Most people who walk through a city ignore it – or, more precisely, ignore the other people in it. Garry Winogrand did the absolute opposite: he spent most of his walking life hunting down his fellow citizens, watching, looking, and photographing: thousands upon thousands of photographs. He also made pictures at museum openings, at the zoo, at airports and rodeos, but it was the streets of Manhatten which provided the central metaphor of his work.

Winogrand’s photography defines an American decade, the 1960s, in a way comparable to Robert Frank in the 1950s and Walker Evans in the 1930s. Winogrand himself – large, energetic, voyeuristic, obsessively curious about the world around him – represents, for many, the archetypal street photographer. The formal turbulence of his images with their dynamic tilted viewpoints, their grainy immediacy, their frenetic crowds and their temporarily isolated strangers, matches the political turbulence of the Vietnam years and provides a defining portrait of a society caught unawares.

I never shoot without using the viewfinder—Oh, yes, there’ll be a few times,—I may have to hold the camera up over my head because for just physical reasons, but very rarely does that ever work.

Winogrand ‘s work synthesizes the documentary and photojournalist traditions. Influenced by Robert Frank’s The Americans, he employed a wide angle lens on a handheld camera, and shot from an intimate distance. This enabled him to incorporate more of his subjects, and gave his images an unfamiliar, compositional complexity. He took shots, he said, “to see how things would look as photographs”. The medium of still photography he described as “the illusion of a literal description of how a camera saw a piece of time and space”.

Source:
http://www.artmag.com/museums/a_greab/agblsps/agblspsc.html

I also found this great post, worth checking out.
10 Things Garry Winogrand Can Teach You About Street Photography

 

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In the process of preparing the time machine, I had no idea this would become one of the most extraordinary journeys to date. It would propel me into the future where I meet Chase Jarvis, one of the greatest photographers of all time. It would then send me back in time to meet with my old friend, Peter Line, the best snowboarder of this era.
All of a sudden I found myself in the present, making a picture of Ishmael Butler from the Diggable Planets. I had travelled the way you would in a dream, taking me backward into the future. A future where you paint with silver and light.

Become a part of our journey;
ianruhter.com/
Instagram: ianruhter
facebook.com/pages/Ian-Ruhter-Photography/159583283699
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Since the early 1980s, Bettina Rheims has become one of the most internationally respected contemporary photographers. Through her many books and exhibitions of her work she is renowned throughout Europe, the USA, Asia and Australia. Rheims discovered her love of photography after working from the other side of the lens as a model, and later as a journalist and an art dealer.

lg_512f9a2e-630c-4da2-a30c-5d860aa613dbIn 1981 her first exhibition featuring strip-tease artists and acrobats appeared at the Centre Pompidou and at the Galerie Texbraun in Paris. Encouraged by the success of her first show, Rheims produced a series of images of stuffed animals which were also exhibited in Paris and later in New York.
Her powerful portraits of women taken from the 1989 monograph, Female Trouble, were exhibited in Germany and Japan; Rheims then turned the camera on androgynous teenagers. The portraits titled Modern Lovers (1990), were exhibited in France, England and the USA.

Rheims’ collaboration on several books with famed writer Serge Bramly has also brought her further international recognition. Chambre Close (1992) – featuring intimate portraits of women with prose written by Bramly became a best seller and is regularly re-edited.
In 1999 her book I.N.R.I., the life of Jesus Christ is retraced using portraits of young people, including women, in Biblical scenes. The book was another collaboration with Serge Bramly, and was published simultaneously in several countries including the USA, Japan, Germany and France – where it sparked outrage and provoked calls for an immediate ban. Images from I.N.R.I. are still being exhibited in various museums throughout Europe. In 2000 Rheims published X’Mas. Also seen as controversial, the book contains portraits of teenage girls posing nude for the first time.

In 2003 after spending six months in Shanghai, Rheims again worked with Bramly on a book of the same name. The fast-paced and ever-evolving life of the city is captured in portraits of the women from all walks of life who live and work there.

More Trouble – A retrospective of Rheims’ photographs was published in 2004 and focused on the previous ten years of her work, mostly her portraits of famous women.
In addition to the book there were also a major exhibitions of her work in Helsinki, Oslo, Vienna, Düsseldorf and Brussels.
Rheims continues to shoot beautiful photographs and to publish books. Additionally she has worked on editorials for magazines such as Elle, L’Officiel, Citizen K, Tatler, 10 magazine and Marie Claire. She has also shot advertising campaigns for Chanel, Lancôme, Diane Von Furstenberg, Bebe and Well.

To view additional work by Bettina, click below:
www.bettinarheims.com

Source:
http://www.jedroot.com/photographers/bettina-rheims

 

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11586029_1_xAs chief photographer for Vogue and Vanity Fair, Edward Steichen profoundly shaped the look of celebrity and fashion photography in the 1920s and ’30s. He immortalized leading writers, artists, actors,dancers and politicians in striking portraits. Fashion photography was revolutionized when he began depicting the creations of all the great designers of the age, including Poiret, Chanel, Lelong, Lanvin, Patou and Schiaparelli.

