a blog about photography: cameras

Showing posts with label cameras. Show all posts

Sunday, December 2, 2012

FM2

Last night I gave my son my first Nikon for his photography class. Ahh, to hold a film camera again.

Friday, October 19, 2012

I'm not sure if this is a matter of the "decisive moment" or more a matter of scrambling to get a shot and actually getting it! Here is the caption Daniel Dolpire provided to National Geographic "Your Shot" when he submitted this photograph.

"I took this "once-in-a-lifetime" shot at Klein's Camp in the Serengeti, Tanzania. We came upon these lions at 7:17 in the morning. I scrambled for my two camera bodies (Nikon D4 and D3s and 200mm-400mm and 500mm) and got the shot! Exactly six minutes later the first lion got up and within another five minutes, three were sleeping and the other three had gone off into the bush! I have been taking wildlife photos for over 20 years, but this has got to be my special moment!"

Friday, June 1, 2012

Does anyone remember Flash Cubes?

Kodak Instamatic 104 with Flash Cube

Friday, March 9, 2012

Cecil Beaton

What I should have done was to put these photographs in chronological order, for then we would see the development of Cecil Beaton's work. But, I didn't do that. I have allowed these images to load in random order as a deliberate measure to emphasize how varied yet consistent his work. (Actually, I didn't do it deliberately, some were clustered together intentionally while the rest were simply just random. I'm trying to justify my laziness in not curating these properly. Part of the problem is that Beaton was prolific -- even editing down to this selection was no easy feat.)

As a young child, Cecil Beaton's inspiration came from society women and actresses. He got his first camera -- a Kodak camera -- at age eleven. In the 1920s, Beaton was a staff photographer for Vogue and Vanity Fair ... he continued as a staff photographer for Conde Nasté publications through the 1960s. For me, personally, his name is synonymous with 'Old Hollywood Portraiture'. From heavily staged scenes to dramatic portraits, he then turned to being an official war photographer when he signed up with the British Ministry of Information at the beginning of World War II. After the war, he turned his attention back to his photography, fashion illustrations and costume design. He won Academy Awards for Costume Design both for Gigi and My Fair Lady and an additional award for Art Direction for My Fair Lady.

(Photo above of Greta Garbo)

Norma Shearer for Vanity Fair, 1930

Jungman Twins, 1926

Tallulah Bankhead

Jean Harlow

Nancy Beaton

Mrs. Charles James, New York, 1955

Truman Capote, Morocco, 1959

Mick Jagger

Marlon Brando

Marlene Dietrich, 1935

Marilyn Monroe

Kyra Nijinsky, 1935

Gwili Andre, 1932

Eileen Dunn (shot for Life Magazine)

Charles James Gowns for Vogue, 1948

Baroness von Thyssen at Roger Vivier's Apartment

Audrey Hepburn, 1960

Andy Warhol and Candy Darling, 1969

Greta Garbo

Jean Shrimpton, 1964

Princess Ira von Furstenberg, 1955

Self Portrait while shooting portrait of Mick Jagger

One of Beaton's sketches of a gown he designed.

The Royal Air Force: The rear gunner in his position in a Wellington bomber. (From the Ministry of Information Second World War Collection.)

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Here is an editorial piece on Beaton from the TSY blog that is an interesting read.

Friday, March 12, 2010

André Kertész

Homing Ship, New York
13 October, 1944

The Museum of Contemporary Photography in Chicago has a very succinct bio on André Kertész that reiterates his under-recognized talent. (Click here to read it.) The bio starts off mentioning the quote by Henri Cartier-Bresson whereby he stated, "Whatever we have done, Kertész did first." The "we" in this case referred to a group of artists in Paris in the 1920s and specifically to the photographers that included Robert Capa and Brassai.

I have to admit that I learned about Kertész in the requisite History of Photography course at School of Visual Arts, but it is only now that I am really appreciating him. Initially, I probably like others dismissed his talent, not yet able to fully realize that what he did was just simply "pure" photography. It may seem trite or even pretentious to say "pure" but tell me upon looking at his work that you don't feel that exact descriptive.

Kertész's photography at first glance is understated, sometimes playful, sometimes ordinary, but upon further inspection, it is as if it breathes a new life into the viewer. The things we take for granted and his sort of one-on-one viewing of life brings us into a different perspective. We see the things Kertész saw as if with new eyes and I don't mean the obvious -- of course, a photographer can bring a new look to the familiar or convert the jaded and sway the popular opinion -- but this is about shedding every preconception and seeing the imagery as if you stripped everything away to its bare essence. It is so cleansing that we abandon the known to celebrate the apparent simplicity as a brand new interpretation. It may seem elementary on the surface, but it is layered so that the longer you look at one of his photographs, the more it reveals, the more unnerving that we didn't stop to, say, "smell the coffee". His work forces us to stop and inhale deeply.

Even his distorted images, long before the advent of Photoshop, don't feel "altered" per se. There is a sort of innocent confidence about them in the sense that they feel experimental yet deliberate and as if he worked only with the visuals -- the composition and the shape and form, not the technique.

It was in 1912 that Kertész began his long, illustrious and prolific career. He was born in Budapest in 1894 and in 1925, he moved to Paris where he remained until the threat of World War II prompted him to move with his wife to New York in 1936. He was still shooting in the 1980s when he then created a series using a Polaroid SX-70. He was clearly one to evolve and continue and persevere. His conviction was especially apparent in the fact that even when slighted -- even when others were credited for his work or when he was omitted from important exhibits, he did not let this deter him.

The term Kertészian was coined to describe his language which was essentially a combination of Hungarian, French, and English -- likewise, it has been observed that Kertész had three distinct periods, the Hungarian Period, the French Period, the American Period.

Kertész did something that ironically is not always done -- he shot photography so honestly that you tend to think that he created the art itself. That is what I mean by "pure".