tag:blogger.com,1999:blog-68669944859099493492024-03-16T05:10:30.318+04:00Introduction to the History of Photographycopyright (c) Marcelo Guimaraes Lima, PhD. mguimaraeslima@gmail.comMarcelo Guimaraes Lima. PhDhttp://www.blogger.com/profile/09217135318679862737noreply@blogger.comBlogger129125tag:blogger.com,1999:blog-6866994485909949349.post-41260736692335877252016-01-01T19:54:00.001+04:002016-01-01T19:54:58.342+04:00Post-photography<i>"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.</i><br />
<i>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."</i><br />
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Fiona Martin<br />
(short presentation of the book Post-Photography: The Artist with a Camera by Robert Shore)<br />
<a href="http://www.aestheticamagazine.com/post-photography">http://www.aestheticamagazine.com/post-photography</a>/<br />
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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 impacted the aesthetic (and professional) system of the visual arts in general in the 19th century. Since then, we can perhaps say that “instability” has been the status of both art and photography, and of their relationships.<br />
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Following the logic of digital processes - modularity and the reworking of given data - and with the internet, a vast library of already re-mediated images from a variety of historical and contemporary sources, the logic of the endless transformation of digital images presents itself as the appropriate scene of the (post) photographic enterprise today. Needless to say that with the “social media” explosion, generalized “populism” marks the cultural landscape of the time, for better and for worse.<br />
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“Post-photography” is, in common usage, that practice, object, perspective, which comes after photography. However, our present context could be also or better designated as “trans-photographic” in the historical sense that a new medium does not simply “overcome” or “negates” previous media but extend or liberates some of the inner impulses and goals at the basis of previous production and processes taken as “models” and horizon.<br />
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Marcelo Guimarães Lima<br />
<br />Marcelo Guimaraes Lima. PhDhttp://www.blogger.com/profile/09217135318679862737noreply@blogger.com1tag:blogger.com,1999:blog-6866994485909949349.post-16521803313676899122012-04-10T13:47:00.000+04:002012-04-10T13:58:32.165+04:00Paul Strand: method and vision<div class="separator" style="clear: both; text-align: center;">
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<b><span style="font-size: x-small;">Wild Iris, Maine, 1927</span></b></div>
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<b><span style="font-family: Cambria;">Wall Street, 1915</span></b></span>
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<b><span style="font-size: x-small;">Portrait of Georges Braque, 1957</span></b></div>
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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.</div>
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<b>Marcelo Guimarães Lima</b></div>
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<span style="font-size: x-small;"><b><a href="http://lumieregallery.net/wp/197/paul-strand/">http://lumieregallery.net/wp/197/paul-strand/</a></b></span></div>
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<span style="font-size: x-small;"><b><a href="http://www.getty.edu/art/gettyguide/artObjectDetails?artobj=40384">http://www.getty.edu/art/gettyguide/artObjectDetails?artobj=40384</a></b></span></div>
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<br /></div>Marcelo Guimaraes Lima. PhDhttp://www.blogger.com/profile/09217135318679862737noreply@blogger.com5tag:blogger.com,1999:blog-6866994485909949349.post-28306504023866963852012-04-08T14:39:00.001+04:002012-04-08T14:46:13.218+04:00Group f/64 Manifesto (1932)<div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjm6GBa8rxHOXGpp7meDrmZQ1sbupmBSZ1pR19paL8V14tRTxy82rc4VM2A9gg1r2kkexaxPErpA0BI29vwhD561fAVbaoVn_u80uRG38BaKSlJSEXtXXxgDAzPLeJM8GIERs3XduM3AA__/s1600/Dorothea-Lange-Untitled-Ansel-Adams-with-his-View-Camera-in-the-Field-Utahcollections.museumca.org_.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjm6GBa8rxHOXGpp7meDrmZQ1sbupmBSZ1pR19paL8V14tRTxy82rc4VM2A9gg1r2kkexaxPErpA0BI29vwhD561fAVbaoVn_u80uRG38BaKSlJSEXtXXxgDAzPLeJM8GIERs3XduM3AA__/s400/Dorothea-Lange-Untitled-Ansel-Adams-with-his-View-Camera-in-the-Field-Utahcollections.museumca.org_.jpeg" width="347" /></a></div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><b><span style="font-size: x-small;">Ansel Adams by Dorothea Lange</span></b></div><div style="text-align: center;"><br />
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</style> </div><div style="text-align: left;"></div><div class="MsoNormal" style="text-align: center;"><b>Group f/64 Manifesto</b></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">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.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">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.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">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.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Group f/64 limits its members and invitational names to those workers who are striving to define photography as an art form by simple and direct presentation through purely photographic methods. The Group will show no work at any time that does not conform to its standards of pure photography. Pure photography is defined as possessing no qualities of technique, composition or idea, derivative of any other art form. The production of the "Pictorialist," on the other hand, indicates a devotion to principles of art which are directly related to painting and the graphic arts.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">The members of Group f/64 believe that photography, as an art form, must develop along lines defined by the actualities and limitations of the photographic medium, and must always remain independent of ideological conventions of art and aesthetics that are reminiscent of a period and culture antedating the growth of the medium itself.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">The Group will appreciate information regarding any serious work in photography that has escaped its attention, and is favorable towards establishing itself as a Forum of Modern Photography.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><a href="http://kcbx.net/%7Emhd/1intro/f64.htm">http://kcbx.net/~mhd/1intro/f64.htm</a></div> <b><span style="font-size: x-small;"><br />
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<b>Group f/64</b><br />
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</style> </div><div style="text-align: left;"></div><div class="MsoNormal" style="text-align: justify;"><i>On November 15, 1932, at the M. H. de Young Memorial Museum in San Francisco, eleven photographers announced themselves as Group f/64: Ansel Adams, Imogen Cunningham, John Paul Edwards, Preston Holder, Consuelo Kanaga, Alma Lavenson, Sonya Noskowiak, Henry Swift, Willard Van Dyke, Brett Weston, and Edward Weston. The idea for the show had arisen a couple of months before at a party in honor of Weston held at a gallery known as "683" (for its address on Brockhurst Street in San Francisco)—the West Coast equivalent of Alfred Stieglitz's gallery 291—where they had discussed forming a group devoted to exhibiting and promoting a new direction in photography that broke with the Pictorialism then prevalent in West Coast art photography. The name referred to the smallest aperture available in large-format view cameras at the time and it signaled the group's conviction that photographs should celebrate rather than disguise the medium's unrivaled capacity to present the world "as it is." As Edward Weston phrased it, "The camera should be used for a recording of life, for rendering the very substance and quintessence of the thing itself, whether it be polished steel or palpitating flesh." A corollary of this idea was that the camera was able to see the world more clearly than the human eye, because it didn't project personal prejudices onto the subject. The group's effort to present the camera's "vision" as clearly as possible included advocating the use of aperture f/64 in order to provide the greatest depth of field, thus allowing for the largest percentage of the picture to be in sharp focus; contact printing, a method of making prints by placing photographic paper directly in contact with the negative, instead of using an enlarger to project the negative image onto paper; and glossy papers instead of matte or artist papers, the surfaces of which tended to disperse the contours of objects.</i></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><b>Hostetler, Lisa</b>. "Group f/64". In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. <a href="http://www.metmuseum.org/toah/hd/f64/hd_f64.htm">http://www.metmuseum.org/toah/hd/f64/hd_f64.htm</a> (October 2004)</div></div><div style="text-align: center;"><br />
</div></div>Marcelo Guimaraes Lima. PhDhttp://www.blogger.com/profile/09217135318679862737noreply@blogger.com1tag:blogger.com,1999:blog-6866994485909949349.post-5103973209961194972012-04-08T14:11:00.002+04:002012-04-08T14:25:27.012+04:00Franz Roh (1890-1965)<div dir="ltr" style="text-align: left;" trbidi="on"><div style="text-align: center;"></div><div style="text-align: center;"></div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZ77M657eKGkCbDbb9L5VIMxYZ7fTwpaV5PuB1Rxj555U3Gtu_qDm0TeJGa2xZxh7zAMQ7LWeS6MGz6wPOtZNzxKwydwq9rITV6HuSLmrmxt6cwlBM2MxxN12mVCw4DG3rQb4yjegfK82_/s1600/franzroh.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZ77M657eKGkCbDbb9L5VIMxYZ7fTwpaV5PuB1Rxj555U3Gtu_qDm0TeJGa2xZxh7zAMQ7LWeS6MGz6wPOtZNzxKwydwq9rITV6HuSLmrmxt6cwlBM2MxxN12mVCw4DG3rQb4yjegfK82_/s400/franzroh.jpg" width="400" /></a></div><div style="text-align: center;"><br />
<b><span style="font-size: x-small;">actress, 1930</span></b><br />
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<span style="font-size: x-small;"><b><span class="short_text" id="result_box" lang="en"><span class="hps">Large body</span> <span class="hps">curves</span><span class=""></span><span class="">, about</span> <span class="hps">1922-28</span></span></b></span><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7YJ2lI8tAw37cQFndpc2840B12o2uN1AFZu8P3oWmUUE-vhuww7OW4XJKxclZLRdvfiekmN4o5CroUWJCrin24tWESz8irNReilEhqfqdW_JWxped9Q5MNNyh3HlAzZCidgl_NMNt83vR/s1600/roh_untitled1930.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7YJ2lI8tAw37cQFndpc2840B12o2uN1AFZu8P3oWmUUE-vhuww7OW4XJKxclZLRdvfiekmN4o5CroUWJCrin24tWESz8irNReilEhqfqdW_JWxped9Q5MNNyh3HlAzZCidgl_NMNt83vR/s400/roh_untitled1930.jpg" width="400" /></a></div><br />
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<b><span style="font-size: x-small;">untitled, 1930</span></b><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1yy2uYOhxNSBUjb6cOpNh6gPUCBP1qTs69E3IpdbgzAWXit_PMO1Hcz-B3bYB4lr0SiWUfN1iCgaAGXrB8nMf_fZ9BjJI0iGc8Rg5Qmt_CjZQhaNXFZOaat-kfvdlEJjgAP95B2gM2f4o/s1600/rohrailroadtracksnight1930.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="303" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1yy2uYOhxNSBUjb6cOpNh6gPUCBP1qTs69E3IpdbgzAWXit_PMO1Hcz-B3bYB4lr0SiWUfN1iCgaAGXrB8nMf_fZ9BjJI0iGc8Rg5Qmt_CjZQhaNXFZOaat-kfvdlEJjgAP95B2gM2f4o/s400/rohrailroadtracksnight1930.jpg" width="400" /></a></div><div style="text-align: center;"><br />
</div><div style="text-align: center;"> <span style="font-size: x-small;"><b>Railrod tracks at night, about 1930 </b></span> </div><div style="text-align: center;"><span style="font-size: x-small;"><b><span class="text-link">Gelatin silver print</span></b></span> </div><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMuA6ekkcE4U6Cc98R4IWteFg0uSRY_sz51huGINqi16cquFyDMlLELSBahaGyUVLjXUCzYuywvWSXhl9mLYx-XsnJgiCyb1LaCxrWyCyp7ZbpnfY9-iif2YLv_vzL_AAkgTeA1YsYNYpf/s1600/rohhomageernst1935.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMuA6ekkcE4U6Cc98R4IWteFg0uSRY_sz51huGINqi16cquFyDMlLELSBahaGyUVLjXUCzYuywvWSXhl9mLYx-XsnJgiCyb1LaCxrWyCyp7ZbpnfY9-iif2YLv_vzL_AAkgTeA1YsYNYpf/s400/rohhomageernst1935.jpg" width="321" /></a></div><div style="text-align: center;"><span style="font-size: x-small;"><b>Homagem to Max Ernst, 1937, collage</b></span></div><div style="text-align: center;"><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8d5V5Me14bWS7lza3vWB_gg79b-JC_62Js3saE2upvBBGcQkkW7SizbPaXWLqJP_moFqPQyDJ-ydLiu5zuKZgi7VSa_LNOXHCqjcZtnIOzjBM19EShFu4r84nx-uHb-Nn05xyIuFMFCYA/s1600/total-panic-ii.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8d5V5Me14bWS7lza3vWB_gg79b-JC_62Js3saE2upvBBGcQkkW7SizbPaXWLqJP_moFqPQyDJ-ydLiu5zuKZgi7VSa_LNOXHCqjcZtnIOzjBM19EShFu4r84nx-uHb-Nn05xyIuFMFCYA/s400/total-panic-ii.jpg" width="321" /></a></div><span style="font-size: x-small;"><b>Total Panic II, 1937, collage</b></span><br />
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</style> </div><div style="text-align: justify;"></div><div class="MsoNormal" style="text-align: justify;"><i>Franz Roh’s involvement with art extended from history, theory and criticism to production, which took the form of both “reality-photos” that captured the expressive and symbolic potential of fragments excerpted from the real world and experimental techniques—including negative printing, photomontage and collage—that enhance our capacity to experience the world visually. Although his career as a critic grew out of his ability to describe the characteristics of art movements in terms of the juxtaposition of opposites, the works of art he created demonstrate his ability to explore a multiplicity of approaches. The critic who proclaimed the waning of Expressionism and the rise of Magic Realism in post-war painting was also the artist who delighted equally in the object and the experiment, noting “next to a new world of objects we find the old seen anew.” As complex and multifaceted as the intellect and imagination of their maker, Roh’s photographs and collages underscored his belief in photography as a new form of visual communication in his own day. Today they encourage artists to embrace the newest technologies available when communicating their vision.</i></div><br />
