Mine:
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Wednesday, November 19, 2008
Wednesday, November 12, 2008
Susan Sontag Critique
In Susan Sontag’s essay On Photography she readily attacks the modern photographic institution with the claim that it is diluting the visual world. She believes that because photography has become so readily available and accessible to the masses that it is quickly losing its value as a visual medium. This saturation of visuals is causing us as humans to believe that we have some sort of entitlement to all images and visuals.
While I agree with Sontag on the point that photography is becoming more and more available to the masses, I do not necessarily agree that this is a bad thing.
In her essay she uses the example of the pyramids and how prior to photography, only people who have traveled to Egypt can truly appreciate what they look like. Though this may be the case, however, why should this privilege be so exclusive?
Sontag herself is an interesting character. Though she criticizes modern photography she hold a very close relationship with one of the worlds best photographers, Annie Leibovitz. Perhaps this relationship gives her a perspective on photography that actually photographers cannot understand. Sontag herself has never done anything notable in the field of photography and as such can (ironically) be compared the leaders of modern conflicts such as proposition 8. Though she has never personally experienced the institution, which she is criticizing, she criticizes all the same.
Though Sontag is right in saying the photographic medium is becoming extremely saturated. She is not right in saying this is a bad thing. A more visual and available the world is only a good thing. Letting people experience things, which they otherwise would not be able to only help develop a closer global community, which I would argue is without a doubt a good situation.
While I agree with Sontag on the point that photography is becoming more and more available to the masses, I do not necessarily agree that this is a bad thing.
In her essay she uses the example of the pyramids and how prior to photography, only people who have traveled to Egypt can truly appreciate what they look like. Though this may be the case, however, why should this privilege be so exclusive?
Sontag herself is an interesting character. Though she criticizes modern photography she hold a very close relationship with one of the worlds best photographers, Annie Leibovitz. Perhaps this relationship gives her a perspective on photography that actually photographers cannot understand. Sontag herself has never done anything notable in the field of photography and as such can (ironically) be compared the leaders of modern conflicts such as proposition 8. Though she has never personally experienced the institution, which she is criticizing, she criticizes all the same.
Though Sontag is right in saying the photographic medium is becoming extremely saturated. She is not right in saying this is a bad thing. A more visual and available the world is only a good thing. Letting people experience things, which they otherwise would not be able to only help develop a closer global community, which I would argue is without a doubt a good situation.
Henri Cartier-Bresson
Henri Cartier-Bresson is widely considered to be the “father” of modern photojournalism. Born in 1908 he was one of the first photographers to adopt the use of the 35mm camera. His candid style photography eventually formed what he now think of as “street photography”. In 1947 with the help of Robert Capa, David Seymour, and George Rodger (other known photographers and artists) he formed Magnum photo. Magnum is one of the largest photography cooperatives in the world today.
I have always been a big fan of Bresson’s photography. The very raw and true to life style is both appealing and honest. Since I started shooting years ago Bresson has been an inspiration to my work.
His work is very unique. Though he was by most standards a “photojournalist”, Brasson had the ability to turn otherwise average looking moments and scenes into compositional dreams. He emphasized the subjects in his work even more so than the moments themselves. Bresson was one of the first to do this, and to this day he is considered one of the best.
I have always been a big fan of Bresson’s photography. The very raw and true to life style is both appealing and honest. Since I started shooting years ago Bresson has been an inspiration to my work.
His work is very unique. Though he was by most standards a “photojournalist”, Brasson had the ability to turn otherwise average looking moments and scenes into compositional dreams. He emphasized the subjects in his work even more so than the moments themselves. Bresson was one of the first to do this, and to this day he is considered one of the best.
From National Geographic Museum: Comparing Alejandro Chaskielberg and Luis Marden
The comparisons between these two talented photographers are very clear. Both men explored new techniques technically to create a form of images people have never seen before.
Luid Marden explored revolutionary underwater color photography techniques as well as the use of Kodachrome in small 35mm cameras. The idea of accessible color photography was still new, however, Marden pioneered the technique with National Geographic and soon it became the standard.
The comparison is easily drawn to Alejandro Chaskielberg, a young photographer from Argentina. Though his new techniques stand in contrast with Marden’s as they are essentially making the photographic experience more complicated and larger in scale. They type of shot that Chaskeielberg produces has rarely been seen before. Through the use of layered flashes and what appear to be various layers of focus, (whether this is HDR I cant tell for sure, but I don’t think it is) Chaskielberg creates stunning, intimate, and almost studio quality photographs on the fly.
Though the nature of the pictures that both these talented photographers took vary greatly. Chaskielberg seems to prefer photojournalistic shots of people and action and Marden was more of a landscape photographer who routinely shot pictures of still life’s and inanimate objects, both men offered the world very exciting photographs.
The first photograph shown is by Alejandro. It makes extremely effective use of selective lighting, blurring and even de-saturation to draw the viewer’s eye directly to the subject. Examined closely you can even see that there appears to be various layers of focus. In other words the leaves in the foreground are in focus, then those behind them become blurred, however, then again as the eye goes further back and lands on the girl she is again in focus. One way he may have accomplished this is shooting the image with around a 22f stop then selectively blurring in post processing. It also may be a technique similar to HDR where this is actually a composite of several images.
The bottom image belongs to Marden. While it uses less technical and complicated photographic techniques the similarity between the two shots is very intresting. Marden also seems to shoot at a higher aperture setting (probably 8). This way he keeps the entire scene in focus instead of just one man. The foreground of leaves, like in the former shot, help establish the scene and create depth and transitively space. Also though it may not seem impressive now, Marden was one of the first to use a 35mm Kodachrome. In essence if he did not use this type of camera and instead chose the standard large format camera on a tripod etc. He may have made his subjects more aware of him and ultimately may not have captured the shot.
Both men engaged in exciting new techniques, which are beneficial to the photograph. 35mm color photography caught on like wildfire, however, the advanced flash and exposure techniques that Chaskielberg engages in are less accessible and as such may be less likely to grow in popularity. However, both revolutionary ideas are what define these two men as the great photographers they are.
Luid Marden explored revolutionary underwater color photography techniques as well as the use of Kodachrome in small 35mm cameras. The idea of accessible color photography was still new, however, Marden pioneered the technique with National Geographic and soon it became the standard.
The comparison is easily drawn to Alejandro Chaskielberg, a young photographer from Argentina. Though his new techniques stand in contrast with Marden’s as they are essentially making the photographic experience more complicated and larger in scale. They type of shot that Chaskeielberg produces has rarely been seen before. Through the use of layered flashes and what appear to be various layers of focus, (whether this is HDR I cant tell for sure, but I don’t think it is) Chaskielberg creates stunning, intimate, and almost studio quality photographs on the fly.
Though the nature of the pictures that both these talented photographers took vary greatly. Chaskielberg seems to prefer photojournalistic shots of people and action and Marden was more of a landscape photographer who routinely shot pictures of still life’s and inanimate objects, both men offered the world very exciting photographs.
The first photograph shown is by Alejandro. It makes extremely effective use of selective lighting, blurring and even de-saturation to draw the viewer’s eye directly to the subject. Examined closely you can even see that there appears to be various layers of focus. In other words the leaves in the foreground are in focus, then those behind them become blurred, however, then again as the eye goes further back and lands on the girl she is again in focus. One way he may have accomplished this is shooting the image with around a 22f stop then selectively blurring in post processing. It also may be a technique similar to HDR where this is actually a composite of several images.
The bottom image belongs to Marden. While it uses less technical and complicated photographic techniques the similarity between the two shots is very intresting. Marden also seems to shoot at a higher aperture setting (probably 8). This way he keeps the entire scene in focus instead of just one man. The foreground of leaves, like in the former shot, help establish the scene and create depth and transitively space. Also though it may not seem impressive now, Marden was one of the first to use a 35mm Kodachrome. In essence if he did not use this type of camera and instead chose the standard large format camera on a tripod etc. He may have made his subjects more aware of him and ultimately may not have captured the shot.
Both men engaged in exciting new techniques, which are beneficial to the photograph. 35mm color photography caught on like wildfire, however, the advanced flash and exposure techniques that Chaskielberg engages in are less accessible and as such may be less likely to grow in popularity. However, both revolutionary ideas are what define these two men as the great photographers they are.
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