Edward Steichen became interested in photography at age sixteen. Influenced by the atmosphere of moonlight that came to characterize his early Pictorialist photographs, he also painted. Upon turning twenty-one, he left for Europe by way of New York, meeting Alfred Stieglitz, who purchased three of his photographs. On returning, Steichen set up a studio specializing in portraiture at 291 Fifth Avenue, a space that later became part of “291,” Stieglitz’s celebrated Photo-Secessionist gallery. Steichen became a founding member of the Photo-Secession group in 1903. In 1923 Steichen went to work for the Condé Nast publications Vanity Fair and Vogue , where he photographed celebrities and fashion. From this he received advertising commissions; he once also made photographic designs for silk fabric. Steichen closed his New York studio in 1938 and embarked upon a new, more spontaneous photographic phase. During World War II he joined the Navy to head up a unit of photographers. Steichen was the first curator of photographs at the Museum of Modern Art in New York, where he curated the famous “Family of Man” exhibition in 1953.

“The camera is a witness of objects, places, and events…. The technical process simply serves as a vehicle of transcription and not as the art.”
-Edward Steichen

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Source: http://www.getty.edu/art/gettyguide/artMakerDetails?maker=1816

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Vincent Price was among the movies’ greatest villains as well as one of the horror genre’s most beloved and enduring stars.

In the small pantheon of actors closely identified with the horror film, Vincent Price holds a prominent position. Heretofore a reliable character actor of the studio era, in the late 1950s Price became a major star in exploitation horror films directed by William Castle and Roger Corman.

I would call this post inspiration for an upcoming personal shoot.
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Sources:

http://www.vincentprice.org/bios/faces.html

http://en.wikipedia.org/wiki/Vincent_Price

http://movies.nytimes.com/person/57806/Vincent-Price/biography

“My pictures are my eyes,” Mario Testino once said. “I photograph what I see—and what I want to see.”

Through these eyes, the world is a place of vitality; gazing into them, his subjects are drawn to give up something of the essence of themselves. Over the past two decades, Testino’s view has slowly become a dominant way of seeing fashion. Other photographers have responded by “either aping it or rejecting it,” as his old friend, the Anglo-Irish author Patrick Kinmonth, wrote.

bioAccording to Alexandra Shulman of British Vogue, Testino can make you look better than you could hope—”not in your wildest dreams, but at the remotest end of possibility.” Setting himself apart from the leading photographers of the nineties—who brought us heroin chic and the glazed-eyed, detached stare—he captures moments of exuberance and engagement. As he told The Guardian,“Grunge came from a group of English photographers, and they were documenting their own reality. . . . I’m South American—we celebrate life.”

Testino began his photography career after moving to London in 1976. He made a few unsuccessful attempts at college—studying law, economics, and international relations—before going to work for Vickers for a couple of years. He was inspired not so much by a love of photography but by a love of clothes. However, with his first roll of film, taken of two women sitting on a bench in Green Park, he discovered a belief in his own gift.

The fashion industry, on the other hand, wasn’t as quick to recognize his talents. He spent many days sitting in his flat—in a converted X-ray wing of the abandoned Charing Cross Hospital—desperately dialing magazines from his coin-box telephone. “But when you phone fashion editors or art directors,” he told The Mail on Sunday in 1999, “they always say: ‘Call me back in a month, I’m about to go on a trip. . . . I think I learned humility then.”[11] Humility, though, did not stop Testino from chasing editors through the corridors of Vogue House in Hanover Square while they attempted to hide behind clothing rails. (He managed to forge a friendship with one assistant, Lucinda Chambers, who would later become the publication’s fashion director.

Read the Full Article

Source: Bio – mariotestino.com  + http://www.vogue.com/voguepedia/Mario_Testino

It was really hard not too showcase a few hundred images here, but here are some of my favs.

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Because it’s Saturday, and all Saturday’s need Batman…and the only Batman is Adam West.

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Looking at Ansel Adams: The Photographs and the Man

Few photographers have had more impact on America than Ansel Adams, and we are very excited to be able to celebrate his birthday with his former assistant, Andrea Stillman. Andrea’s talk will be an intimate look at the photographer and the man. Said an attendee at one of her museum lectures, “You made Ansel come to life for all of us.”

Here is what Andrea has to say about working with Ansel: “I first met Ansel in 1972 when he came to New York to discuss an exhibition of his photographs at the Metropolitan Museum of Art where I worked. I was immediately impressed by his open friendly demeanor, his sense of humor and his modesty. We worked together for two years on his retrospective, and after it opened in the spring of 1974 he asked me to move to Carmel and become his assistant. I leapt at the chance, and for the next six years I worked for Ansel in his home studio. He always had a photographic assistant to help in the darkroom, so I did everything else. This included managing the sale of hundreds of his photographs – everything from telling Ansel which negative to print to approving the final mounted photograph and writing the title on the back. I also edited his writing and lectures and worked with him on innumerable books of his photographs — selecting the images, assisting with the production, and working on press to assure the best reproductions. I also accompanied him on many trips to open exhibitions and promote new books. One of my last tasks was to organize his extensive archive. It included an enormous correspondence with artists like Alfred Stieglitz, Georgia O’Keeffe, and Edward Weston and hundreds of his photographs made over more than fifty years–ranging from a unique 3 1⁄4×4 1⁄4inch contact print of lodgepole pines in the High Sierra made when he was nineteen years old to an enormous 40 x 60 inch mural size print of Mount McKinley made in the 1960s. In addition I produced a one-hour documentary on his life for public television.”

Andrea G. Stillman’s Site
http://andreastillman.net/