<div style="text-align: justify;"></div><div style="text-align: justify;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZ77M657eKGkCbDbb9L5VIMxYZ7fTwpaV5PuB1Rxj555U3Gtu_qDm0TeJGa2xZxh7zAMQ7LWeS6MGz6wPOtZNzxKwydwq9rITV6HuSLmrmxt6cwlBM2MxxN12mVCw4DG3rQb4yjegfK82_/s1600/franzroh.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"> </a></div><div class="MsoNormal">Virginia Heckert - <a href="http://www.blogger.com/goog_1380279032">Franz Roh Photography & Collage from the 1930s</a></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">at Ubu Gallery, New York</div><div class="MsoNormal">from September 14–December 22, 2006</div><div class="MsoNormal">info@ubugallery.com www.ubugallery.com<br />
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</div></div>Marcelo Guimaraes Lima. PhDhttp://www.blogger.com/profile/09217135318679862737noreply@blogger.com0tag:blogger.com,1999:blog-6866994485909949349.post-4001112922402564992012-04-03T15:00:00.005+04:002012-04-08T14:26:09.349+04:00Photo-Eye by Franz Roh and Jan Tschichold<div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjV_11jKTtKR5tf9mxq8tuiWYRy5gHut05n_aDEujql5GgahLW8FooPICWDw4_IgcPg5yUIBgpgETHpl2EpRHevMI4xUzWUQTqx8UpwmnhU8qGTotrs01tLCmFmhZab9nOO0OuKoxASCea2/s1600/photoeyeW.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="385" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjV_11jKTtKR5tf9mxq8tuiWYRy5gHut05n_aDEujql5GgahLW8FooPICWDw4_IgcPg5yUIBgpgETHpl2EpRHevMI4xUzWUQTqx8UpwmnhU8qGTotrs01tLCmFmhZab9nOO0OuKoxASCea2/s400/photoeyeW.jpg" width="400" /></a></div><div style="text-align: center;"><style>
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</style> </div><div class="MsoNormal" style="text-align: center;"><a href="http://wiedler.ch/felix/books/story/680"><span style="font-size: x-small;"><b>http://wiedler.ch/felix/books/story/680</b></span></a></div><div class="MsoNormal" style="text-align: center;"><br />
</div><div class="MsoNormal" style="text-align: center;">Franz Roh, Jan Tschichold:</div><div class="MsoNormal" style="text-align: center;">Foto-Auge / Oeil et Photo / Photo-Eye</div><div class="MsoNormal" style="text-align: center;"><br />
</div><div class="MsoNormal" style="text-align: center;">Akademischer Verlag Dr. Fritz Wedekind, Stuttgart, 1929</div><div class="MsoNormal" style="text-align: center;">printer: Heinrich Fink, Stuttgart</div><div class="MsoNormal" style="text-align: center;">size: 30 x 21 cm</div><div class="MsoNormal" style="text-align: center;">photographer: El Lissitzky (cover)</div><div class="MsoNormal" style="text-align: center;">designer: Jan Tschichold</div><div class="MsoNormal"><br />
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</div></div>Marcelo Guimaraes Lima. PhDhttp://www.blogger.com/profile/09217135318679862737noreply@blogger.com0tag:blogger.com,1999:blog-6866994485909949349.post-48908836658677536082012-04-03T14:15:00.011+04:002023-01-06T18:20:55.293+04:00A new objectivity<div dir="ltr" style="text-align: left;" trbidi="on"><div style="text-align: justify;"><style>
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</style> </div><div style="text-align: justify;"></div><div class="MsoNormal" style="text-align: justify;">The advent of the portable camera allowed for changes in the practice of photography, in the methods and goals of photographers. Photography leaves the comforts of the studio, its <i>tempo</i> or rhythms, its formal ideas and established procedures and searches for novelty in the cadences, the pulses and figures of everyday life. Photographers such as Giuseppe Primoli and Paul Martin stand in between the amateur art of their predecessors and the developing discipline of photojournalism, as observed by I. Jeffrey (1). </div><br />
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Roma - Via Ostiense 1890 <br />
self-portrait of Giuseppe Primoli </span></b><style>
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<div class="MsoNormal" style="text-align: justify;">The informal, the improvised, the ephemeral are made into new plastic values translating the energies of urban life, the heterogeneous world of modern civilization unified in the commodity form of its material products and social exchanges, and similarly equalized in the “democratic” vision of the camera, a vision more and more unconcerned with distinctions of taste, propriety, traditional aesthetics values, and other similar distinctions. In this respect we can say that, like money, the photograph is, in some important ways, the great “cynic and leveler” (Marx) destroying traditional ways of seeing and their associated social-cultural concepts and practices. And yet imagination is a fluid and unpredictable force, and the image a more unstable unity of meaning/ signification that can provide for, as much as it can escape from, the workings and functions of ideology. </div><br />
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<div class="MsoNormal" style="text-align: justify;">The portable camera allows for the emergence of the undetected photographer amid the flow and fluxes of everyday life. We witness the birth of a kind of “subject-less” art, an art of “pure objectivity” both in the sense of the “hidden” or perhaps, in fact, the disappearing subject behind the camera, and the kind of bafflement we may experiment in identifying the theme, content, meaning or subject of photographs, the exact reason for an image to appear or be recorded in this rather than that other possible form or moment. “ What exactly was Martin’s subject? “ asks the historian of photography (2). Or, we can understand that the “incomplete”, paradoxically impermanent character of the images of Martin, and also Primoli and other “photographers of daily life”, refers to photography itself as an <i><b>open form</b></i>, to its new kind of autonomy, the autonomous life of the image reflecting the autonomy of the modern subject, unless this latter can be understood more specifically as an <i>effect</i> of photography itself.</div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><b>Marcelo Guimarães Lima </b></div><div class="MsoNormal"><br />
</div><div class="MsoListParagraphCxSpFirst" style="text-indent: -18pt;">1)<span style="font-family: 'Times New Roman'; font-size: 7pt; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span>Jeffrey, I., Photography: a concise history, London 2010 (originally published in 1981)</div><div class="MsoListParagraphCxSpLast" style="text-indent: -18pt;">2)<span style="font-family: 'Times New Roman'; font-size: 7pt; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span>Jeffrey, I., op cit, page 109</div><div class="MsoListParagraphCxSpLast" style="text-indent: -18pt;"><br />
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</div><div class="MsoListParagraphCxSpLast" style="text-indent: -18pt;"><a href="http://www.vam.ac.uk/vastatic/microsites/photography/photographerframe.php?photographerid=ph039" target="_blank">Paul Martin at V&A</a><br />
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</style> </div><div class="MsoNormal" style="text-align: center;"><b><span style="font-size: x-small;">MARTIN, Paul, « Couple on Yarmouth Sands », 1894</span></b></div><div class="MsoNormal"><br />
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</div><div class="MsoNormal" style="text-align: center;"> <b><span style="font-size: x-small;"><span style="font-family: Cambria;">Paul Martin, Street Accident in London (1895)</span> </span></b><br />
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<b><span style="font-size: x-small;">Giuseppe Primoli </span></b><br />
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<b style="font-size: small;"> </b><b><span style="font-size: x-small;">Giuseppe Primoli</span></b><br />
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</style> <span style="font-size: x-small;"><b><span style="font-family: Cambria;">Annie Oakley in Rome with Buffalo Bill’s Wild West Show in 1890</span> </b><b><br />
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</b></div><div style="text-align: center;"><b style="font-family: Cambria; font-size: small;"> </b><span style="font-family: Cambria;"><span style="font-size: x-small;"><b>Giuseppe Primoli, Three Figures, n/d</b></span></span></div><div style="text-align: center;"><b style="font-family: Cambria; font-size: small;"><br />
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<b style="font-family: Cambria; font-size: small;">Giuseppe Primoli, portrait of Eleonora Duse, Venice , 1894</b><br />
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</b></div><div class="MsoListParagraphCxSpLast" style="text-indent: -18pt;"></div></div>Marcelo Guimaraes Lima. PhDhttp://www.blogger.com/profile/09217135318679862737noreply@blogger.com0tag:blogger.com,1999:blog-6866994485909949349.post-7289000721681087892012-04-01T14:41:00.002+04:002012-04-01T14:52:19.185+04:00James Craig Annan (1864-1946)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqripKE32OMm0XH6Nx33veNfkytF1Q6WIDKzso1anii82EO3PaCeXQczCOe_9FTTPuO6vGKqlV603B4NIvRWp09GzZWaORTchEX-vvgtd9MXumzT0u8y_DQf2UCPdgupVMQ9ZdHuj5STk2/s1600/CameraWork_08_06.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="296" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqripKE32OMm0XH6Nx33veNfkytF1Q6WIDKzso1anii82EO3PaCeXQczCOe_9FTTPuO6vGKqlV603B4NIvRWp09GzZWaORTchEX-vvgtd9MXumzT0u8y_DQf2UCPdgupVMQ9ZdHuj5STk2/s400/CameraWork_08_06.jpg" width="400" /></a></div><div style="text-align: center;"><br />
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</style> </div><div class="MsoNormal" style="text-align: center;"><b><span style="font-size: x-small;">James Craig Annan, 1864-1946</span></b></div><div class="MsoNormal" style="text-align: center;"><b><span style="font-size: x-small;"> Gitana - Granada | Camera Work | 19.5 x 13.7 cm | 1914</span></b></div> <b><span style="font-size: x-small;"><br />
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</style> </div><div style="text-align: justify;"></div><div class="MsoNormal" style="text-align: justify;"><i>JAMES CRAIG ANNAN was a master photogravure printer and a leading pictorialist photographer around the turn of the twentieth century. He produced most of his own work as well as that of others in the photogravure process, which he learned from its inventor, Karl Klíc.</i></div><br />
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<div class="MsoNormal" style="text-align: justify;"><i>Annan was the son of photographer Thomas Annan, known for his early documentation of the slums of Glasgow. He joined his father's business at a young age and began assisting in studio portraiture and photographic reproductions of artwork. In 1883, he and his father traveled to Vienna to study with Klíc, T. & R. Annan and Sons of Glasgow soon became Britain's foremost gravure printing establishments.</i></div><br />
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<div class="MsoNormal" style="text-align: justify;"><i>Annan became popular as a professional portrait photographer but also produced personal work, primarily portraits and genre scenes. In 1894 he was elected to The Linked Ring, England's most prestigious group of creative photographers. A few years later he published a limited-edition portfolio of his work, Venice and Lombardy: A Series of Original Photogravues. He exhibited widely, at such venues as the London salon, the 1901 Glasgow international Exhibition, Alfred Stieglitz's Photo-Secession Galleries, the Paris salon and the 1910 International Exhibition of Pictorial Photography at the Albright Art Gallery in Buffalo. In 1900, Annan was given a one-person retrospective at the Royal Photographic Society, which subsequently awarded him an honorary fellowship, its highest membership level. (<a href="http://www.photogravure.com/history/keyfigures_annan.html" target="_blank">read more</a>)</i></div><br />
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<div style="text-align: justify;"></div><div style="text-align: left;"></div><div class="MsoNormal"><span style="font-size: x-small;"><b>source: <a href="http://www.photogravure.com/history/keyfigures_annan.html" target="_blank">The Art of Photogravure</a></b></span><br />
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</div>Marcelo Guimaraes Lima. PhDhttp://www.blogger.com/profile/09217135318679862737noreply@blogger.com0tag:blogger.com,1999:blog-6866994485909949349.post-39988454218575957292012-03-29T14:01:00.001+04:002012-03-29T14:02:25.499+04:00Hugo Erfurth (1874-1948)<div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBPjN4PLn0qMxREyq1RC9nFEx0ss630ZM3WI5c9uokGRiC7S4unvW3cDapCWHj4M5LyqWXKHk-r9wIzm7C_JFBKRic8dESH5cgB4rK8BSCsiOGQVWJPOv6palTxc8jwaLTYDAKClpqn3ND/s1600/herfurth-chagall.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBPjN4PLn0qMxREyq1RC9nFEx0ss630ZM3WI5c9uokGRiC7S4unvW3cDapCWHj4M5LyqWXKHk-r9wIzm7C_JFBKRic8dESH5cgB4rK8BSCsiOGQVWJPOv6palTxc8jwaLTYDAKClpqn3ND/s400/herfurth-chagall.jpg" width="301" /></a></div><br />
<div style="text-align: center;"><b><span style="font-size: xx-small;">Hugo Erfurth, Marc and Bella Chagall, 1923</span></b> </div><div style="text-align: center;"><br />
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<b><span style="font-size: xx-small;">Hugo Erfurth, Oskar Kokoschka, 1920</span></b></div><br />
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</div><div style="text-align: center;"><b><span style="font-size: xx-small;">Hugo Erfurth, Max Beckmann, 1928</span></b></div><div style="text-align: center;"><br />
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</div></div>Marcelo Guimaraes Lima. PhDhttp://www.blogger.com/profile/09217135318679862737noreply@blogger.com0tag:blogger.com,1999:blog-6866994485909949349.post-79634807488523439332012-03-29T13:51:00.001+04:002012-03-29T14:12:53.107+04:00Helmar Lerski (1871-1956)<div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiIs95Tc-lbjrer1_gauFZvPCaqNt3RwYpBJJJQh2I01PEyG8whwY8y1QsELiapOSjAyyv0mEJUpZZEZywofuLPejwr5FGOC2tmXChYugX_kz4pabMoR2Sn0A5vpsGzsjFhAMIPm2qMMzo/s1600/LerskiKDA1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiIs95Tc-lbjrer1_gauFZvPCaqNt3RwYpBJJJQh2I01PEyG8whwY8y1QsELiapOSjAyyv0mEJUpZZEZywofuLPejwr5FGOC2tmXChYugX_kz4pabMoR2Sn0A5vpsGzsjFhAMIPm2qMMzo/s400/LerskiKDA1.jpg" width="310" /></a></div><br />
