the Associated Press Wirephoto. William Klein at Masters of … Continue reading Photo History Intersession – January 01 →

See this book at Amazon This episode is the first in an irregular series that explores important photography books that should be in every photographer’s book collection. The first book is The Daybooks of Edward Weston, Weston’s remarkable series of journal entries about his life in photography. Also on today’s episode: Find great photo podcasts … Continue reading Camera Position 33 : What’s on Your Bookshelf? →

The edges of the frame change everything about how we see a photograph. One of the great masters of the use of the photographic frame edge was Edward Weston, and today we look at his remarkable ability to show us “just enough” of the subject. The podcast briefly touches on gestalt theory for the visual … Continue reading Camera Position 26 : Weston & The Edges →

It took Edward Weston 29 prior attempts to get to the point where he made his well-known “Pepper #30” photograph. Musicians have to practice their scales, and so do photographers, trying a variety of attempts at conveying the essence of their subjects before hitting on the one that works the best. Weston’s strategy of looking … Continue reading Camera Position 11 : Weston and the Other 29 →

Sotheby’s in London meldet Rekordergebnisse: Die Versteigerung von 220 Fotografien aus den zwanziger und dreißiger Jahren bringen sechs Millionen Mark. Die Fotografien von Man Ray, Edward Weston, El Lissitzky oder Umbo galten als verschollen, bis Sotheby’s mit einer Geschichte aufwartete, die nicht nur wie ein Märchen klang. Der Sohn einer Helene Anderson, hieß es im Auktionskatalog, habe die von seiner Mutter angelegte Sammlung zufällig in einem Koffer auf einem Frankfurter Dachboden gefunden. Von Anja Kempe — Deutschlandfunk — 21.01.2003 — Feature