Skip to main content

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



Comments

Christy Lynn said…
I'm curious if these photos have been edited. I've seen various other versions of these pictures and they are not quite as "clear" as these appear to be. Although they do appear more "real," I feel it's a bit misleading to portray historical photographs with enhancements - especially without noting that they have been modified. If you are not aware of any edits, you may want to check your sources. Thanks!
Well, Christy, I could say that not one of those "historical" pictures that appear here(or in any other site) is the "real" thing: they are all "jpegs", that is, digital files. To determine "misleading enhancements" it would be necessary to compare each of the files with the original works. In the case of photography, a multiple form, the question of the "original" photograph, print, version, etc may be a somewhat less clear matter than normally assumed. In the digital era this gets even more complicated, as we face multiple "translations" of a medium into another.
Thanks for your 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 workers who are strivin…

The Daguerreotype portrait: the aesthetics of the real

The notion of what we may call an “artless art” was applied at different times, and with different intentions, to photography and the Daguerreotype. The image produced “directly” by nature, bypassing the intervention of the hand of the artist, was the object of amazement at first, and praised for its astounding fidelity of detail: an “art form” therefore that “no painter could ever match”. 
The popularization of the daguerreotype as the 19th century progressed, brought about by technical improvements allowing for the mass production of images and specially, for the first time, the mass production of portraits, produced also as a counter-current, a kind of  “over familiarity” with the daguerreotype portrait. And with it, a relative weariness about the repetitious, the unstudied, the narrowly documentary and "vulgar" or commonplace qualities (issues only partially explained by inherent  limitations of the Daguerreotype technique for portraiture, such as exposure time requiremen…

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…