Skip to main content

Nadar

Nadar - “Panthéon Nadar“, lithography, 1853
source: http://home.tele2.fr/thdelamotte/photo_references/nadar/img/pantheon_nadar.jpg



Nadar (Gaspard-Félix Tournachon , 1820 – 1910) - Self Portrait, 1855
source: http://en.wikipedia.org/wiki/Image:Nadar_selfportrait.jpg



"NADAR élevant la Photographie à la hauteur de l'Art"
(NADAR elevating Photography to the high level of Art).
Lithograph by Honore Daumier, Le Boulevard, 1862.
source: http://en.wikipedia.org/wiki/Image:DR3248_13.jpg



Baudelaire photographié par Nadar, 1854
source: Musée d'Orsay


Nadar - Sarah Bernhardt 1859

source: http://faculty.evansville.edu/rl29/art105/sp04/art105-8.html



Nadar - George Sand c.1864


Nadar - Rossini 1856


Nadar - one of his first aerial photos of Paris, 1858

source: http://www.geog.ucsb.edu/~jeff/115a/jack_slides/nadar1858firstaerialphotoofparis.jpg



Nadar by Nadar 1858

source: Google-LIFE


Nadar: The right to flight

source: Gallica BNF



A Nadar photo of Santos-Dumont in one of his (heavier-than-air) aeroplane designs

source: http://www.uh.edu/engines/epi1967.htm





Nadar - Sewers of Paris series 1861-62


Photo interview of Chevreul by Nadar







source: http://hdelboy.club.fr/Chevreul.html#VI._Sur_le_reportage_photographique_de


Michel EugèneChevreul, was a scientist and the author of De la loi du contraste simultané des couleurs et de l'assortiment des objets colorés. - translated into English by Charles Martel as The principles of harmony and contrast of colours (1854) a book that influenced the development of painting in France from Impressionism to Neo-impressionism.

link: http://www.metmuseum.org/toah/hd/nadr/hd_nadr.htm

Labels

Labels:

Comments

Post a Comment

Popular posts from this blog

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 worke...
1 comment
Read more

Post-photography

"The job of the photographer in the 21st century has become increasingly challenging as the practice is an overwhelmingly populist business. Anyone who has access to a camera has the power to become an artist, leaving a plethora of cached evidence on the internet for public consumption. This “found” internet content serves as a vast laboratory for major experimentation, underpinning the concept of post-photography, with endless possibilities for artists to recreate original works using avant-garde techniques drawn from both the digital and analogue eras." Fiona Martin (short presentation of the book Post-Photography: The Artist with a Camera by Robert Shore) http://www.aestheticamagazine.com/post-photography / Perhaps there is less novelty here, regarding the context of photography transformed by the new image technologies developed in the late 20th century, in the particular sense that the early impact of photography itself transformed the regimes of vision and impact...
1 comment
Read more

Calotype process

"The calotype negative process was sometimes called the Talbotype , after its inventor. It was not Talbot's first photographic process (introduced in 1839), but it is the one for which he became most known. Henry Talbot devised the calotype in the autumn of 1840, perfected it by the time of its public introduction in mid-1841, and made it the subject of a patent (the patent did not extend to Scotland). The base of a calotype negative, rather than the glass or film to which we have become accustomed, was high quality writing paper. The sheet of paper was carefully selected to have a smooth and uniform texture and, wherever possible, to avoid the watermark. The first stage, conducted in candlelight, was to prepare what Talbot called his iodized paper. The paper was washed over with a solution of silver nitrate and dried by gentle heat. When nearly dr...
Post a Comment
Read more