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<div style="text-align: center;"><b>Series <i>Köpfe des Alltags</i>: 1928 - 1930, published 1931</b></div><br />
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<div style="text-align: center;">source: <a href="http://www.geh.org/fm/mismis/htmlsrc7/lerski_sld00001.html" target="_blank">George Eastman House </a></div><div style="text-align: center;"><br />
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<b><span style="font-size: x-small;">(<em>Yemenititischer Knabe</em>) “Yemenite Boy” 1933</span></b><br />
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</div></div>Marcelo Guimaraes Lima. PhDhttp://www.blogger.com/profile/09217135318679862737noreply@blogger.com0tag:blogger.com,1999:blog-6866994485909949349.post-31546680740690873802012-03-27T13:53:00.005+04:002012-03-27T14:12:27.206+04:00George Hendrik Breitner (1857-1923)<div dir="ltr" style="text-align: left;" trbidi="on"><div style="text-align: center;"><br />
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<div class="MsoNormal"><span style="font-size: x-small;">George Hendrik Breitner, Girl in Red Kimono, Geesje Kwak, 1893–95</span></div><div class="MsoNormal"><br />
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</style> </div><div class="MsoNormal" style="text-align: center;"><span style="font-size: x-small;">The Dam in Amsterdam, 1895 - 1898</span></div><div class="MsoNormal" style="text-align: center;"><span style="font-size: x-small;">pencil and brush on paper,<span style="font-family: Cambria;"> 40 × 51 cm </span></span></div><br />
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<div class="MsoNormal" style="text-align: center;"><span style="font-size: x-small;">George Hendrik Breitner, "View of construction site in Amsterdam?" (n.d.), </span></div><div class="MsoNormal" style="text-align: center;"><span style="font-size: x-small;">modern scan from original negative. Collection RKD, The Hague</span></div><br />
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Afbraak hoek Wijde Steeg, Amsterdam, ca.1908-10, oil on canvas.</span></span> </div><br />
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<div class="MsoNormal" style="text-align: center;"><span style="font-size: x-small;"> "View of Schiedamsedijk and the corner with Leuvebrugsteeg" (circa 1906), <br />
gelatin silver print. Collection RKD, The Hague</span></div><div class="MsoNormal" style="text-align: center;"><br />
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modern scan from original negative. Collection RKD, The Hague</span></div><div class="MsoNormal"><br />
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<b><span style="font-size: x-small;">link:</span></b><br />
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<b><span style="font-size: x-small;"><a href="http://hyperallergic.com/48825/second-sight-the-photographs-of-george-hendrik-breitner/">Second-sight: The Photographs of George Hendrik Breitner</a></span></b><br />
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<span style="font-size: x-small;"> <style>
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<span style="font-size: x-small;"></span><span style="font-size: x-small;"><a href="http://www.blogger.com/goog_1168619879"><br />
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</div></div>Marcelo Guimaraes Lima. PhDhttp://www.blogger.com/profile/09217135318679862737noreply@blogger.com0tag:blogger.com,1999:blog-6866994485909949349.post-86262512888123342322012-03-19T17:00:00.003+04:002012-09-08T04:43:55.857+04:00An amateur art: the photographs of Emile Zola<div style="text-align: center;">
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<span style="color: black; font-family: Verdana; font-size: x-small;">EMILE ZOLA. A Restaurant, Taken from the First Floor <br />
or Staircase of the Eiffel Tower, Paris, 1900.</span><br />
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<span lang="EN"><b>Emile Zola</b> (1840-1902) learned the rudiments of photography in 1888 from Victor Billaud, a newspaper editor in Royan during a vacation period at the sea side locality, in the Atlantic coast of France. After the completion of his cycle of novels titled <i>The Rougon-Macquart</i> in 1894, Zola dedicated himself fully to photography as a devoted amateur with a quasi-professional zeal and knowledge of photographic technique. He developed his own negatives and made enlargements as well as duly recorded experiments with materials and methods. His photographs document the artist’s private environment, his travels, family life, friends and his interest in all things modern as a witness to a changing world and to the developments of modern culture and of modern life. </span></div>
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<span lang="EN">Photography is not a central subject in his literary works, and yet his late dedication to photography can be seen as an integral part of the artistic vision and sensibility of the great master of French literature in the early developments of modernity. Zola, the acute observer of the world and of human condition, the master of literary <b><i>description</i></b> (a central element to his literary style and method) was also an original, confident and committed photographer who produced around seven thousand plates (of which only a few hundred have survived): images of the man and the artist, at the same time reflecting and being reflected by the times.</span></div>
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<span lang="EN">Marcelo Guimaraes Lima </span></div>
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Marcelo Guimaraes Lima. PhDhttp://www.blogger.com/profile/09217135318679862737noreply@blogger.com0tag:blogger.com,1999:blog-6866994485909949349.post-5398879942925529282012-03-18T14:14:00.002+04:002012-03-18T14:34:04.087+04:00Alfred Stieglitz (1864-1946) : modernity and the city<div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOY8oXh8IjJBls1qWplR1LQlyBouRTQUnsLJe5M49bzSRdHme8SsmasjlqSPBmYsjImYz2SfcCPn3RY6hm1VJrXK5geXX2ic4KzI2X3xdiayNQsbky_1sP374k3dMOzdbx3qH3RY5NLGfs/s1600/stieglitzwinter.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOY8oXh8IjJBls1qWplR1LQlyBouRTQUnsLJe5M49bzSRdHme8SsmasjlqSPBmYsjImYz2SfcCPn3RY6hm1VJrXK5geXX2ic4KzI2X3xdiayNQsbky_1sP374k3dMOzdbx3qH3RY5NLGfs/s320/stieglitzwinter.jpg" width="265" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOY8oXh8IjJBls1qWplR1LQlyBouRTQUnsLJe5M49bzSRdHme8SsmasjlqSPBmYsjImYz2SfcCPn3RY6hm1VJrXK5geXX2ic4KzI2X3xdiayNQsbky_1sP374k3dMOzdbx3qH3RY5NLGfs/s1600/stieglitzwinter.jpg" style="margin-left: 1em; margin-right: 1em;"></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><b>Winter - Fifth Avenue, 1893 <br />
carbon print (?) <br />
39.9 x 32.4 cm. </b></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOY8oXh8IjJBls1qWplR1LQlyBouRTQUnsLJe5M49bzSRdHme8SsmasjlqSPBmYsjImYz2SfcCPn3RY6hm1VJrXK5geXX2ic4KzI2X3xdiayNQsbky_1sP374k3dMOzdbx3qH3RY5NLGfs/s1600/stieglitzwinter.jpg" style="margin-left: 1em; margin-right: 1em;"><br />
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<div style="text-align: center;"> <b><span style="font-size: x-small;"><i>The Terminal/New York</i>, by Alfred Stieglitz, 1902</span></b></div><br />
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<div style="text-align: center;"><b><span style="font-size: x-small;"><i>Reflections—Night, New York</i>, by Alfred Stieglitz, circa 1896</span></b> </div><br />
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<b>From My Window at the Shelton, North, 1931</b></span></div><div style="text-align: center;"><span style="font-size: x-small;"><br />
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<span style="font-size: x-small;">Links:</span><br />
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<span style="font-size: x-small;"><a href="http://www.metmuseum.org/collections/search-the-collections?who=Alfred+Stieglitz&ft=*&ao=on&noqs=true" target="_blank">Alfred Stieglitz at the Metropolitan Museum</a></span><br />
<span style="font-size: x-small;"><a href="http://www.geh.org/fm/stieglitz/htmlsrc/stieglitz_sld00001.html" target="_blank">Alfred Stieglitz at George Eastman House</a> </span><br />
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</span></div>Marcelo Guimaraes Lima. PhDhttp://www.blogger.com/profile/09217135318679862737noreply@blogger.com0tag:blogger.com,1999:blog-6866994485909949349.post-28984855229884683642012-03-13T13:59:00.004+04:002012-03-13T14:23:31.928+04:00Robert Demachy (1859–1936)<div style="text-align: center;"><style>
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSLGcApMyXaGQNbbCxSouEzG5XwzD9ypjNR6zsQwHBHkcnRHcYBd5Rq952IxP_8DXOg5Uo5Qh3rrRgAQxUVVufrtxyiimiG70bCxAWx6bMkBS_Ms2NXutJ89Ckv5NbZ9GP3Jame15rNZLV/s1600/Demachy-Brittany.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="261" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSLGcApMyXaGQNbbCxSouEzG5XwzD9ypjNR6zsQwHBHkcnRHcYBd5Rq952IxP_8DXOg5Uo5Qh3rrRgAQxUVVufrtxyiimiG70bCxAWx6bMkBS_Ms2NXutJ89Ckv5NbZ9GP3Jame15rNZLV/s400/Demachy-Brittany.jpg" width="400" /></a></div><div class="MsoNormal"> </div><div class="MsoNormal" style="text-align: center;"> <b><span style="font-size: x-small;">Robert Demachy</span></b></div><div class="MsoNormal" style="text-align: center;"><b><span style="font-size: x-small;">"In Brittany", 1904</span></b></div><div class="MsoNormal" style="text-align: center;"><b><span style="font-size: x-small;">From: Camera Work, No 5 1904</span></b></div><div class="MsoNormal"><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1RBFvS739WxUbuKienLe56zK8He8L4ZpxZTwoAOuOQTNBg39UY8RNVITh9ShQ69PSDLmO5AK7-50oLyfOL6FzycxW0ifjQZJzsc1xHl8Qk0kakMQQ87-YlmqVUDie6ifxscpGtvc-2Ykr/s1600/Demachy-Toucques_Valley.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="302" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1RBFvS739WxUbuKienLe56zK8He8L4ZpxZTwoAOuOQTNBg39UY8RNVITh9ShQ69PSDLmO5AK7-50oLyfOL6FzycxW0ifjQZJzsc1xHl8Qk0kakMQQ87-YlmqVUDie6ifxscpGtvc-2Ykr/s400/Demachy-Toucques_Valley.jpg" width="400" /></a></div><br />
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</style> </div><div class="MsoNormal" style="text-align: center;"><b><span style="font-size: x-small;">Robert Demachy </span></b></div><div class="MsoNormal" style="text-align: center;"><b><span style="font-size: x-small;">"Toucques Valley", 1906</span></b></div><div class="MsoNormal" style="text-align: center;"><b><span style="font-size: x-small;">from: Camera Work. No 16 1906</span></b><br />
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<div class="MsoNormal" style="text-align: center;"><b><span style="font-size: x-small;">Robert Demachy </span></b></div><span style="font-size: x-small;"><b>Dancer, c. 1909</b></span></div></div><div class="MsoNormal"><br />
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</div><div class="MsoNormal" style="text-align: center;"><b><span style="font-size: x-small;">Robert Demachy </span></b></div><div style="text-align: center;"><span style="font-size: x-small;"><b>Academie, 1900</b></span></div><div style="text-align: center;"><br />
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</div><div style="text-align: center;"><span style="font-size: x-small;"><b> </b></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6OYUv0EcJxvZr_df2ob_MkWLuP-iIEcpFmSevdXLPE4cZ_wxaRb0FOxesRnyYu1P7xX0RKTw29NGWDMSDaJa6QnguoviggF5qxPJv50jddTBwahaY_L8lJpod7d55goDX6fBR04YWX0OW/s1600/demachy_struggle1904.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6OYUv0EcJxvZr_df2ob_MkWLuP-iIEcpFmSevdXLPE4cZ_wxaRb0FOxesRnyYu1P7xX0RKTw29NGWDMSDaJa6QnguoviggF5qxPJv50jddTBwahaY_L8lJpod7d55goDX6fBR04YWX0OW/s400/demachy_struggle1904.jpg" width="252" /></a></div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><span style="font-size: x-small;"><b> </b></span></div><div class="MsoNormal" style="text-align: center;"><b><span style="font-size: x-small;">Robert Demachy </span></b></div><div style="text-align: center;"><span style="font-size: x-small;"><b>Struggle, 1904</b></span></div><div style="text-align: center;"><br />
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</div></div>Marcelo Guimaraes Lima. PhDhttp://www.blogger.com/profile/09217135318679862737noreply@blogger.com0tag:blogger.com,1999:blog-6866994485909949349.post-20443315345685873442012-03-13T13:48:00.001+04:002012-03-13T13:49:38.725+04:00Clarence Hudson White (1871 – 1925)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGuKqbdwjJOkHX9SiRy6bIyEUIPzhm9h3v754ghSUq1iU_sd7TBeX57uhswuqU9PiN3z090geJi-3Q4KfUiA0C8APlgQ3J3dLHhSdDwd3Z_WS2f2KUbZwieTsrmoj0lj2zV-Trz53mC2yK/s1600/Clarence_H_White-Raindrops.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiX52d9JutR1IQK89JZdjIeFbShEf7pn0uMeYMkVx6OqN7TJiZRIrWMEbVqxHoq0RqC5j-3xaHw_pFtl6znBI1wOs_rrUKhbNVtDdsiv5gEOYplKysIwMxezOOOywL0CRLEWhfhoYnBEadV/s1600/Clarence_H._White,_Ring_Toss.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiX52d9JutR1IQK89JZdjIeFbShEf7pn0uMeYMkVx6OqN7TJiZRIrWMEbVqxHoq0RqC5j-3xaHw_pFtl6znBI1wOs_rrUKhbNVtDdsiv5gEOYplKysIwMxezOOOywL0CRLEWhfhoYnBEadV/s320/Clarence_H._White,_Ring_Toss.jpg" width="233" /></a></div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><span style="font-size: x-small;"><b><span style="font-family: Cambria;">Clarence H. White</span></b></span><span style="font-size: x-small;"><b><i> </i></b></span></div><div style="text-align: center;"><span style="font-size: x-small;"><b><i>The Ring Toss</i>, 1899</b></span></div><br />
