#Edward Steichen Influence

[ronmayhewphotography]

: Windmills of Holland: Modern Pictorialism

Windmills of Holland Impressions in Light: The Pictorialist Spirit Reimagined Recently, I have been reading about the Pictorialists, a group of photographers from the early 20th century, including notable figures like Alfred Stieglitz, Edward Steichen, and Gertrude Käsebier. They aimed to make their photography resemble paintings, emphasizing beauty, atmosphere, and emotional resonance over…

[fashionthroughtimewithlucy]

Lucien Lelong 1889-1958

Lucien Lelong is one of the most important French designers of the years 1920-1930, he was also known as ‘the man who saved Paris’, he saved Parisian couture in the face of hostile takeover by the Nazis in WW2 which has overshadowed his creative legacy. After the war Lelong resumed his career at the same time as Coco Chanel's fashion house was taking off. However, while she was a creative innovator, it was Lelong who showed the sharpest business acumen by offering discounts to society women who agreed to be photographed in his dresses and his business flourished. He was influenced by sport and clothes that moved with the body was kinétique. He said he wanted them, 'to be constructed in such a way that their true shape would emerge in movement, not at rest'. He evolved dresses with narrow pleats that moved with the garment but fell back into place when the wearer remained still.

He was one of the first designers to consider the fashion on more levels, dealing with the production of clothing but also accessories and fragrances.

His muse was his second wife, Natalie Paley, a member of the Romanov family. Her icy beauty, with a natural elegance gained a job in his fashion house. Natalia was an asset for Lelong’s business. She became a sought after model establishing an image for herself in the Parisian elite becoming a well known socialite. As a model, she appeared in many magazines including Vogue. She was a favourite model for the great photographers of her time: Edward Steichen, Cecil Beaton, Horst P. Horst, Andre Durst and George Hoyningen-Huene.

Evening dresses that Lelong produced throughout the 1930s still look modern today, as they were influenced by neoclassical drapery. ​However, French fashion was entering a decade of crisis. Protective economic policies in America saw a 90 per cent import tax charged on French couture. The effect was a flood of cheap copies from American factories. American women started taking fashion inspiration not from Paris but from Hollywood and the designs of studio costumers such as Edith Head and Adrian.​

In 1918, at the end of the war, Lelong opened his own Fashion Salon. He developed the talents of up and coming designer such as Pierre Balmain, Christian Dior and Hubert de Givency, and was sat at the Dior February 1947 show to cheer on his disciple.​

For nearly 30 years the House of Lucien Lelong epitomized Parisian elegance, his designs may have been forgotten, but without him there would be no Paris fashion today. For health reasons he closed his atelier in 1948, but he continued with the production of perfumes until his death, in 1958.​ His designs may have been forgotten, but without him there would be no Paris fashion today.

[zeinamr]

Assignment 5 photo remake

How it was made?

- The picture was taken as a portrait as the subject faces her face to the camera. The photographs focus on aspects such as backlight and the creation of shadows. There are 2 or more spotlights at the back that creates an almost silhouette feature to the picture and it focuses directly on the face of the subject.

• What lens focal length?

- The shot was taken with a focal length of 25mm, with a dark light setting.

• What point of view?

- The point of view is taken at eye level as you can see that the subject is making direct eye contact with the camera.

• What type of light?

- There seem to be several backlights in the photograph behind the subject and specifically two spotlights at the back.

• What subject, props, where, and when?

- The subject is the late Hollywood star, Greta Garbo. There are no props in this picture as it focuses solely on the face of the subject. This photograph was taken in 1928 by Edward Steichen for Vanity Fair in Los Angeles, United states. This picture was a

- part of his portfolio titled: Twenty-five Photographs.

state how and why it is influential in photographic history.

- This photograph is one of the most popular photographs of the late Hollywood star Greta Garbo for Vanity Fair as it was done in a naturalistic form that portrays the actresses’ emotions. Edward Steichen’s style was influential as he utilized sharp focusing and dramatic lighting techniques. His series of portraits for Greta and others showed his bold composition that shed light on his subjects and created a closer look for the audience. Steichen’s pictures took a naturalistic form that evokes the feeling of familiarity with his subjects. Edward Steichen had a strong influence in photographic history as he explored different styles such as studio, editorial, commercial photography, and more. As it is seen in this picture for Garbo, Steichen focused on the composition of the photograph as well as the focus on the subject. In World War I, Steichen was drawn more towards aerial photography to help depict the effects of war and then he experimented with a rather modernist approach, especially during his fashion photographs. This photograph became exceptionally popular for Greta Garbo as it was able to capture the essence of the star as she was always seen as mysterious. The picture also gained more fame after the actress was renounced. Steichen succeeded greatly in creating photographs that are glamorized and dramatized which had a great impact on the fashion editorial photographic work. Edward Steichen kept on impacting the fashion work with his photographs for fifteen years as he worked with magazines such as Vogue and Vanity Fair.

[candy86876]

The Evolution of Female Model Photography: Empowerment, Diversity, and Creativity

The world of female model photography has undergone a significant transformation over the years. From the early days of black-and-white fashion shoots to today’s vibrant digital landscapes, this

industry reflects not just artistic evolution but also societal shifts towards inclusivity, diversity, and empowerment. This article delves deep into the nuances of the female model photography industry, exploring its history, the role of technology, and its impact on culture and society.

The Historical Context of Female Model Photography

Early Beginnings

Female model photography can trace its roots back to the late 19th century. During this period, photography was primarily a tool for documentation, with little focus on aesthetics or artistry. The first photographs of women often portrayed them in traditional roles—wives, mothers, and daughters—mirroring the societal norms of the time.

As the 20th century approached, the introduction of fashion photography changed the landscape. Photographers like Edward Steichen and George Hoyningen-Huene began to experiment with lighting, composition, and settings, elevating female subjects from mere representations of domesticity to icons of fashion and art.

The Rise of Fashion Magazines

The mid-20th century saw the birth of influential fashion magazines such as Vogue, Harper's Bazaar, and Elle. These publications not only popularized female model photography but also defined standards of beauty and style. Models like Twiggy, Jean Shrimpton, and later, Naomi Campbell and Cindy Crawford, became household names, embodying the ideals of their respective eras.

As fashion photography gained prominence, it began to intersect with advertising, film, and pop culture, leading to the commercialization of beauty and fashion. This evolution paved the way for aspiring models and photographers alike, creating a thriving industry.

The Modern Landscape of Female Model Photography

Diversity and Inclusivity

The contemporary female model photography industry is marked by a growing emphasis on diversity and inclusivity. The last decade has seen a significant shift toward representation of various body types, ethnicities, and ages in modeling. This change is largely driven by social media and the rise of influencers, who challenge traditional beauty standards and advocate for body positivity.

Campaigns featuring models of different sizes, colors, and backgrounds have become more commonplace, reflecting a broader spectrum of beauty. Brands like Aerie, Dove, and Savage X Fenty have embraced this movement, promoting self-love and acceptance. The impact of these changes is profound; more women are now able to see themselves represented in media, fostering a sense of belonging and self-worth.

The Role of Social Media

Social media platforms like Instagram and TikTok have revolutionized the way female models and photographers connect with their audiences. These platforms provide models a space to showcase their work, engage with fans, and build personal brands. Emerging models no longer need traditional pathways through agencies; they can gain recognition and opportunities directly from their social media presence.

Photographers, too, have adapted to this new landscape. They can share their portfolios, network with other professionals, and even conduct virtual shoots. This democratization of photography has resulted in a rich tapestry of styles and perspectives, enabling creative experimentation.

The Artistic Process of Female Model Photography

Concept Development

At the heart of any successful female model shoot lies a strong concept. This can range from high-fashion editorial themes to more intimate lifestyle portrayals. Developing a concept requires collaboration among the model, photographer, stylist, and makeup artist. Mood boards—collections of images, colors, and textures—help visualize the desired outcome.

The concept should resonate with the model's personality and style while aligning with current trends. For example, a shoot focused on empowerment might feature bold colors and dynamic poses, while a romantic theme could lean toward soft pastels and ethereal settings.

Pre-Shoot Preparation

Preparation is crucial for a seamless shoot. This includes scouting locations, selecting wardrobe pieces, and coordinating the team. A well-chosen location can elevate the images significantly, whether it’s a stunning urban backdrop, a serene nature setting, or a controlled studio environment.

Wardrobe selection should reflect the shoot's concept while ensuring the model feels comfortable and confident. Collaborating with stylists can provide insight into current fashion trends and help create a cohesive look.

The Shoot: Capturing the Essence

During the shoot, the photographer's role is to direct the model while allowing her to express herself. This balance is vital; overly rigid direction can stifle creativity, while too much freedom might lead to missed opportunities for captivating shots.

Lighting is a critical aspect of photography that can drastically affect the mood of the images. Natural light often creates a softer, more organic feel, while artificial lighting allows for more control and dramatic effects. Experimentation with different angles, poses, and expressions can lead to stunning results.

Post-Shoot and Editing

Once the shoot concludes, the editing process begins. This involves selecting the best images, enhancing them through software like Adobe Lightroom and Photoshop, and creating a final portfolio. Editing is not just about retouching flaws; it’s an opportunity to enhance the story told through the images, emphasizing colors, contrasts, and textures.

The final selection should represent a variety of shots—portraits, candid moments, and full-body images—to showcase the model’s versatility. This diverse portfolio can be valuable for both the model’s career and the photographer’s body of work.

The Impact of Female Model Photography on Society

Cultural Reflection and Change

Female model photography serves as a mirror reflecting societal norms and cultural shifts. As the industry evolves, it often leads the charge in redefining beauty standards. The emergence of models who challenge the status quo—whether through body size, ethnicity, or gender identity—creates conversations around inclusivity and representation.

High-profile movements such as #MeToo and body positivity have found expression in fashion photography, encouraging models and brands to stand against objectification and promote messages of empowerment. Campaigns that embrace authenticity resonate deeply with audiences, fostering connections and encouraging self-acceptance.

Economic Empowerment

The growth of the female model photography industry has also contributed to the economic empowerment of women. Models, photographers, and stylists can build lucrative careers, and many have turned their passions into thriving businesses. The rise of e-commerce and social media marketing has created new opportunities for collaboration and monetization.

Moreover, brands are increasingly recognizing the value of female-led projects. By partnering with women photographers and models, companies can create authentic narratives that resonate with their target audiences. This shift not only promotes female empowerment but also strengthens the industry's overall economic viability.

Challenges Within the Industry

Despite the progress made, the female model photography industry still faces significant challenges. These include:

Unrealistic Expectations

The industry often perpetuates unrealistic beauty standards, leading to harmful comparisons and self-esteem issues among women. While diversity has improved, many brands still fall back on traditional ideals of beauty, which can alienate a significant portion of the population.

Mental Health Struggles

The pressure to conform to these standards can lead to mental health struggles among models. Issues such as anxiety, depression, and eating disorders are not uncommon. The industry is beginning to recognize these challenges, but more needs to be done to promote mental well-being.

Exploitation and Inequality

Exploitation is another serious issue within the industry. Models, particularly young women, may face pressures to comply with demands that compromise their safety and integrity. Addressing these inequalities and ensuring fair treatment is critical for the industry's future.

The Future of Female Model Photography

Embracing Technology

As technology continues to evolve, so too will female model photography. Advances in artificial intelligence and virtual reality are beginning to shape the industry. For instance, AI can help with image editing and enhance creative processes, while virtual reality can provide new immersive experiences for audiences.

Additionally, platforms like TikTok are reshaping how models engage with their audiences. Short-form video content allows for greater creativity and interaction, enabling models to showcase their personalities and talents in new ways.

Sustaining Inclusivity

The push for inclusivity and representation will likely continue to be a driving force in the industry. As audiences demand more authentic portrayals of women, brands and photographers will need to adapt. This will require ongoing dialogue and commitment to promoting diverse voices and stories.

Building Community

The future of female model photography also lies in building community. Collaborations among models, photographers, and other creatives can lead to innovative projects and fresh perspectives. By fostering a supportive environment, the industry can continue to thrive and evolve.

Conclusion

The female model photography industry is a dynamic and multifaceted realm that reflects broader societal changes. From its historical roots to its modern-day evolution, it serves as a platform for expression, empowerment, and creativity.

As we look to the future, the importance of diversity, inclusivity, and mental health cannot be overstated. The industry has the potential to challenge norms, redefine beauty, and inspire generations of women to embrace their uniqueness. With each click of the shutter, female model photography captures not just images, but stories of resilience, identity, and empowerment.

As the landscape continues to evolve, we can expect to see more collaborations that celebrate this journey—like the work of the Best Wedding Photographer in Dehradun, who encapsulates love stories in artful and inclusive ways, reminding us of the beauty that lies in every moment.

[bigsexyfashionblog]

-- PHOTGRAPHER INFLUENCE --

EDWARD STEICHEN

THE FIRST FASHION PHOTGRAPHER

SIMPLE BUT ENGAGING, SHOOTING IN B&W IS SOMETHING I WILL ATTEMPT

[stellvirg]

Illustration in Fashion

Have you ever seen the cover of a vintage Vogue or Harper Bazaar’s and admired the vibrant illustrations that showcased the latest fashion trends during that time? Although they have been gracing some of the first high fashion magazines, such as The Lady’s Magazine and Le Cabinet des Modes, since the 16th century, fashion illustration was not recognized as an art form until the early 20th century.

It all began when the French courtier Paul Poiret was drawn to French illustrator and designer Paul Iribe’s earlier works in the satirical journal Le témoin and requested him to illustrate his designs for a small promotional publication, intended for the elites of good society.

Poiret's second collection of designs, Les Choses de Paul Poiret, was published in 1911 and was illustrated by Georges Lepape, whose work was inspired by the paintings of Amedeo Modigliani and Henri Matisse; expanded stances and figures, opposing Iribe's approach. By 1920, Lepape had demonstrated his artistic approach on a number of other Vogue and Vanity Fair covers.

Because of the increased demand for fashion and the acceleration of trends during this century, Lucien Vogel, the founder of La Gazette du Bon Ton (1912), intended to provide a forum for artists to not only demonstrate their talent but also illustrate for seven haute couture houses; Poiret, Doucet, Paquin, Cheruit, Redfern, Doeuillet, and Poiret, Doucet, Paquin, Cheruit, Redfern, Doeuillet, and Poiret, Doucet, and Worth.

The Beaux Brummells were a group of artists who appeared in the magazine. All eight artists studied at the École nationale supérieure des beaux-arts: Paul Iribe, Jean Besnard, Bernard Boutet de Monvel, Pierre Brissaud, A.E Marty, George Barbier, Charles Martin, and George Lepape. They were grouped together under one movement category, where they gave a realistic depiction of the Leisure Class's daily existence.

Despite the fact that La Gazette du Bon Ton was only published from 1912 to 1925, each issue had varied sketches of the designs, stenciled sheets, and colorful pages printed on handmade paper. Jean Saude used a Japanese technique to stencil these stenciled sheets by hand as well. When World War I broke out, Conde Montrose Nast bought a majority interest in the magazine at the end of its run.

This is where Conde Nast enters the picture, as the home of many of the world's most important brands and publications. Conde Nast, who purchased Vogue in 1909, pioneered a new approach to publishing by presenting avant-garde developments in art, photography, literature, and fashion in relation to their cultural context.

Vogue US featured a more romantic illustration style, which was influenced by painters such as Edmund Dulac, Arthur Rackham, and Alphonse Mucha. After WWI, however, modern art forms such as cubism, expressionism, futurism, and abstract art began to appear on magazine covers, including the French issue of Vogue. As a result, artists like Lepape and Eduardo Garcia Benito disregarded American illustrators like Dryden and Plank in the mid-1920s.

Meanwhile, in the early 1930s, a new art movement known as new realism emerged, which was centered by American illustrator Carl Erickson, who emphasized more natural fluid lines. They redefined the approach of the artistic style for fashion illustration seen on Vogue covers alongside Rene Bouet-Willaumez.

Despite the high demands placed on illustrators throughout this decade, fashion illustration began to fade as photography took over. Edward Steichen's color photography was the first to grace the cover of Vogue, which appeared in 1932. As a result, publishers concluded around the turn of the century that magazine covers with photographs sold better than those with graphics. Even though they continued to try to merge digital and manual creative works, pictures were the primary instrument in the 1950s and beyond.

[latenightlunch]

My fascination with "lo-fi" photography and Moriyama

With the ever-improving computer-assisted creation of ultra-sharp lenses and advanced sensors with a pixel count already surpassing film, there's a growing desire to return to the pictorialist roots of photography, with many using softening filters or straight up putting vaseline on a lens or filter. Most would probably call it lomography these days if you'd show them an Edward Steichen. I want to introduce you to one of the forefathers of lomography.

Daido Moriyama greatly influenced me before I started focusing on the nude. Moriyama still lives in the same flat he had been living in before becoming famous, a small studio above a bar in Tokyo. All he seems to care about is walking through the city and obsessively shooting. He photographs chaos in a very focused and orderly style you could say. Moriyama often overdevelops by a brave amount of stops, leaving no gradation and turning the image into a graphical, very harsh high contrast black and white that always reminded me of screenprinting, which got me into making art in the beginning. There's much more to be said about Moriyama.

His work finds the beauty in every part of the city, even in parts of it where you normally wouldn't find it, and isn't that one of the ideals of art, in the end, to uplift the ordinary, inspire us and see our life in a new light?

Moriyama doesn't overthink things. Instead, he accepts imperfection and achieves perfection through that.

He was also part of the Provoke movement that ultimately influenced another favorite artist, Daisuke Yokota. Maybe I'll write about him another time. For now, I just wanted to introduce you a little to his work and style in the hopes that you will check him out.

[mybeingthere]

Modernist painter Arthur Dove (1880-1946)"Arthur Garfield Dove spent his early years in Geneva, New York, where his father was a building contractor and brick manufacturer. He attended Hobart College before transferring to Cornell University, from which he graduated in 1903. He then moved to New York City, where he worked as an illustrator for various popular periodicals for several years. In 1908–9, Dove and his wife Florence traveled to France; in Paris, Dove associated with other young American artists such as Alfred Maurer and Max Weber, and his work was included in group exhibitions. Returning to New York, Dove met Alfred Stieglitz, who invited him to submit work to the Younger American Painters exhibition, which also included work by John Marin, Marsden Hartley, and Edward J. Steichen, and was held at his gallery at 291 Fifth Avenue in 1910. Dove’s first one-person show was held at 291 in 1912; by then, his place in the artistic avant-garde of the Stieglitz circle was assured.

In 1910 and 1911, Dove created a number of inventive works of art that used stylized, abstract forms at a remarkably early date in American art; he is considered the first American artist to have created such purely nonrepresentational imagery (49.70.77; 49.70.72).

As the decade progressed, he was further influenced by Cubism, by the Expressionist work of Vasily Kandinsky, and by the writings of the French philosopher Henri Bergson (1859–1941), who stressed the importance of a mystical, rather than analytical, understanding of the world. Bergson proposed the existence of an “élan vital,” a spirit or energy that constantly animates all living things in their fight for existence. This idea appealed to Dove, who himself was fascinated with natural cycles of growth and renewal and sought to make those universal harmonies visible in his work. He was also frequently inspired by the parallel between the visual arts and music (49.70.77).In 1921, Dove left his wife and son for the artist Helen Torr, nicknamed “Reds,” the wife of the illustrator Clive Weed. Dove and Torr (who would eventually marry in 1932) began living together on a houseboat docked at Halesite, on the north shore of Long Island. Dove’s primary subject for his art was the local landscape, which he simplified into its essential forms with expressive color and line (49.70.40). His first-hand experience of the ocean tides, weather patterns, and seasonal cycles also informed these works, as did his quest for a symbolic color effect that he called “a condition of light.” As he described the latter idea in an autobiographical essay (published in Samuel M. Kootz, Modern American Painters, 1930), “It applied to all objects in nature, flowers, trees, people, apples, cows. These all have their certain condition of light, which establishes them to the eye, to each other, and to the understanding.” During the 1920s, his experiments with various subjects and materials also resulted in a series of collages, several abstract portraits, and still lifes of domestic objects and agricultural machinery (49.70.36). After 291 closed in 1917, he continued to exhibit his work at Stieglitz’s later galleries, the Intimate Gallery (1925–29) and An American Place (1929–46). Through Stieglitz, Dove also established a productive relationship with the patron and collector Duncan Phillips.

When Dove’s mother died in 1933, Dove and his brother became co-executors of the family estate in Geneva, New York. Dove, who had been struggling financially, moved to Geneva with Reds and lived on his family’s property while settling the debt-ridden estate. Despite his reluctance to relocate to Geneva, which he considered provincial, Dove remained there with Reds through 1938. Geneva provided him with new subject matter for his art, including the family farm, the local barnyard animals, and nearby lakes, as well as the city’s more industrial downtown area of warehouses and railroad tracks. Dove made only one trip to New York City during these years, although he maintained a close correspondence with Stieglitz, who would remain a lifelong friend and supporter. In the relative isolation of Geneva, he concentrated more than ever on themes of interdependence between living creatures and their environments (49.70.37; 49.70.75) and on the purely formal appeal of natural objects’ shapes and lines, which he emphasized to the point of abstraction with organic shapes and unexpected color schemes (49.70.96; 2006.32.14). He shared these interests with Georgia O’Keeffe, who was perhaps his closest ally among the other artists of the Stieglitz circle.

In 1938, Dove and Torr returned to Long Island and rented a small house, a former post office that stood directly on the shore of a mill pond in Centerport. Forced to live a sedentary life after a heart attack and a diagnosis of severe kidney disease, Dove found his view confined to the immediate neighborhood around his home. However, he transformed this limitation into a period of experimentation with form and medium. In a diary entry for August 5, 1942, Dove directed himself to work at the “point where abstraction and reality meet” (Archives of American Art, Smithsonian Institution). Some of his works of the 1940s drew inspiration from the local landmarks of his town on the Long Island shore (1992.24.5; 1984.536.1). Coming full circle, he also produced a number of paintings and drawings that are as purely nonrepresentational as the innovative works of his early career.

Dove continued to work into the last year of his life; he died after suffering a heart attack in 1946, only a few months after Stieglitz had passed away. Until his final days, his diary entries recorded his artistic goals alongside observations of the natural surroundings. His reputation continued to grow after his death, and he has been credited with exercising an indirect influence on the first generation of Abstract Expressionists, such as Jackson Pollock and Mark Rothko, who placed similar emphasis on the artist’s subjective experience of his surroundings and on the intrinsic emotional power of color and line."

https://www.metmuseum.org/toah/hd/dove/hd_dove.htm

Jessica MurphyDepartment of Modern and Contemporary Art, The Metropolitan Museum of Art.

[fashionbooksmilano]

Heinrich Kuehn and his American Circle

Alfred Stieglitz and Edward Steichen

Monika Faber

Contributors : Ronald S. Lauder, Renée Price,  Andreas Gruber , Astrid Mahler 

Prestel, 2012, 120 pages with 110 (80 col.) ills,  24.4 x 29 cm., ISBN  9783791351964

euro 25,00

Exhib'publication Neue Galerie, New York 2012

This unique volume focuses on the luminous work of an important Austrian photographer. Heinrich Kühn’s early Pictorialist works were highly influential, and were exhibited at the Vienna Secession. Gradually Kühn incorporated the influence of his peers, and moved in the direction of Modernist photography. He was also among the first important photographers to create colour images. The publication aims to situate Kühn with regard to both the Viennese avant-garde and the international development of photography as an art form. It explores the close friendship among Kühn and major photographers Alfred Stieglitz and Edward Steichen and showcases photographic prints and autochromes by Kühn and other important photographers.

05/03/21

orders to:     booksinprogressmilano@yahoo.it

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instagram:   fashionbooksmilano, designbooksmilano tumblr:          fashionbooksmilano, designbooksmilano

[hellosidereus]

Reposted from @ancientsocieties Praying to Athena Date: 1921 Edward Steichen – Isadora at the Parthenon, 1921 The Acropolis of Athens and its monuments are universal symbols of the classical spirit and civilization and form the greatest architectural and artistic complex bequeathed by Greek Antiquity to the world. In the second half of the fifth century bc, Athens, following the victory against the Persians and the establishment of democracy, took a leading position amongst the other city-states of the ancient world. In the age that followed, as thought and art flourished, an exceptional group of artists put into effect the ambitious plans of Athenian statesman Pericles and, under the inspired guidance of the sculptor Pheidias, transformed the rocky hill into a unique monument of thought and the arts. The most important monuments were built during that time: the Parthenon, built by Ictinus, the Erechtheon, the Propylaea, the monumental entrance to the Acropolis, designed by Mnesicles and the small temple Athena Nike. In this beautiful black and white photo you can see Isadora Duncan an American dancer who performed to great acclaim throughout Europe, performing at the Acropolis of Athens near the Erechtheion an ancient Greek temple constructed on the acropolis  of Athens between 421and 406 BCE in the Golden Age of the city in order to house the ancient wooden cult statue of Athena and generally glorify the great city at the height of its power and influence. The Erechtheion has suffered a troubled history of misuse and neglect, but with its prominent position above the city and porch of six Caryatids, it remains one of the most distinctive buildings from antiquity. This beautiful photo was taken in 1921 by photographer Edward Steichen a Luxembourgish American photographer, painter, and curator, who is widely renowned as one of the most prolific and influential figures in the history of photography. ——————————— Twitter: @ArchaicWorlds (at Athens, Greece) https://www.instagram.com/p/CPL-2Johjzb/?utm_medium=tumblr

[blackswaneuroparedux]

Marion Morehouse, the world’s first super model

Marion Morehouse (1906-1969), was a fashion model who rose to prominance in the late 20s and early 30s, sitting for Vanity Fair and Vogue photographer Edward Steichen. The pair created some strikingly modernist photographs. She was seen as the world’s first super model - a woman who turned modelling into a fully fledged career.

She was also photographed often by Baron George Hoyningen-Huene and Cecil Beaton for Vogue and Vanity Fair in the 1920s and 1930s. Her tall, willowy, aristocratic figure had many adopting the androgynous flapper look of that the 20s is famous for. She also happened to be married to the poet e.e. Cummings.

Cecil Beaton, as ever, has something to say about her too: “It was not until Miss Marion Morehouse was discovered by Steichen that photographic models became so well known that they exerted an influence on the public. The aim of models at this time was to be grand ladies, and Marion Morehouse, with her particularly personal ways of twisting her neck, her fingers and feet, was at home in the grandest circumstances.”

Morehouse had some Choctaw Indian ancestry, with brown eyes and an angular frame. Marion was the daughter of a showman and actor who also, circumstances dictating, took jobs as a carpenter, odd job man, janitor and whatever else came his way. His name was Benjamin Isaac Morehouse, known as Isaac. Her mother, Annie Shortell Morehouse, did not come from elevated circumstances either.

Both Marion’s younger sister, Lillian, and her brother Benjamin worked in the theatre. Benjamin had a job as a stage manager. Lillian was an actress and appeared in many productions, some respectable and heavyweight and others more in the Zeigfield Follies burlesque style. At least one production was co-starring with Marion herself.

From 1923 Marion Morehouse appeared in at least five Broadway productions, some of which ran to hundreds of performances. There is also speculation that she, and maybe her sister, was in the famous Zeigfield Follies. She definitely worked as a showgirl like her sister, although her height and long legs made her stand out a bit too much on the chorus line. She also claimed to have been in a film or two, and the legend is that when she appeared on set everybody stopped what they were doing to watch her. But if she was she was uncredited.

In 1924 she was spotted by Vogue. On the occasion of a visit to New York by the French couturier Jean Patou Condé Nast decided that the magazine should run a competition to prove that the American girls were just as beautiful as the French.

The winner would become a house model for the designer in Paris. The competition is notable because it marks a turning point in the modelling industry: up till then, modelling, like being an actress, was a rather frowned upon occupation. Of course, the portraits of titled ladies appeared in magazines, and some even put on the gowns of a celebrated designer to do so. But it wasn’t a job, and if one weren’t a princess or a baroness then one’s name would not be appearing in the caption either.

Marion Moorehouse didn’t win the competition, but Edward Steichen saw her potential instead.

She modelled for the magazines for about eight years, becoming a new kind of celebrity in the process: the model girl.

Vogue started to bill her in photos: “Two mink trimmed bias panels fall from this gown of green and gold lame – a gown of great elegance and richness obtained by its gleaming fabric and intricate cut: posed by Marion Moorehouse.”

In 1932 she began a relationship with the great love of her life, e.e. Cummings. She was with him for over thirty years, though they never married. Edward Estlin Cummings, know as Estlin to his friends, was dissipated poet with two failed marriages behind him. He had a young daughter but she didn’t live with him, very probably, apart from anything else, because he had very little income and lived with his mother.

He was eight years older than Marion, whom he first saw onstage. Her lips remained sealed as to which particular production it was though, leading to speculations that it was a burlesque show, of which he was rather fond. An artist as well as poet, Cummings painted several pictures of the beautiful Marion Morehouse as well as writing about her.

The story goes that she pursued him, whilst he, obviously attracted, was also a little intimidated and hung back.  However, once he accepted her, she was fierce in her protection of him. Marion Morehouse seems to have decided that he needed looking after and gave up her modelling and acting careers to attend to the famous poet. She took up photography herself.

At one point she chased off the Beat Generation poet and philosopher Allen Ginsberg, who appeared at Estlin’s door, determined that the senior writer should see his work. “You. Go away. And never come back,” she said when she saw him, allowing him and many other would-be worshippers no admittance.

Marion and Estlin were together until he died in 1962. To the chagrin of Estlin’s daughter from his previous relationship, he left the income from his royalties (a very large amount per year) to Marion.

At one point earlier in her modelling career, Edward Steichen had taken a series of nude shots of Marion Morehouse. She posed wearing only long black gloves and stockings. