Daguerreotype of the Acropolis by Jean Baptiste Louis Gros

Baron Jean-Baptiste Louis Gros (French, 1793–1870)
View of the East Facade of the Propylaea on the Acropolis, Athens, May–June, 1850
Daguerreotype; 14.9 x 20 cm (5 7/8 x 7 7/8 in.)
Canadian Centre for Architecture, Montreal

From the exhibition The Dawn of Photography: French Daguerreotypes, 1839–1855
September 23, 2003–January 4, 2004
Drawings, Prints, and Photographs Galleries, The Howard Gilman Gallery, 2nd floor
Metropolitan Museum, New York

image link

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Heliographic Musings said…

When I saw this plate at the French Daguerreotype show at the Met I was blown away. It was one of the most beautiful plates I had ever seen. There was no hand applied color yet the plate had appropriate coloration. The sky was blue but the ground appeared almost brownish instead of silver. I could not take my eyes off of it. This plate is incredible!

December 21, 2011 at 7:09 AM

Group f/64 Manifesto (1932)

Ansel Adams by Dorothea Lange

Group f/64 Manifesto
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 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 strivin…

Alexander Gardner (1821-1882)

Alexander Gardner
The home of a Rebel Sharpshooter, Gettysburg (1863)

Alexander Gardner Dead Confederate sharpshooter at the foot of Round Top. Gettysburg, Pennsylvania, July 1863. Alexander Gardner.
Richmond, Virginia. "Ruins of Gallego Mills." April 1865

The Lincoln Conspirators, 1865

Alexander Gardner, Lincoln 1865

Paul Strand: method and vision

Portrait, Washington Square Park, 1917

Pears and Bowls, 1916

Wild Iris, Maine, 1927

Wall Street, 1915

Portrait of Georges Braque, 1957

The “full acceptance” of reality is the method and goal of the photographer, observed Paul Strand. However, full objectivity has to be something different from a passive receptivity but must emerge from an active and vigilant attitude that requires the photographer’s control of his subject. Or rather, it requires the coming together of subject and object in the intervening space of the photograph, synthesizing and perhaps transcending both, a mediating space, both familiar and unusual, made of masses and voids, light and shadows, made of the equivalence of presence and absence, of correspondences of vision and forms in the world, of the coalescence of equivalent forms in a frame, of a spatialized time and a space of gradually superposed temporalities.

Marcelo Guimarães Lima

links:
http://lumieregallery.net/wp/197/paul-strand/
http://www.getty.edu/art/gettygu…

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