See how photography is more than a mechanical art, but rather an art infused with imagination, as exemplified by works from photographers Cameron, Watkins, Käsebier, Ulmann, Evans, Stieglitz, Le Gray, and Hine. Created by Getty Museum.
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- so photography can be art if you take the picture with delicatness, or is there more to it ?(5 votes)
- To most, photography is a form of art, regardless of delicateness or whatever subjective impressions you have about it. Of course, the techniques mentioned in this video is just a handful out of the many in the field. Think of photography like this, you can crack an egg on the narrow or broad end, but there are countless ways to cook it.(5 votes)
- how do they know when to go out and take a picture(1 vote)
- As a hobbiest photographer, I like to take outdoor photos in the early morning or evening. Lighting is so important for photography and those times of day gives the sharpest contrast between light and shadow. When the sun is at it's highest point (afternoon) you only get bottom shadow which isn't necessarily as dramtic.
Of course, it all depends upon the artist and what they hope to achieve.(2 votes)
- at0:34what is the name of the photograph shown and who was the photographer who took it?(1 vote)
- Julia Margaret Cameron is the name the narrator mentions at that time. The photograph is of Ellen Terry, I found on Wikipedia. She was an English Shakespearean actress. The title is "Sadness." Ellen Terry was 16 at the time.(1 vote)
First you have to understand that many many visitors have never looked at a photograph as a work of art before. That's chiefly because photographs are so ubiquitous Their everywhere. Almost everyone has a camera. Almost everyone makes snapshots of their travels or their family. So, therefore, when people encounter photographs framed on the walls, they sometimes are a little baffled about what it is and why they are seeing it. There are certain photographers whose work I have always been particularly attracted to because of the strength and quality of the work itself. Two names from the nineteenth century are Julia Margaret Cameron the great British photographer, because the work is so rich and has been relatively unstudied. Another photographer from the nineteenth century is Carlton Watkins whose an American photographer. He is a particular favorite of mine, because of his particular approach, his very intellectual and yet emotional approach. In the twentieth century Gertrude Kasebier, Doris Ulmann, Walker Evans. These are some of my very favorites. Each of them produced a hand full of pictures or at least a single picture, that I kind of carry in a little imaginary wallet book. A book with my favorites in them. Among the preconceptions or misconceptions about photography is that it is a purely mechanical art, and that it is somehow lacking in imagination. Let's take for an example Gustave Le Gray photograph. He chooses a Beach tree that seems to be distinguished by nothing other than a gnarly root. The roll of the imagination here is one of not only choosing a tree that has great character, but also choosing to photograph it at a time of day, when the light is falling on it in a particularly magical and poetic way. The photographer has a relatively limited number of choices exclusively open to him. One is the light that it's going to be made in, second is what is idea behind the photograph, Third , where will I stand? Where will I hold the camera to observe what it is I decide to photograph? Alfred Stieglitz is chosen to photograph Georgia O'Keeffe with the camera at her waist level cutting off her head. Most photographs, individual photographs, don't have the kind of story to tell that the photographs Stieglitz made of O'Keeffe do tell. They tell practically every aspect of their relationship. It's moments of attachment. It's moments of estrangement. It's moments of formality. It's moments of informality.