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</div><div style="text-align: center;"><span style="font-size: x-small;"><b><span style="font-family: Cambria;">Clarence H. White</span></b></span></div><div style="text-align: center;"><span style="font-size: x-small;"><b>Drops of Rain, 1903</b></span></div><div style="text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja8D9BF-MurUryw2mAhatpsQECIGWoXeBlZ10wWn4ZEAZQ9wJQ8yL2NzgRfDixTTr0Dk4XKvPWAaEhTcqiuls9UHn1-4cQqSBmYAPH_xnuwz0cv47vOM66jZdtJHuIPVivTgiUKCsC20TI/s1600/Clarence_H_White-Boy_with_Wagon.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja8D9BF-MurUryw2mAhatpsQECIGWoXeBlZ10wWn4ZEAZQ9wJQ8yL2NzgRfDixTTr0Dk4XKvPWAaEhTcqiuls9UHn1-4cQqSBmYAPH_xnuwz0cv47vOM66jZdtJHuIPVivTgiUKCsC20TI/s320/Clarence_H_White-Boy_with_Wagon.jpg" width="250" /></a></div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><span style="font-size: x-small;"><b><span style="font-family: Cambria;">Clarence H. White,</span></b></span></div><div style="text-align: center;"></div><div class="MsoNormal" style="text-align: center;"><span style="font-size: x-small;"><b>Boy with Wagon, 1898</b></span></div><div class="MsoNormal" style="text-align: center;"><span style="font-size: x-small;"><b>from: Camera Work, No 23, 1908</b></span><br />
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</div><span style="font-size: x-small;"><b><span style="font-family: Cambria;"> </span></b></span>Marcelo Guimaraes Lima. PhDhttp://www.blogger.com/profile/09217135318679862737noreply@blogger.com0tag:blogger.com,1999:blog-6866994485909949349.post-10457065837191957322012-03-11T11:33:00.001+04:002012-03-11T12:17:57.107+04:00Alfred Stieglitz: The Eloquent Eye (1999)<div style="text-align: center;"><br />
<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/8YhwYgdtphE" width="420"></iframe></div><br />
<div style="text-align: center;"><span style="font-size: x-small;"><b>Alfred Stieglitz: The Eloquent Eye (1999) A PBS documentary</b></span><br />
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</div><div style="text-align: left;"><span style="font-size: x-small;"><b>link: </b></span></div><div style="text-align: left;"><span style="font-size: x-small;"><b></b></span></div><div style="text-align: left;"><span style="font-size: x-small;"><b> </b></span><style>
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</style> </div><div class="MsoNormal"><a href="http://www.metmuseum.org/toah/hd/stgp/hd_stgp.htm" target="_blank"><b><span style="font-size: x-small;">Alfred Stieglitz (1864–1946) and American Photography</span></b></a></div><div class="MsoNormal"><br />
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</div>Marcelo Guimaraes Lima. PhDhttp://www.blogger.com/profile/09217135318679862737noreply@blogger.com0tag:blogger.com,1999:blog-6866994485909949349.post-59531483199274341122012-03-11T11:18:00.003+04:002012-03-13T16:19:26.978+04:00The Photo Secession<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqjgfk9hm2_N3Mbn8VQFeJiN4vzufkzFQCvd_aGvJUByL1okVZh6g7yqffPjdhDzBQDe4pa6aFOEL3EZEHSF1dxjznk5ZhUfWqXVAltXxkSZrxyUug1O_bUobzBOmLeLzSLRUzbeYbqR4B/s1600/Photo_Secession_poster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqjgfk9hm2_N3Mbn8VQFeJiN4vzufkzFQCvd_aGvJUByL1okVZh6g7yqffPjdhDzBQDe4pa6aFOEL3EZEHSF1dxjznk5ZhUfWqXVAltXxkSZrxyUug1O_bUobzBOmLeLzSLRUzbeYbqR4B/s400/Photo_Secession_poster.jpg" width="266" /></a></div><br />
<div class="MsoNormal" style="text-align: center;"><b><span style="font-size: x-small;">Advertisement for the Photo-Secession <br />
and the Little Galleries of the Photo-Secession, </span></b></div><div class="MsoNormal" style="text-align: center;"><b><span style="font-size: x-small;">designed by Edward Steichen. <br />
Published in Camera Work no. 13, 1906</span></b></div><div class="MsoNormal" style="text-align: center;"><br />
</div><div class="MsoNormal" style="text-align: left;"><div class="MsoNormal">The following notice appeared in Camera Work, no. 3, Supplement, July 1903</div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><b>The Photo-Secession</b></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"> "So many are the enquiries as to the nature and aims of the Photo- Secession and requirements of eligibility to membership therein, that we deem it expedient to give a brief résumé of the character of this body of photographers.</div><div class="MsoNormal"> The object of the Photo-Secession is: to advance photography as applied to pictorial expression; to draw together those Americans practicing or otherwise interested in the art, and to hold from time to time, at varying places, exhibitions not necessarily limited to the productions of the Photo-Secession or to American work.</div><div class="MsoNormal"> It consists of a Council (all of whom are Fellows); Fellows chosen by the Council for meritorious photographic work or labors in behalf of pictorial photography, and Associates eligible by reason of interest in, and sympathy with, the aims of the Secession.</div><div class="MsoNormal"> In order to give Fellowship the value of an honor, the photographic work of a possible candidate must be individual and distinctive, and it goes without saying that the applicant must be in thorough sympathy with our aims and principles.</div><div class="MsoNormal"> To Associateship are attached no requirements except sincere sympathy with the aims and motives of the Secession. Yet, it must not be supposed that these qualifications will be assumed as a matter of course, as it has been found necessary to deny the application of many whose lukewarm interest in the cause with which we are so thoroughly identified gave no promise of aiding the Secession. It may be of general interest to know that quite a few, perhaps entitled by their photographic work to Fellowship, have applied in vain. Their rejection being based solely upon their avowed or notoriously active opposition or equally harmful apathy. Many whose sincerity could not be questioned were refused Fellowship because the work submitted was not equal to the required standard. Those desiring further information must address the Director of the Photo-Secession, Mr. Alfred Stieglitz, 1111 Madison Avenue, New York."</div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-size: x-small;"><b>source: <a href="http://en.wikipedia.org/wiki/Photo-Secession" target="_blank">http://en.wikipedia.org/wiki/Photo-Secession </a></b></span></div><div class="MsoNormal"><br />
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</style> </div>Marcelo Guimaraes Lima. PhDhttp://www.blogger.com/profile/09217135318679862737noreply@blogger.com0tag:blogger.com,1999:blog-6866994485909949349.post-24636920842613188042012-03-11T10:15:00.001+04:002012-03-11T11:00:26.578+04:00The Linked Ring<style>
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHFg3iiiPZ0acKO7k2hqmdNShjdrzaJldHhKKIHXCo-cpUdIMnhFJRbR9vLqaE-tVha1sS0Z9s3hLGVzb3qSaBN9_W2KdJHxtINbSQVcQr7mjnNcnIIYzSodOf0WfnVh65cLzEoLziWnaH/s1600/Salon-1902.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHFg3iiiPZ0acKO7k2hqmdNShjdrzaJldHhKKIHXCo-cpUdIMnhFJRbR9vLqaE-tVha1sS0Z9s3hLGVzb3qSaBN9_W2KdJHxtINbSQVcQr7mjnNcnIIYzSodOf0WfnVh65cLzEoLziWnaH/s320/Salon-1902.jpg" width="320" /></a></div><div class="MsoNormal" style="text-align: center;"><b><span style="font-size: x-small;"> The Photographic Salon exhibition of 1902 (source: Leggat pdf)<br />
The Salon was created in 1893 by members of the Linked Ring.</span></b></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><i>"Many artists regard the hanging of their work at the Royal Academy almost as an accolade. So too with photographers. In the 1880s, the exhibitions mounted by the Photographic Society were regarded as the premier event. However, several of its members were becoming increasingly dissatisfied with the Society's emphasis on scientific as opposed to aesthetic matters. As time went on differences between the photographic scientists and photographic artists became greater and more acrimonious, and Henry Peach Robinson was becoming increasingly frustrated by the failure of the Photographic Society to recognize that there was an artistic dimension as well as a scientific one to photography. The Photographic News for 19 August 1892 pinpointed the problem: "If photography is ever to take up its proper position as an art it must detach itself from science and live a separate existence." </i></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><i> Commenting upon the proceedings of the Photographic Society, Robinson wrote "For years art has scarcely been mentioned... The feeling that art had nothing to do with the Society became so pronounced two or three years ago that one of the officials expressed his opinion that papers on art may be tolerated if they could be got and there was nothing better to be had...." The circumstances which led to the final breakup between Robinson and the Photographic Society were relatively trivial, but they were the last straw, and led to the resignation of Robinson and George Davidson from the Society. At that time Robinson was a much respected Vice-President of the Society, and had been a member for many years, and his resignation was followed by that of several other distinguished photographers of the time. <br />
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<div class="MsoNormal" style="text-align: justify;"><i>In May 1892, a few months after the disastrous Council meeting which had culminated in these resignations, Robinson founded the Linked Ring, a brotherhood consisting of a group of photographers based in London, pledged to enhance photography as a fine art. Famous members of this brotherhood (which was by invitation only - one could not apply for it) included Frank Sutcliffe, Frederick Evans, Paul Martin, and Alfred Stieglitz. <br />
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Though the formation of this group was, as their publicity indicated, "a means of bringing together those who are interested in the development of the highest form of Art of which Photography is capable", it is also very likely that serious photographers were now trying to distance themselves from the growth of photography for all, brought about by the introduction of simple cameras. The idea that anyone could press a button and take a photograph caused the more dedicated to look for new techniques which the "snap photographers" would never aspire to. </i></div><br />
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</div><div class="MsoNormal"> from A History of Photography from its beginnings till the 1920s by Dr. Robert Leggat</div><div class="MsoNormal">(pdf available at: <a href="http://lnx.phototeka.it/documenti/Cenni_storici_fotografia.pdf">http://lnx.phototeka.it/documenti/Cenni_storici_fotografia.pdf</a></div><div class="MsoNormal"><br />
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</div>Marcelo Guimaraes Lima. PhDhttp://www.blogger.com/profile/09217135318679862737noreply@blogger.com0tag:blogger.com,1999:blog-6866994485909949349.post-86707062719948015632012-02-26T12:17:00.007+04:002012-03-01T16:21:51.155+04:00Herbert George Ponting (1870–1935)<div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrHF_SLiUMO_1Zs2aBVxb5L6BCiYex5JF9ZW7ZSoyOo-c1gFuVRWrKij26_SJMIlqOXCpk9LfV8qvRzkp-ULPDOgnQltdZM41Y-flJxju_XVO_MXoFWPhExam3oKtPj7tVxyHiVEvYN8wj/s1600/youngladiesbypondlotusland.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="291" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrHF_SLiUMO_1Zs2aBVxb5L6BCiYex5JF9ZW7ZSoyOo-c1gFuVRWrKij26_SJMIlqOXCpk9LfV8qvRzkp-ULPDOgnQltdZM41Y-flJxju_XVO_MXoFWPhExam3oKtPj7tVxyHiVEvYN8wj/s400/youngladiesbypondlotusland.jpg" width="400" /> </a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><b>Young ladies by a pond, Japan (1907) </b></span></div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHvDoobIJ_d4dxcFW5zXybxa8q2UvV8LfNg5lO8dR25lWrbLP-_VBMc6ykDdTYS_GhCLjYFf8_d682lN4g_EUrqIjhV7hNhBSuMYHRFzdpTjAgznt_Rcx-FNIp3a_VKoLWuhN3V9gE-_uu/s1600/Herbert-Ponting.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHvDoobIJ_d4dxcFW5zXybxa8q2UvV8LfNg5lO8dR25lWrbLP-_VBMc6ykDdTYS_GhCLjYFf8_d682lN4g_EUrqIjhV7hNhBSuMYHRFzdpTjAgznt_Rcx-FNIp3a_VKoLWuhN3V9gE-_uu/s400/Herbert-Ponting.jpg" width="272" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div style="text-align: center;"> <span style="font-size: x-small;"><b>from the book In Lotus Land (1910)<br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHtzPviDgaCSachT_ZquY0_eOEv5_sDqf0XPg4AKOSdrkZj4eaJpO-PfuPdUg-IxuwsVhen-a5NAOPHOnrkyfv8_B4kyL6nXLga36m27DpJGywYzkBABGPT70jvVfPZRJsvxZTOVEw4V8w/s1600/inlotuslandW.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="295" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHtzPviDgaCSachT_ZquY0_eOEv5_sDqf0XPg4AKOSdrkZj4eaJpO-PfuPdUg-IxuwsVhen-a5NAOPHOnrkyfv8_B4kyL6nXLga36m27DpJGywYzkBABGPT70jvVfPZRJsvxZTOVEw4V8w/s400/inlotuslandW.jpg" width="400" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBTP44cf0kWTsuT0YAeY8pmJEwa8n0dqIjEK7bl6UVIjbkhI1zNDQiE_v4Uua7YKxgXZv-kxkg3Nzq8CfcmV496dnsODV5KNViAMi8DIcF1oSXJWIy4uIz_Dgc70BRZytYS802IWuxeqNp/s1600/greatwhitesouthW.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZrBj0JIIgHc9JyrbfecJczC3chkJX2H2JQVcO2q4KuG9zf8ov70oG3alflmi5Z_85XVOpkqj3JsnWW6748Yy8g145Gesuy3yVPN8it8qOFsYSJjKXKCIon06QBXWCaqEidUer-OrxEQDq/s1600/greetingsintemplegroundW.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZrBj0JIIgHc9JyrbfecJczC3chkJX2H2JQVcO2q4KuG9zf8ov70oG3alflmi5Z_85XVOpkqj3JsnWW6748Yy8g145Gesuy3yVPN8it8qOFsYSJjKXKCIon06QBXWCaqEidUer-OrxEQDq/s400/greetingsintemplegroundW.jpg" width="400" /></a></div><br />
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</div><div style="text-align: center;"><b><span style="font-size: x-small;"><span class="x-archive-meta-title">In lotus-land Japan</span> (1910)</span><br />
<span style="font-size: x-small;"> <a href="http://www.archive.org/details/inlotuslandjapan00pontrich">http://www.archive.org/details/inlotuslandjapan00pontrich</a></span></b><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCwlhbYhmokq8KUmgBncgqTMvnjAnkiOFJjfqpoM-nPskZRJyDa3hRNDOBIQRbJ2ncEiL3_l6DG2DpXLjk9IeVDYeLgmEabplBVDs958ZY5NMb3zFENh25wBldQstfEen0s1Jm5WUgY7oq/s1600/ogawa_ponting_1a.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="258" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCwlhbYhmokq8KUmgBncgqTMvnjAnkiOFJjfqpoM-nPskZRJyDa3hRNDOBIQRbJ2ncEiL3_l6DG2DpXLjk9IeVDYeLgmEabplBVDs958ZY5NMb3zFENh25wBldQstfEen0s1Jm5WUgY7oq/s400/ogawa_ponting_1a.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN-O9PtQJ1FfrZjU7uI8R4PBko4Ys7iLGWutZIGyFX8HO-sVNzu_GmPMsB3Bqk8-ZCmwZAcj4zwPVQs3UBZBtg2exzkOcVFNeNLHD8RWzXhRO92vc72_Cumvl9xyaQAbLilxet9vLM3wmy/s1600/S0010741.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"></a></div><div class="separator" style="clear: both; text-align: center;"><style>
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Herbert Ponting Mount Fuji </span></b></div><div class="MsoNormal" style="text-align: center;"><span style="font-size: x-small;"><br />
This photograph is the opening image of<b> Ponting’s ‘Japanese Studies’ <br />
collotyped by K. Ogawa F.R.P.S. in Tokyo in 1906. </b><br />
It is accompanied by a quote from a Wordsworth poem: <br />
‘A distant mountain’s head, Strewn with snow smooth as the <br />
sky can shed, Shines like another sun.’</span><br />
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</div><div style="text-align: center;"><a href="http://www.baxleystamps.com/litho/ogawa/fujisan_1905.shtml" target="_blank">FUJI SAN photographed by Herbert G. Pontingpublished by K. Ogawa, 1905</a></div><div style="text-align: center;"><br />
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<span style="font-size: x-small;"><b>The Great wall of China (1907)</b></span><br />
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</style> </div><div class="MsoNormal" style="text-align: justify;"><i>Ponting expanded his photographs of Japan into a 1910 book, In Lotus-land Japan. He was elected a Fellow of the Royal Geographical Society (FRGS). His flair for journalism and ability to shape his photographic illustrations into a narrative led to his being signed as expedition photographer aboard the Terra Nova, the first time a professional photographer was included on an Antarctic expedition.<br />
</i></div><div class="MsoNormal" style="text-align: justify;"><i>As a member of the shore party in early 1911, Ponting helped set up the Terra Nova Expedition's Antarctic winter camp at Cape Evans, Ross Island. The camp included a tiny photographic darkroom. Although the expedition came more than 20 years after the invention of photographic film, Ponting preferred high-quality images taken on glass plates.</i></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div style="text-align: justify;"><i><span style="font-family: Cambria; font-size: 12pt;">Ponting was one of the first men to use a portable movie camera in Antarctica. The primitive device, called a cinematograph, could take short video sequences. Ponting also brought some autochrome plates to Antarctica and took some of the first known color still photographs there</span> </i><span style="font-size: x-small;"><b><br />
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<div style="text-align: left;"><b><span style="font-size: x-small;">source: <a href="http://en.wikipedia.org/wiki/Herbert_Ponting">http://en.wikipedia.org/wiki/Herbert_Ponting</a></span></b></div><div style="text-align: center;"><br />
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</style> </div><div class="MsoNormal" style="text-align: center;"><b><span style="font-size: x-small;">Herbert Ponting photograph of icebergs from <a href="http://www.spri.cam.ac.uk/museum/diaries/scottslastexpedition/" target="_blank">Scott's last expedition</a> (1910)<br />
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<div class="MsoNormal"><b><span style="font-size: x-small;">Ponting, Herbert George, </span></b><a href="http://collections.vam.ac.uk/item/O62889/photograph-scotts-last-expedition-the-castle/" target="_blank"><b><span style="font-size: x-small;">Scott's last expedition. The Castle Berg, 1910</span></b></a></div><br />
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</div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><b>Herbert George Ponting,</b></span><span style="font-size: x-small;"><b> Mt Erebus, Antarctica, 1911<br />
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<dd class="synz-field-ps-caption"><span style="font-size: x-small;"><b> Camp near Erebus, by Herbert George Ponting, 1911.</b><br />
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Members of the<a href="http://en.wikipedia.org/wiki/Terra_Nova_Expedition" target="_blank"> British Antarctic (“Terra Nova”) Expedition </a><br />
unpacking provisions and getting their camp in order, in January 1911.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjC8mx6gj2adeh6kQrFt2g9GLtr8AWC3e6aGwz0fUMZatpBe5M3yadVF1eQnBHeVXxkSVGrgFDnT_A26dIMyhivz5VypD0fGCUL7xwXJ6rOZ9Us1StZWAm81_LjfZun9sRszdpoS8BthJXu/s1600/d824.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjC8mx6gj2adeh6kQrFt2g9GLtr8AWC3e6aGwz0fUMZatpBe5M3yadVF1eQnBHeVXxkSVGrgFDnT_A26dIMyhivz5VypD0fGCUL7xwXJ6rOZ9Us1StZWAm81_LjfZun9sRszdpoS8BthJXu/s400/d824.jpg" width="282" /></a></div><br />
<b><span style="font-size: x-small;">Ponting, Herbert George<br />
<b></b> The Terra Nova at the ice-foot, Cape Evans. <b></b>1911</span></b><b><span style="font-size: x-small;"> </span></b><br />
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<div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBTP44cf0kWTsuT0YAeY8pmJEwa8n0dqIjEK7bl6UVIjbkhI1zNDQiE_v4Uua7YKxgXZv-kxkg3Nzq8CfcmV496dnsODV5KNViAMi8DIcF1oSXJWIy4uIz_Dgc70BRZytYS802IWuxeqNp/s1600/greatwhitesouthW.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBTP44cf0kWTsuT0YAeY8pmJEwa8n0dqIjEK7bl6UVIjbkhI1zNDQiE_v4Uua7YKxgXZv-kxkg3Nzq8CfcmV496dnsODV5KNViAMi8DIcF1oSXJWIy4uIz_Dgc70BRZytYS802IWuxeqNp/s400/greatwhitesouthW.jpg" width="400" /></a></div><h1><span style="font-size: x-small;"><span class="x-archive-meta-title"></span><a href="http://www.archive.org/details/inlotuslandjapan00pontrich"></a></span> </h1><h1 style="text-align: center;"><span style="font-size: x-small;"><b>The great white South; being an account of experiences <br />
with Captain Scott's South pole expedition and of the nature life of the Antarctic</b></span><span style="font-size: small;"> <span style="font-size: x-small;"><br />
<a href="http://www.archive.org/details/greatwhitesouthb01pont">http://www.archive.org/details/greatwhitesouthb01pont</a></span></span></h1><h1><span style="font-size: small;"><br />
</span></h1><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlDpv50JnJ8ybnxKRvoWpC48-Tl-yZXOEZ79DUbhnajB1LZI6UzIzEa50p3NQllrSO_6EKk-0ZDp0okNPH_ClwUKU0xaskpWpTKZMhuv6OvXinkFGFc1s42EmITMSbjoRf29LL4l0Hz2-g/s1600/Robert_Falcon_Scott_by_Herbert_Ponting.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlDpv50JnJ8ybnxKRvoWpC48-Tl-yZXOEZ79DUbhnajB1LZI6UzIzEa50p3NQllrSO_6EKk-0ZDp0okNPH_ClwUKU0xaskpWpTKZMhuv6OvXinkFGFc1s42EmITMSbjoRf29LL4l0Hz2-g/s400/Robert_Falcon_Scott_by_Herbert_Ponting.jpg" width="400" /></a></div><h1 style="font-weight: normal; text-align: center;"><style>
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</style> <div class="MsoNormal"><b><span style="font-size: x-small;">Robert Falcon Scott (1868-1912). Carbon print 35.6 x 45.7 cm </span></b></div><div class="MsoNormal"><b><span style="font-size: x-small;">in <a href="http://www.blogger.com/goog_1451114502">Ponting, Herbert George The Great White South. </a></span></b></div><div class="MsoNormal"><span style="font-size: x-small;"><b><a href="http://www.archive.org/details/greatwhitesouthb01pont" target="_blank">London, United Kingdom: Duckworth and Company. </a></b></span></div><div class="MsoNormal"><span style="font-size: x-small;"><br />
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</span></div></h1><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxaxR36MnMBvC2VsplMmo6U87oafGGQYr_ORvpFVNAfo-hPTiOSF_gf2xe-SKQ6700MStq6Zb_4UPTIW-W0h0BZAnS_iuA5aYzxDbR4Ovq1-SKe0UBO15BVHsHllES_RS6uGVgfRD2n17g/s1600/Herbert_Ponting_Scott's_ship_Terra_Nova_1910.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="248" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxaxR36MnMBvC2VsplMmo6U87oafGGQYr_ORvpFVNAfo-hPTiOSF_gf2xe-SKQ6700MStq6Zb_4UPTIW-W0h0BZAnS_iuA5aYzxDbR4Ovq1-SKe0UBO15BVHsHllES_RS6uGVgfRD2n17g/s400/Herbert_Ponting_Scott's_ship_Terra_Nova_1910.jpg" width="400" /></a></div><h1 style="text-align: center;"><style>
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</style> <div class="MsoNormal"><span style="font-size: x-small;">The Terra Nova. In the pack - a lead opening up.</span></div><span style="font-size: x-small;"><span style="font-family: Cambria;">December 1910</span></span> </h1><h1><span style="font-size: small;"><br />
</span></h1><h1><span style="font-size: small;"><span style="font-size: x-small;">Links: </span></span></h1><h1><span style="font-size: small;"><span style="font-size: x-small;">Royal Geographic Societ: <a href="http://images.rgs.org/herbertponting.aspx">http://images.rgs.org/herbertponting.aspx</a><br />
Ponting Portfolio: <a href="http://www.ponting-portfolio.com/">http://www.ponting-portfolio.com/</a></span></span></h1><h1><span style="font-size: small;"><span style="font-size: x-small;">Terra Nova Expedition <a href="http://en.wikipedia.org/wiki/Terra_Nova_Expedition">http://en.wikipedia.org/wiki/Terra_Nova_Expedition</a></span></span></h1><h1><span style="font-size: small;"><span style="font-size: x-small;"><br />
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</span></h1></div>Marcelo Guimaraes Lima. PhDhttp://www.blogger.com/profile/09217135318679862737noreply@blogger.com0tag:blogger.com,1999:blog-6866994485909949349.post-6335733136852890132012-02-26T11:14:00.000+04:002012-02-26T11:14:45.240+04:00Edward S. Curtis (1868 – 1952)<div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidRknddGfIqWcX-u5LLKcgcaCP49vPB_H-X7p0RcsLP1xznPkLyipxlZNkd3_CwicLblZMUxoC62F59G39o9v29UcR74NgJvqNQdLGkFyuNE54WTVgqZ1UmD7bpHE17rHBKUrRP2xNurNU/s1600/Canyon_de_Chelly,_Navajo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidRknddGfIqWcX-u5LLKcgcaCP49vPB_H-X7p0RcsLP1xznPkLyipxlZNkd3_CwicLblZMUxoC62F59G39o9v29UcR74NgJvqNQdLGkFyuNE54WTVgqZ1UmD7bpHE17rHBKUrRP2xNurNU/s400/Canyon_de_Chelly,_Navajo.jpg" width="400" /></a></div><div style="text-align: center;"><b><span style="font-size: x-small;"><span class="description">E. S. Curtis (1904): <a class="extiw" href="http://en.wikipedia.org/wiki/Canyon_de_Chelly_National_Monument" title="en:Canyon de Chelly National Monument">Canon de Chelly</a> – Navajo. <br />
Seven riders on horseback and dog trek against background of canyon cliffs.</span></span></b></div><div style="text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgR9AgNyxfCoVsX0tmXHWzlvAgpIdYxx47nuuGahZuj8DTR983HF2O5MZuOyECV9LGl__VCoITr0awDhyNxxTHv9GZGyEWibYsmts0pjHvoxHenAD0MDy7N_3vBCAwSInf6yR6b-RqAPlBo/s1600/A_smoky_day_at_the_Sugar_Bowl--Hupa.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgR9AgNyxfCoVsX0tmXHWzlvAgpIdYxx47nuuGahZuj8DTR983HF2O5MZuOyECV9LGl__VCoITr0awDhyNxxTHv9GZGyEWibYsmts0pjHvoxHenAD0MDy7N_3vBCAwSInf6yR6b-RqAPlBo/s400/A_smoky_day_at_the_Sugar_Bowl--Hupa.jpg" width="295" /></a></div><div style="text-align: center;"><br />
</div><div style="text-align: center;"></div><div style="text-align: center;"><b><span style="font-size: x-small;"><i>A smoky day at the Sugar Bowl--<a href="http://en.wikipedia.org/wiki/Hupa" title="Hupa">Hupa</a></i>, c. 1923. <br />
Hupa man with spear, standing on rock midstream</span></b></div><div style="text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfk9JgRhvUD3rJQrXa1mRRbgXQw11wq2dfORsUG08mx4sbkzNo82tKSNDWBae6HJ_gjRLWAbdkznOC_d0ktnvhiCnHmiKnaplbtPpgYgj2PY5DZ3O_0DJxW8WFKuBf-MSYjiRaqRVufcMh/s1600/Edward_S._Curtis+Hopi+Mother.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfk9JgRhvUD3rJQrXa1mRRbgXQw11wq2dfORsUG08mx4sbkzNo82tKSNDWBae6HJ_gjRLWAbdkznOC_d0ktnvhiCnHmiKnaplbtPpgYgj2PY5DZ3O_0DJxW8WFKuBf-MSYjiRaqRVufcMh/s400/Edward_S._Curtis+Hopi+Mother.jpg" width="266" /></a></div><div style="text-align: center;"> </div><div style="text-align: center;"><b><span style="font-size: x-small;">Hopi mother, 1922.</span></b></div><div style="text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqhIhRuLmK0emjTY6JBL8Y2KTqe47PYXd2-L8T2Y77yjr8PtX8NbonZfx6IkO8q8sU2V2WOcQ8BXXmurJxNPDnuEV6V8wTSPdtAF7phxF7YJKa29aRbYSSQiQBLRmbZmoTid5J40jsdxOM/s1600/Crow_s_heart,_Mandan.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqhIhRuLmK0emjTY6JBL8Y2KTqe47PYXd2-L8T2Y77yjr8PtX8NbonZfx6IkO8q8sU2V2WOcQ8BXXmurJxNPDnuEV6V8wTSPdtAF7phxF7YJKa29aRbYSSQiQBLRmbZmoTid5J40jsdxOM/s400/Crow_s_heart,_Mandan.JPG" width="298" /></a></div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><b><span style="font-size: x-small;"> </span><span style="font-size: x-small;"><span class="description">Crow's Heart, Mandan</span></span></b></div><div style="text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgThBg8Qnx6QEMe0bYRkuTcW-ilgC0p5du3TxzcfXggmBMAb1rUFKlZ4KN5WSCk4fXi-CO0onh1WahUAVxi4NqolNlg6Ne6c_beL39FwSN1EgZHLVO-qT3HOuubvm2oOa6rtIzMyAe6GHW4/s1600/thepool-apache.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgThBg8Qnx6QEMe0bYRkuTcW-ilgC0p5du3TxzcfXggmBMAb1rUFKlZ4KN5WSCk4fXi-CO0onh1WahUAVxi4NqolNlg6Ne6c_beL39FwSN1EgZHLVO-qT3HOuubvm2oOa6rtIzMyAe6GHW4/s400/thepool-apache.jpg" width="286" /></a></div><div style="text-align: center;"></div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><span style="font-size: x-small;"><b>The Pool- Apache</b></span></div><div style="text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqFHkm_MPQHlR-19ZU25M43yyf8i7lKK2p5yKxjBYz7U9jdDmWJ-wV6u-RnPySHvhqXFgCLy61zV3nkOCnkApUVkBVDtUR9S6q5CXUIukfyiZDx89YMDo8QyQolZCPF6BfGolaKcNswSmS/s1600/ECurtis.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqFHkm_MPQHlR-19ZU25M43yyf8i7lKK2p5yKxjBYz7U9jdDmWJ-wV6u-RnPySHvhqXFgCLy61zV3nkOCnkApUVkBVDtUR9S6q5CXUIukfyiZDx89YMDo8QyQolZCPF6BfGolaKcNswSmS/s400/ECurtis.jpg" width="273" /></a></div><div style="text-align: center;"></div><br />
<div style="text-align: center;"><b><span style="font-size: x-small;"><span class="description">Self-Portrait of <a class="extiw" href="http://en.wikipedia.org/wiki/Edward_S._Curtis" title="w:Edward S. Curtis">Edward S. Curtis</a> 1868-1952.</span></span></b></div><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhio4iwdd-aL0XmkLG9-9q8gLSGX1PxzPjggWBnM1oNYBcC5RPw1hKXV2jhyy4yCTN_LS7Ucu3CrgGY1FbijOb1Xuasol1zxhyvCLDwaptnP85gmuyYSceABxhSKdJXVIL1xtb6pvxaVksh/s1600/The_North_American_Indian.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhio4iwdd-aL0XmkLG9-9q8gLSGX1PxzPjggWBnM1oNYBcC5RPw1hKXV2jhyy4yCTN_LS7Ucu3CrgGY1FbijOb1Xuasol1zxhyvCLDwaptnP85gmuyYSceABxhSKdJXVIL1xtb6pvxaVksh/s320/The_North_American_Indian.jpg" width="221" /></a></div> <br />
<div style="text-align: center;"><a href="http://www.blogger.com/goog_1654539167"><b>The North American Indian</b></a></div><div style="text-align: center;"><a href="http://www.blogger.com/goog_1654539167"></a><a href="http://ia700202.us.archive.org/6/items/thenorthamerican19449gut/19449-h/19449-h.html" target="_blank">at Project Gutenberg</a></div><div style="text-align: center;"><a href="http://www.archive.org/details/thenorthamerican19449gut" target="_blank">at Archive.org</a></div><div style="text-align: center;"><a href="http://curtis.library.northwestern.edu/" target="_blank">at Northwestern University</a></div><br />
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<div class="MsoNormal" style="text-align: justify;"><i>In 1906 J.P. Morgan offered Curtis $3,000 to produce a series on the North American Indian. It was to be in 20 volumes with 1,500 photographs. Morgan was to receive 25 sets and 500 original prints as his method of repayment. 222 complete sets were eventually published. Curtis' goal was not just to photograph, but to document, as much American Indian (Native American) traditional life as possible before that way of life disappeared. He wrote in the introduction to his first volume in 1907: "The information that is to be gathered ... respecting the mode of life of one of the great races of mankind, must be collected at once or the opportunity will be lost." Curtis made over 10,000 wax cylinder recordings of Indian language and music. He took over 40,000 photographic images from over 80 tribes. He recorded tribal lore and history, and he described traditional foods, housing, garments, recreation, ceremonies, and funeral customs. He wrote biographical sketches of tribal leaders, and his material, in most cases, is the only recorded history.</i></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span style="font-size: x-small;"><b>source: <a href="http://en.wikipedia.org/wiki/Edward_S._Curtis" target="_blank">Wikipedia</a></b></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><i> </i></div><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicue_Dfi4VAbXSVKG6mJHT0NyA44Vw-imHsDEWIwrm8omp0q6MCV1Gun4foYuTZx_18lkYSHMh6lMKxq-XPfaURfA3hJi-rmq8-1QKNJPZ8NJjg_L1W97ZXZUvlW5KjTZA_tIRMJ3bY1hL/s1600/Indian_Days_of_the_Long_Ago.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicue_Dfi4VAbXSVKG6mJHT0NyA44Vw-imHsDEWIwrm8omp0q6MCV1Gun4foYuTZx_18lkYSHMh6lMKxq-XPfaURfA3hJi-rmq8-1QKNJPZ8NJjg_L1W97ZXZUvlW5KjTZA_tIRMJ3bY1hL/s320/Indian_Days_of_the_Long_Ago.jpg" width="196" /></a></div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><a href="http://www.archive.org/details/indiandayslonga00wilsgoog" target="_blank"> <b><span style="font-size: x-small;">http://www.archive.org/details/indiandayslonga00wilsgoog</span></b></a></div><div style="text-align: center;"><br />
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</div></div>Marcelo Guimaraes Lima. PhDhttp://www.blogger.com/profile/09217135318679862737noreply@blogger.com0tag:blogger.com,1999:blog-6866994485909949349.post-85976733180025654392012-02-26T10:36:00.002+04:002012-03-11T11:01:19.710+04:00Frank Meadow Sutcliffe (1853 – 1941)<div dir="ltr" style="text-align: left;" trbidi="on"><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhNFJrf8-k3waS-VtCsXJXBh8nb0L2wT3gFqttAYBsLDAPPlMy7bEg16UQ_hLoHNaLI9aHovFp4R2Y5USxq_BTMIUQjkFd7kIH6PoQejVxcYFthw5oCp9EXBy3NQ3Z4qz9iek99VXzTJ5i/s1600/sutcliffe1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhNFJrf8-k3waS-VtCsXJXBh8nb0L2wT3gFqttAYBsLDAPPlMy7bEg16UQ_hLoHNaLI9aHovFp4R2Y5USxq_BTMIUQjkFd7kIH6PoQejVxcYFthw5oCp9EXBy3NQ3Z4qz9iek99VXzTJ5i/s400/sutcliffe1.jpg" width="400" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy49ceqKlWDdGajZs-pFmJy3AuUAhoe8yM1wsa_wVIwzS-OK38TK2ZVIrGWDv4qrIixoV2_quEv7p4bysc0G8cCaMRb8bGXdvDuXkvfVGMflXyiUJnSMB8wHh1XevEjUB96zL94AyKtWcm/s1600/sutcliffe2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy49ceqKlWDdGajZs-pFmJy3AuUAhoe8yM1wsa_wVIwzS-OK38TK2ZVIrGWDv4qrIixoV2_quEv7p4bysc0G8cCaMRb8bGXdvDuXkvfVGMflXyiUJnSMB8wHh1XevEjUB96zL94AyKtWcm/s400/sutcliffe2.jpg" width="400" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7zlzIsA-jfCp_NNQyTrQXGRQSZKfDHNfqeJ2IE1685l8i1ZuOxUERLTvlNcE4euYN5G5UXqXbNRUx12kTRlMC8S9gyhY8x0Z8QZp1quZjoxYM3tAX7Jj7mOwM9pRp6g8KZau5-s8bSDjT/s1600/sutcliffe3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7zlzIsA-jfCp_NNQyTrQXGRQSZKfDHNfqeJ2IE1685l8i1ZuOxUERLTvlNcE4euYN5G5UXqXbNRUx12kTRlMC8S9gyhY8x0Z8QZp1quZjoxYM3tAX7Jj7mOwM9pRp6g8KZau5-s8bSDjT/s400/sutcliffe3.jpg" width="400" /></a></div><br />
<div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji0-bZvz9b1Im3v-TCumdxsBpcW-uazEKcdQfGPAU1Lft2p6TKRsAsWxdfiPd7menob-F6qa_rBCQfq9AHsclXO0VUjVaagwbD4u-TMT_WPBoT7h2QvXrUtfML5mBbUr6LZKEODIkCYvTR/s1600/04-23.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji0-bZvz9b1Im3v-TCumdxsBpcW-uazEKcdQfGPAU1Lft2p6TKRsAsWxdfiPd7menob-F6qa_rBCQfq9AHsclXO0VUjVaagwbD4u-TMT_WPBoT7h2QvXrUtfML5mBbUr6LZKEODIkCYvTR/s400/04-23.jpg" width="400" /></a> </div><br />
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<div style="text-align: center;"> <b><span style="font-size: x-small;">Whitby Harbour, from the series of photographs of Whitby <br />
and surrounding areas taken </span><span style="font-size: x-small;">between 1875 and 1910.</span></b></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji0-bZvz9b1Im3v-TCumdxsBpcW-uazEKcdQfGPAU1Lft2p6TKRsAsWxdfiPd7menob-F6qa_rBCQfq9AHsclXO0VUjVaagwbD4u-TMT_WPBoT7h2QvXrUtfML5mBbUr6LZKEODIkCYvTR/s1600/04-23.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br />
</a></div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><br />
</div><div style="text-align: justify;"><style>
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</style> </div><div style="text-align: justify;"></div><div class="MsoNormal"><i><b>Francis Meadow Sutcliffe</b> (6 October 1853 – 31 May 1941) was an English pioneering photographic artist whose work presented an enduring record of life in the seaside town of Whitby, England, and surrounding areas, in the late Victorian era and early 20th century.</i></div><div></div><div style="text-align: left;"></div><div class="MsoNormal" style="text-align: justify;"></div><br />
<div style="text-align: justify;"></div><div style="text-align: left;"></div><div class="MsoNormal" style="text-align: justify;"><i>He was born in Headingley, Leeds, to the painter Thomas Sutcliffe and Sarah Lorentia Button. He made a living as a portrait photographer, working first in Tunbridge Wells, Kent then for the rest of his life in Sleights, Yorkshire. His father had brought him into contact with prominent figures in the world of art such as John Ruskin, and he resented having to prostitute his art taking photographs of holiday-makers. His business in Skinner Street rooted him to Whitby and the Eskdale valley but, by photographing the ordinary people that he knew well, he built up a most complete and revealing picture of a late Victorian town, and the people who lived and worked there.</i></div><div style="text-align: justify;"></div><div style="text-align: left;"></div><br />
<div style="text-align: justify;"></div><div style="text-align: left;"></div><div class="MsoNormal" style="text-align: justify;"><i>He was a prolific writer on photographic subjects, contributed to several periodicals, and wrote a regular column in the Yorkshire Weekly Post. His work is in the collection of the Whitby Literary and Philosophical Society and in other national collections.</i></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;">source: <a href="http://en.wikipedia.org/wiki/Francis_Meadow_Sutcliffe" target="_blank"><b>Wikipedia </b></a><i><br />
</i></div><i> </i><b><span style="font-size: x-small;"><br />
</span></b><br />
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<b><span style="font-size: x-small;">Link: <a href="http://www.scienceandsociety.co.uk/results.asp?search=1&screenwidth=1680&pixperpage=50&searchtxtkeys=Frank+Meadow+Sutcliffe&lastsearchtxtkeys=&withinresults=&searchphotographer=&wwwflag=&lstformats=&lstorients=All+Orientations&captions=" target="_blank">photos by Frank Meadow Sutcliffe</a></span></b><br />
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</div>Marcelo Guimaraes Lima. PhDhttp://www.blogger.com/profile/09217135318679862737noreply@blogger.com0tag:blogger.com,1999:blog-6866994485909949349.post-77769642143421043592012-02-23T14:48:00.003+04:002012-02-23T17:48:42.379+04:00Peter Henry Emerson: nature and memory<div dir="ltr" style="text-align: left;" trbidi="on"><style>
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq6bOdUyJUNeT97nnrkZ6n4NyFRW3BTHqUW3fQj_TBw5b9TDjJ_3yxy85QZME3K-yrFVG_3HJlW14YZVzO-yT_lEeIR7LjXLZDTzsDnSqjQU9kby59znq_KX07R6hIWZjTkKcxlBhaEkjG/s1600/Gathering_Water_Lilies.ashx.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="271" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq6bOdUyJUNeT97nnrkZ6n4NyFRW3BTHqUW3fQj_TBw5b9TDjJ_3yxy85QZME3K-yrFVG_3HJlW14YZVzO-yT_lEeIR7LjXLZDTzsDnSqjQU9kby59znq_KX07R6hIWZjTkKcxlBhaEkjG/s400/Gathering_Water_Lilies.ashx.jpg" width="400" /></a></div><div class="MsoNormal" style="text-align: center;"><style>
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<div class="MsoNormal"><span style="font-size: x-small;"><b>'Gathering Water Lilies', 1886.</b></span></div><span style="font-size: x-small;"><b><span style="font-family: Cambria;">Platinum print, plate IX from <br />
'Life and Landscape on the Norfolk Broads' <br />
by Peter Henry Emerson</span></b></span><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEis6fNgqxeGF4iM57uKbJ9RgEEreKOhwZOtVTys2BRg7sDwD-pzkGBlaNEi4LGuYQWGaUE73j9nifvZyvJSe8Rvxgkeofb_Rkgyk_jEoRzBRGjesO7lv1p-LIpQsR2mM4dH_hDS-J0QSDny/s1600/phemerson.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEis6fNgqxeGF4iM57uKbJ9RgEEreKOhwZOtVTys2BRg7sDwD-pzkGBlaNEi4LGuYQWGaUE73j9nifvZyvJSe8Rvxgkeofb_Rkgyk_jEoRzBRGjesO7lv1p-LIpQsR2mM4dH_hDS-J0QSDny/s400/phemerson.jpg" width="400" /></a></div><br />
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<div class="MsoNormal"><span style="font-size: x-small;"><b>The Old Order and The New', 1886.</b></span></div><div class="MsoNormal"><span style="font-size: x-small;"><b>Platinum print. Photograph by Peter Henry Emerson. <br />
An illustration from 'Life and Landscape on the Norfolk Broads'.</b></span></div><span style="font-size: x-small;"><b><span style="font-family: Cambria;"> </span></b></span> </div><div class="MsoNormal"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlVhtEbyp3I5ucTnfNdEd7QyzWtYXcxkUQHHknjOW58lCi0pqKx8GUDDKpGXGBx5ytbYJU-ujV52YbwL5iQMuj0dsZTXlSeTlhSwVjMvWbzUftUVxS0QWmqy1XxzQ3DvfJyk_7NBrAmohI/s1600/PHEmersonMarsh1895W.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br />
</a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlVhtEbyp3I5ucTnfNdEd7QyzWtYXcxkUQHHknjOW58lCi0pqKx8GUDDKpGXGBx5ytbYJU-ujV52YbwL5iQMuj0dsZTXlSeTlhSwVjMvWbzUftUVxS0QWmqy1XxzQ3DvfJyk_7NBrAmohI/s1600/PHEmersonMarsh1895W.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlVhtEbyp3I5ucTnfNdEd7QyzWtYXcxkUQHHknjOW58lCi0pqKx8GUDDKpGXGBx5ytbYJU-ujV52YbwL5iQMuj0dsZTXlSeTlhSwVjMvWbzUftUVxS0QWmqy1XxzQ3DvfJyk_7NBrAmohI/s320/PHEmersonMarsh1895W.jpg" width="320" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlVhtEbyp3I5ucTnfNdEd7QyzWtYXcxkUQHHknjOW58lCi0pqKx8GUDDKpGXGBx5ytbYJU-ujV52YbwL5iQMuj0dsZTXlSeTlhSwVjMvWbzUftUVxS0QWmqy1XxzQ3DvfJyk_7NBrAmohI/s1600/PHEmersonMarsh1895W.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"> </a></div><div class="MsoNormal" style="text-align: justify;"></div><div class="MsoNormal" style="text-align: justify;"><div style="text-align: center;"><b><span style="font-size: x-small;"><a href="http://www.archive.org/details/marshleaves00emeriala">http://www.archive.org/details/marshleaves00emeriala</a></span></b></div><br />
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<br />
</div><div class="MsoNormal" style="text-align: justify;">P. H. Emerson’s writings and photographs focused on photography and nature, the aesthetics of photography and the recording of nature. As an early “conservationist”, the pristine landscape of East Anglia and its traditional ways of life (peasants, fishermen) in the process of being transformed and displaced by the combined threats of industrial and commercial progress and tourism, were his main subjects and preoccupation. A quasi-pantheistic, romantic sensibility is expressed in his images, combined with a naturalistic purpose that searches for “truth” as the common denominator of both art, that is, culture and nature (<i>natura naturans </i>as the paradigm of artistic creativity), the projected unity of medium and subject: a <i>naturalistic</i> art, as he called it.</div><div style="text-align: justify;"></div><div class="MsoNormal" style="text-align: justify;"></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;">In many of his albums and photographic series, the literary description and the photographic document were created in similar fashion, as the immediate recording of experience. The subject however, as the <i>medium</i> of experience, that is, the artist himself, will (unwillingly or unconsciously) always have the upper hand and the last word in this quest for <i>unconditional objectivity</i>, a quest for the natural against the artificial, for the harmony of the world of nature against the troubled conditions of a civilization in the uncomfortable process of industrial growth, social change and cultural transformation. The result is an idealized, romanticized image of the natural environment and of the social world of its inhabitants, these fisherman and peasants that are portrayed as more or less generalized beings in symbiotic relations with the world of nature, or as co-adjutants in the natural (autonomous) process of universal harmony. They are portrayed as belonging to a kind of self-sufficient microcosm, or “original” society, from which are excluded the realities of social class conditions, as well as the larger determining external structural hierarchies and related conflicts between the countryside and the urban centers of political and economic power.</div><br />
<div style="text-align: justify;"></div><br />
<div class="MsoNormal" style="text-align: justify;">But perhaps it is also fair to say that Emerson’s best works grew out of this “vivifying” particular soil of contradictory concepts and processes, as a kind of “autonomous” momentary synthesis of the <i>question</i>, that is, the challenge and the very “enigma” (artistic, epistemological, etc.) of photography itself, the quest for “photographic truth” as the (unattainable) “truth” of photography.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Marcelo Guimarães Lima</div><div class="MsoNormal"><br />
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</div></div>Marcelo Guimaraes Lima. PhDhttp://www.blogger.com/profile/09217135318679862737noreply@blogger.com0tag:blogger.com,1999:blog-6866994485909949349.post-38920915070520027432012-02-23T12:04:00.010+04:002012-02-27T17:12:44.976+04:00John Thomson - Street Life in London, 1877<div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="MsoNormal" style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxptxALAaiWGCeQTxHhDA_jLcCDCFySAF9Eii7dVbxiGEg8hytvKk4GLwPeYeAli1mvs6ZuiwQH6-ZY-2BMY9zqbqCASQogL7rExvMnpv3OPDalFnQe36Adg9Wb-OP3xvmLS9Odx0DirNa/s1600/41144-large.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxptxALAaiWGCeQTxHhDA_jLcCDCFySAF9Eii7dVbxiGEg8hytvKk4GLwPeYeAli1mvs6ZuiwQH6-ZY-2BMY9zqbqCASQogL7rExvMnpv3OPDalFnQe36Adg9Wb-OP3xvmLS9Odx0DirNa/s320/41144-large.jpg" width="257" /></a></div><br />
<span style="font-size: small;">John Thomson (1837-1921)</span></div><br />
<div class="MsoNormal" style="text-align: center;"><span style="font-size: small;">'Street Life in London</span></div><div class="MsoNormal" style="text-align: center;"><span style="font-size: small;">England, 1877-8</span></div><div class="MsoNormal" style="text-align: center;"><span style="font-size: small;">Carbon print (woodburytype)</span></div><div class="MsoNormal" style="text-align: center;"><span style="font-size: small;">Victoria and Albert Museum </span></div><br />
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<div class="MsoNormal"><i>The Photographs</i></div><div class="MsoNormal"><i><br />
</i></div><div class="MsoNormal" style="text-align: justify;"><i>In the late 1870s Thomson embarked on his most well known project, photographing the lives the people living on the streets of London.</i></div><i><br />
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<div class="MsoNormal" style="text-align: justify;"><i>'Street Life in London' was published in twelve instalments throughout 1877 and the beginning of 1878. Three of Thomson's photographs appeared in each edition with three stories mainly written by the journalist Adolphe Smith, who held reformist views and worked as the official interpreter for the TUC from 1886 to 1905.</i></div><i><br />
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<div class="MsoNormal" style="text-align: justify;"><i>With social problems gaining increased attention in the 1870s through the work of such men as Charles Dickens and the founder of homes for destitute children, Dr Barnado, these vignettes of survival among the poor proved popular with the public. The hopes and aspirations, values and needs of those portrayed were recognisable to the readers of other classes. The photographs added a graphic realism to the stories. Stephen White, 'John Thomson', Thames & Hudson, 1985. The 12 instalments were published in a single volume in 1878.</i></div><i><br />
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</i></div><div class="MsoNormal" style="text-align: justify;"><i>The Photographer</i></div><i><br />
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<div class="MsoNormal" style="text-align: justify;"><i>Born in Edinburgh in 1837, John Thomson travelled widely in Asia during the 1860s, taking images of places such as Singapore, Siam, Cambodia and China.</i></div><div class="MsoNormal" style="text-align: justify;"><i><br />
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<i>In 1873 he returned to England and began compiling and publishing books based on his travels. In the late 1870s he photographed London street scenes. He travelled to Cyprus in 1879 and returned to London to set up a portrait studio in 1881. He died in 1921.</i></div><div class="MsoNormal"><br />
<b><span style="font-size: x-small;">source: Victoria and Albert Museum <a href="http://www.vam.ac.uk/users/node/6651">http://www.vam.ac.uk/users/node/6651</a></span></b></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqwj1bD3qpi4f94P6sCKziLKuXCsBfdpMnVUBi6ecozgboaFgU3NSW1Dx1hntt90WL1Y0h8aDeS4cTDV9VpKzRKJnne83rARhEVVT2d_bgEx8H6mfPs79s_cFOLxS0ZyrZxFuk_yh8wDnx/s1600/streelifelondonoriginalcovW.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqwj1bD3qpi4f94P6sCKziLKuXCsBfdpMnVUBi6ecozgboaFgU3NSW1Dx1hntt90WL1Y0h8aDeS4cTDV9VpKzRKJnne83rARhEVVT2d_bgEx8H6mfPs79s_cFOLxS0ZyrZxFuk_yh8wDnx/s1600/streelifelondonoriginalcovW.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br />
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</style> </div><div class="MsoNormal" style="text-align: justify;"><i>John Thomson travelled and photographed widely in the Far East and notably in China throughout the 1860s and 1870s before returning to London to begin his most famous work, a collection of photographs which were published under the title Street Life in London. Thomson's photographs are now regarded as some of the earliest examples of social documentary photography and forerunners of the work of American photographers such as Jacob Riis and Lewis Hine.</i></div><div style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><i>Street Life in London was originally published in eleven instalments between 1876 and 1877, and was produced in collaboration with the writer Adolphe Smith. Later published in book form, the work aimed to document working class and poor inhabitants of London. Thomson and Smith wished, in part, to draw public attention to the desperate poverty suffered by many, despite the increasing wealth being created by developments in industry and mechanisation. They also aimed to create a portrait of Londoners which reflected the different levels of working class employment, including as in this example, public disinfectors. The industrious poor were pictured - flower sellers and chimney sweeps, for example, as were the dispossessed – the beggars and the homeless of the capital.</i></div><div style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><i>The increase in city dwelling brought about by the migration of the rural poor from the countryside, had led to desperate overcrowding in housing stock, and the widespread exploitation of tenants by unscrupulous slum landlords. Disease-ridden and dangerous, the areas inhabited by the poor had become infamous, and as a result, were rarely visited by middle class Victorians.</i></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><i><span style="font-family: Cambria; font-size: 12pt;">Thomson and Smith ventured into these 'no-go' areas and in turn created the voyeuristic interest required to guarantee an audience. Sometimes sensationalist, their work sat between an urge to document and a desire to campaign for social reform. Either way, it served to communicate the daily reality of the urban poor to an otherwise ignorant audience.</span></i></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Cambria; font-size: x-small;">From : <b><a href="http://www.nationalmediamuseum.org.uk/Collection/Resources/40Photos" target="_blank">History of Photography in 40 Photographs</a></b></span><br />
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<div class="MsoNormal" style="text-align: center;">Street Life in London - by J.Thomson and Adolphe Smith, 1877</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">PREFACE.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal" style="text-align: justify;"> IN presenting to the public the result of careful observations among the poor of London, we should perhaps proffer a few words of apology for reopening a subject which has already been amply and ably treated. We are fully aware that we are not the first on the field. "London Labour and London Poor" is still remembered by all who are interested in the condition of the humbler classes; but its facts and figures are necessarily ante-dated. In later times Mr. James Greenwood has created considerable sensation by his sketches of low life, but the subject is so vast and undergoes such rapid variations that it can never be exhausted; nor, as our national wealth increases, can we be too frequently reminded of the poverty that nevertheless still exists in our midst.</div><br />
<div></div><div class="MsoNormal" style="text-align: justify;"> And now we also have sought to portray these harder phases of life, bringing to bear the precision of photography in illustration of our subject. The unquestionable accuracy of this testimony will enable us to present true types of the London Poor and shield us from the accusation of either underrating or exaggerating individual peculiarities of appearance.</div><br />
<div style="text-align: justify;"></div><br />
<div class="MsoNormal" style="text-align: justify;"> We have selected our material in the highways and the byways, deeming that the familiar aspects of street life would be as welcome as those glimpses caught here and there, at the angle of some dark alley, or in some squalid corner beyond the beat of the ordinary wayfarer. It also often happens that little is known concerning the street characters who are the most frequently seen in our crowded thoroughfares. At the same time, we have visited, armed with note-book and camera, those back streets and courts where the struggle for life is none the less bitter and intense, because less observed. Here what may be termed more original studies have presented themselves, and will help to complete what we trust will prove a vivid account of the various means by which our unfortunate fellow-creatures endeavour to earn, beg, or steal their daily bread.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">THE AUTHORS.</div><br />
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<div style="text-align: center;"><b><span style="font-size: x-small;"><a href="http://www.victorianlondon.org/publications/thomson.htm">http://www.victorianlondon.org/publications/thomson.htm</a></span></b></div><div style="text-align: center;"><br />
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<div class="MsoNormal" style="text-align: center;"><b><span style="font-size: x-small;"><a href="http://www.archive.org/details/streetlifeinlond00thom">http://www.archive.org/details/streetlifeinlond00thom</a></span></b><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidn_5U1f2irzlW8obOgAqyw8zgsRC_wqcPCjAqLUrM_CJ072fMRVQzWACr7q3fOgYgeHXfP1fGMn4P9n78h1SYf4PR7KekZfFUPy6LYAnGm7zwSoskxfZavugfASNXeAHC9RVwRVY3AOvm/s1600/A-Convicts-Home.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidn_5U1f2irzlW8obOgAqyw8zgsRC_wqcPCjAqLUrM_CJ072fMRVQzWACr7q3fOgYgeHXfP1fGMn4P9n78h1SYf4PR7KekZfFUPy6LYAnGm7zwSoskxfZavugfASNXeAHC9RVwRVY3AOvm/s400/A-Convicts-Home.jpg" width="400" /></a></div><div style="text-align: center;">A CONVICTS' HOME </div><div style="text-align: center;">Street Life in London - by J.Thomson and Adolphe Smith, 1877 </div><br />
<div style="text-align: justify;"> This shop is chiefly celebrated as the abode of ticket-of-leave men. Placing himself in connexion with the Royal Society for the Aid of Discharged Prisoners, these latter have been sent to lodge in Mr. Baylis's house. On their arrival from prison he gives them a week's lodging and board on credit, and also exerts himself to the utmost to find them employment. Possessing great experience in the treatment of criminals, he is soon able to detect those whom he may trust from those who are hopelessly lost to all sense of honour and honesty. The latter he is perforce obliged to dismiss, while the former generally obtain employment, and live to thank him for having redeemed them from the abyss into which they had fallen. Indeed there have been even marriages celebrated from this convicts' lodging-house-an ex-convict figuring as the bridegroom, and, in one instance at least, a very respectable tradesman's daughter as the bride. I should add, that one of the released prisoners ultimately married a widow who possessed fifteen houses! In fact experience seems to have confirmed the great faith Mr. Baylis places in convicts who, after a certain time of probation, show themselves really disposed to earn their living honestly. In many cases the good influences brought to bear in this house have certainly produced the very best effect; and I have had the pleasure of sitting down to Mr. Baylis's table with half-a-dozen of the best behaved and most inoffensive men (who were, I was informed, convicts) that I have met in the course of Street Life study. In their conversation, these men displayed an earnest determination to work, they alluded but charily to the time when they "got into trouble," and did not resort to any hypocritical cant. Indeed, those who assume a pious tone, quote the Bible, and talk about "being saved," and "God's help," and so forth, are generally the least to be trusted.</div><div style="text-align: right;">A.S. </div><br />
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</div><div style="text-align: center;"><span style="font-size: x-small;"> <a href="http://spitalfieldslife.com/2011/03/28/john-thomsons-street-life-in-london/"></a></span><br />
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<div style="text-align: center;"></div><div class="MsoPlainText">RECRUITING SERGEANTS AT WESTMINSTER.</div><br />
<div class="MsoPlainText">Street Life in London - by J.Thomson and Adolphe Smith, 1877 </div><div class="MsoPlainText"><br />
</div><div style="text-align: left;"></div><div class="MsoPlainText"> </div><div class="MsoPlainText" style="text-align: justify;">WITH rumours of war still disturbing the political atmosphere of Europe, and menacing to involve even England in the general conflagration, the question of recruiting troops for our army must of necessity again claim its share of public attention. That the system actually in force is radically wrong, few will attempt to deny; not that there is so much difficulty in obtaining recruits, but how are we to keep them in the ranks when once they have joined ? Our soldiers, it appears, run away at the rate of more than twenty-one a day; and there were no less than 7759 deserters last year. Nor is this all ; we should add the number discharged as bad characters, which seems to be increasing, for there 1616 men thus expelled from the army in 1870, and as many as 2025 in 1873; while the average number of men in prison in 1870 amounted to 1288 ; and this figure rose to 1914 in 1872, and fell to 1554 in 1873.. Finally, we should not omit cases of sickness, for we find that in 1872, out of an average strength of 92,218 men, the average number constantly in the hospital was 3628. Altogether, therefore, it will be seen that the recruiting sergeants, notwithstanding the remarkable success that attends their efforts, cannot unaided supply us with a good army. Indeed it must be wounding to whatever sense of honour they may possess, to find that so great a proportion of the recruits they bring to the ranks ultimately regret that they ever yielded to the sergeant's advice. These dissatisfied soldiers might of course have known that the recruiting sergeants were in business bound to present a roseate view of military life, and that the fault to be found with the army would not be disclosed by those who are so eminently interested in enlisting all who are capable of serving in its ranks. At the same time, it is only just to add that the degrading, immoral, and disreputable stratagems which rendered recruiting sergeants obnoxious to our forefathers are now entirely abandoned. Morally speaking, the modern recruiting sergeant would stand on the same level as the ordinary tradesman or business man, who seeks to sell a second-rate or questionable article, by carefully hiding its flaws, and exposing in the very best light whatever small merit it may possess. But the recruit enjoys at least the advantage of ninety-six hours to reflect, and, if he chooses, he can then withdraw from his bargain, on paying a comparatively small sum as "smart money."</div><br />
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<h1><span style="font-size: x-small;">images source: <a href="http://spitalfieldslife.com/2011/03/28/john-thomsons-street-life-in-london/">http://spitalfieldslife.com/2011/03/28/john-thomsons-street-life-in-london/</a></span> </h1></div>Marcelo Guimaraes Lima. PhDhttp://www.blogger.com/profile/09217135318679862737noreply@blogger.com0tag:blogger.com,1999:blog-6866994485909949349.post-39091384364359405062012-02-23T11:10:00.004+04:002012-02-26T11:17:52.902+04:00Image and Idea: photography and ideology in the 19th century<div dir="ltr" style="text-align: left;" trbidi="on"><div style="text-align: justify;"><style>
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</div><div class="MsoNormal"></div><div class="MsoNormal" style="text-align: center;"><i><b><span style="font-size: x-small;">John Thomson -Public Disinfectors</span></b></i></div><div></div><div style="text-align: justify;"></div><div class="MsoNormal"></div><div class="MsoNormal" style="text-align: center;"><i><b><span style="font-size: x-small;">from Street Life In London, 1877</span></b></i></div><div class="MsoNormal"></div><br />
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<div style="text-align: center;"><span style="font-size: x-small;">image source: <a href="http://www.nationalmediamuseum.org.uk/Collection/Resources/40Photos">http://www.nationalmediamuseum.org.uk/Collection/Resources/40Photos</a></span></div><div style="text-align: justify;"></div><div class="MsoNormal"><span style="font-size: x-small;"> </span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal" style="text-align: justify;">Technical developments during the last part of the 19<sup>th</sup> century changed the context and the forms of production of photography: smaller cameras, more efficient (faster, economical) methods and materials for taking, developing and printing photographs allowed for a wider dissemination of the activity and of its products via the press, magazines, illustrated books, etc. We see here the beginnings of photography as a “quotidian” practice. The vocation of photography to “immerse” itself in reality will be translated in the refashioning of the world as a “photographic environment”.</div><div style="text-align: justify;"></div><div style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;">Photography invests daily life with the its forms and is invested, in the same process, with the dominant perspectives and ideas about social reality, the particular points of view, perceptions, values, mental patterns, etc., and the prevailing hierarchies of meanings and of the production of meaning in social life. </div><div style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;">Ideology turned into image has its counterpart in the image as ideology. Here we may perhaps point out a complication or paradox of photography as a social-ideological practice: the presentation of the social image, or the self-representation of a society (the prevailing image of society, which is the image of the prevailing social groups) implies also, as pertains to ideological processes as such, its own particular “blind spots” or, in the context of the dissemination of the new industry of images, their photographically (in)visible blind spots. The apparent paradox of photography is that of the ideology of representation turned into the re-presentation of ideology. </div><div style="text-align: justify;"><br />
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</div><div class="MsoNormal" style="text-align: justify;">Marcelo Guimarães Lima</div><div class="MsoNormal"><br />
</div></div>Marcelo Guimaraes Lima. PhDhttp://www.blogger.com/profile/09217135318679862737noreply@blogger.com0tag:blogger.com,1999:blog-6866994485909949349.post-87436756884035158322012-02-21T14:22:00.007+04:002012-02-23T17:50:22.198+04:00John Thomson (1837 – 1921)<div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWR0F2-ZzcHGpZTEwyjJUO5aTZ5ucju0P2P0uXMNgf4nEIHvnVrlch47bBU31ZCgT3ZIOcflz6vxjpF19zr0TSCo3d4ASkdGnYrq300EQk6MqJy-9mtnOxh_JNZ0FY_puBKyyOVaam6wNS/s1600/John-Thompson-Canton-LadyW.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWR0F2-ZzcHGpZTEwyjJUO5aTZ5ucju0P2P0uXMNgf4nEIHvnVrlch47bBU31ZCgT3ZIOcflz6vxjpF19zr0TSCo3d4ASkdGnYrq300EQk6MqJy-9mtnOxh_JNZ0FY_puBKyyOVaam6wNS/s640/John-Thompson-Canton-LadyW.jpg" width="484" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><span class="fw_sanitized"><span style="font-size: x-small;"><span style="font-family: Times;"><b>A Manchu bride, Beijing - ca 1871 </b></span></span></span></div><span class="description"> </span><br />
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</a></div><div style="text-align: center;"><span class="description"><span style="font-size: x-small;"> </span></span><span style="font-size: x-small;"><i>The Island Pagoda</i>, Min River<a href="http://www.blogger.com/goog_243101">, </a>Fukien, circa 1871.</span><span class="description"> </span></div><div style="text-align: center;"><span class="description"><br />
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</a></div><div style="text-align: center;"><span style="font-size: x-small;"><span class="description"><i>Street Gamblers</i>, circa 1868 - 1871. <br />
Modern albumen print from wet-collodion negative</span></span></div><div style="text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.archive.org/details/throughchinawit04thomgoog" target="_blank"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHXT1WmySPcCxbQOBqoCoIYzfwReXLtmih3kJWVKQ2Lfzjpj-QWe83fWMH4ernbVFhQMIYUHgVJHUc8h8pcjKdYjJedvw3CRxYu8OXGpyo7u8exTkO1NYF9LNEn4DatOZnXhxAlG-CEuah/s320/thonsom-china-bookW.jpg" width="219" /></a></div><div style="text-align: center;"><span style="font-size: x-small;"><span class="description"> </span><span class="x-archive-meta-title"><br />
Through China with a Camera by John Thomson</span> (1899)</span><span style="font-size: small;"><i><span style="font-size: x-small;"><a href="http://www.archive.org/details/throughchinawit04thomgoog"><br />
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http://www.archive.org/details/throughchinawit04thomgoog</a></span></i></span></div><div style="text-align: center;"><table border="0" cellpadding="0" cellspacing="0"><tbody>
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</tbody></table></div><h1 style="font-family: inherit; font-weight: normal; text-align: center;"></h1><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGMNFx2t4iWAUs6I1BzdsFtvZxUKpG-8RsOpBkJ7JNvHyXDlHaxFkZpiB9lBnYOoyYdfc5iD43CrtP-QYF_qFDb27HfHhokOAaATFQCkddXuOLJyxIIZcypkfkGa4JAXDA6WoRx38GGg9U/s1600/Thomson,_Honan_Soldierspb.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGMNFx2t4iWAUs6I1BzdsFtvZxUKpG-8RsOpBkJ7JNvHyXDlHaxFkZpiB9lBnYOoyYdfc5iD43CrtP-QYF_qFDb27HfHhokOAaATFQCkddXuOLJyxIIZcypkfkGa4JAXDA6WoRx38GGg9U/s320/Thomson,_Honan_Soldierspb.jpg" width="313" /></a></div><div style="text-align: center;"><span style="font-size: x-small;"><span class="description"><br />
John Thomson, <i>Honan Soldiers</i>, 1871</span><span class="description"> (self portrait with Honan Soldiers)</span><span class="description">. <br />
Albumen stereograph from wet-collodion negative. Taken in Amoy in 1871, <br />
one of the few images of Thomson in the Far East, also considered <br />
one of the few self-portraits of the photographer.<br />
</span></span></div><div style="text-align: center;"><i><span class="description"><span style="font-size: x-small;"><a href="http://en.wikipedia.org/wiki/File:Thomson,_Honan_Soldiers.jpg">http://en.wikipedia.org/wiki/File:Thomson,_Honan_Soldiers.jpg</a></span></span></i></div><h1 style="font-family: inherit; font-weight: normal;"><span style="font-size: small;">links:</span><br />
<span style="font-size: small;"></span><a href="http://digital.nls.uk/thomson/" target="_blank"><span style="font-size: small;"><br />
The photographs of John Thomson - National Library of Scotland</span></a></h1><h1 style="font-family: inherit; font-weight: normal;"><a href="http://www.vam.ac.uk/vastatic/microsites/photography/photographerframe.php?photographerid=ph054" target="_blank"><span style="font-size: small;">John Thomson at the Victoria & Albert Museum</span></a></h1><h1 style="font-family: inherit; font-weight: normal;"><br />
</h1></div>Marcelo Guimaraes Lima. PhDhttp://www.blogger.com/profile/09217135318679862737noreply@blogger.com0tag:blogger.com,1999:blog-6866994485909949349.post-69503008090350590512012-02-12T14:16:00.002+04:002012-02-12T14:19:25.498+04:00Survey photography and the landscape in 19th century America<div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaPR3GKs-hqBYmLNkLE8Xg0-d39QJk4hZKjrslRceIP5RCqtq0TJXgcjy5R2Jydq375CiORU5eiHdqm4GSP2FUSITlJw-mC2x8QBYdQs0HNBrsCPpdYvY75OAnXHmFO-VFaich8T-JlYR-/s1600/CW-1724.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaPR3GKs-hqBYmLNkLE8Xg0-d39QJk4hZKjrslRceIP5RCqtq0TJXgcjy5R2Jydq375CiORU5eiHdqm4GSP2FUSITlJw-mC2x8QBYdQs0HNBrsCPpdYvY75OAnXHmFO-VFaich8T-JlYR-/s400/CW-1724.jpg" width="400" /></a></div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><span style="font-size: x-small;"><b>Carleton Watkins, The Vernal Fall, from the Yosemite Book, 1868</b></span></div><div style="text-align: center;"><br />
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<div style="text-align: center;"><span style="font-size: x-small;"><b>Carleton Watkins. Yosemite Falls and the Merced River. Yosemite National Park.</b></span></div><div style="text-align: center;"><br />
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<div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx9z8BxTChdD8mfw01ftam8qKU-Q44tz2XGVWImUeibiJTERsbyQPgKypce9iTRbPQwyUBldEAh2Aml1js-IFTWT4qUpGUN1axoZ80Dg-bGaKvWerSEBjGpbB8dZVq9O6IXVV3wopM7JIc/s1600/watkins-triptych.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="102" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx9z8BxTChdD8mfw01ftam8qKU-Q44tz2XGVWImUeibiJTERsbyQPgKypce9iTRbPQwyUBldEAh2Aml1js-IFTWT4qUpGUN1axoZ80Dg-bGaKvWerSEBjGpbB8dZVq9O6IXVV3wopM7JIc/s400/watkins-triptych.jpg" width="400" /></a></div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><b><span style="font-size: x-small;">View from the Sentinel Dome, Yosemite, by Carleton Watkins</span></b></div><br />
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<div style="text-align: justify;">As Ian Jeffrey observed (1), 19th century American landscape photography recorded "virgin" nature in two complementary "modes": in the first, contemplating the novelty, and the magnitude of its subject, the photographer documents vast vistas from the distance, not simply physical distance <i>per se </i> but a properly visual distance appropriated to handle the unique, novel forms of the subject. In the second, photographic vision "tames" nature and organizes the natural panorama by way of an aesthetic code akin to that of the contemporary landscape painters. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Survey photography by Weed, Watkins or by Muybridge, O' Sullivan, and others, can be seen as a kind of "second" conquest of the West, the continuation of territorial conquest "by other means", or, as Ian Jeffery suggests, explorations of the land with the goal of disclosing future <i>uses</i> and potential developments. In a sense, we can observe that "contemplative" and "active" vision are fused into one in the American imaginary: in the, at the same time objective and energetic portraits of nature by the landscape photographers the human energies discovering, molding and refashioning the land are also reflected and portrayed. </div><div style="text-align: justify;"><br />
Marcelo Guimarães Lima<br />
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<i>(1) Jeffrey, Ian, Photography, A Concise History, London, 1981, pp.58-60 </i><br />
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</div></div>Marcelo Guimaraes Lima. PhDhttp://www.blogger.com/profile/09217135318679862737noreply@blogger.com0