Introduction to the History of Photography

Rose, 1924 Campesinos, 1938 Workers, c 1926-1930 portrait of Edward Weston, 1923 Pablo Neruda's epitaph for Tina Modotti: Pure your gentle name, pure your fragile life, bees, shadows, fire, snow, silence and foam, combined with steel and wire and pollen to make up your firm and delicate being. source: Wikipedia

Nude, 1927, silver print Imogen Cunningham, 1922 Artichoke, 1930 Carmel, 1938 Nautilus, 1927 Tina Modotti, 1923 Tina Modotti, 1924 Excusado, 1925

Triangle plus one, 1928 Magnolia, c.1930 Flowering Cactus, 1930 Frida Kahlo, 1931 Ansel Adams, 1975

The name of this Group is derived from a diaphragm number of the photographic lens. It signifies to a large extent the qualities of clearness and definition of the photographic image which is an important element in the work of members of this Group. The chief object of the Group is to present in frequent shows what it considers the best contemporary photography of the West; in addition to the showing of the work of its members, it will include prints from other photographers who evidence tendencies in their work similar to that of the Group. Group f/64 is not pretending to cover the entire spectrum of photography or to indicate through its selection of members any deprecating opinion of the photographers who are not included in its shows. There are great number of serious workers in photography whose style and technique does not relate to the metier of the Group. Group f/64 limits its members and invitational names to those workers who are striving to define photography as an art f

Gare Saint Lazare, 1932

Meudon, 1928 Distortion series, c.1933 Under the Eiffel Tower, 1929 The studio of Mondrian, 1926

portrait of Picasso, 1932 Involuntary sculptures, c.1933 Paris by night, 1934 Bijou de Montparnasse, c. 1933 Belle de Nuit, c.1933 Place d' Italie. 1932

Bellmer, Untitled, 1960 ______ The Doll, 1935 ________ Hans Bellmer ___________

Atget came to Paris in the 1890s. Born near Bordeaux, as a young man he embarked as a sailor and cabin boy. Later he became an itinerant actor. Abandoning the stage, he aspired to become a painter, but settled for photography due to his lack of artistic education. He photographed the city of Paris on commission from public and private patrons, but also on his own. He lived an obscure life and died unnoticed. His work was discovered later by the surrealists who considered his achievements as a kind of premonition of Surrealism itself. The photographs of Parisian streets, walls, facades, windows, storefronts, are indeed marked by a kind of quite expectation. Both intense and distracted in its concentration, in anticipation of things to come, a future drama that is at the same time the disclosure of a time already passed, as an event or a play in its final stages of completion, after the conclusion of the main action. Through Atget´s works, Paris stages itself, presents itself as the plac