W. Fox Talbot - The Open Door

W. Fox Talbot The Open Door

Salt print from a calotype negative, April 1844. 18.8 x 23.1 cm.
source: http://foxtalbot.dmu.ac.uk/resources/opendoor.html

"The Open Door reveals a telling interest in the artistic treatment of the mundane." The image's "picturesque dimension suggests the inventor's familiarity with examples of Dutch genre painting of the 17th century"
Rosenblum, Naomi - World History of Photography, 1997 ( page 31)

It is interesting to note that, as Rosenblum herself explains, "soft definition", that is the "blurry" or "fuzzy" characteristics of the calotype image, contrasted the calotype print to the finesse of detail and sharpness of the daguerreotype. Talbot in fact referred to the effects of his early "photogenic drawings" as "Rembrandtish" (Rosenblum, page 29)

Although the negative-positive method of Talbot would point the way to future developments of photography, the quality of the early calotype images made it difficult to supplant public attachment to the daguerreotype both in Europe and in America.

Comments

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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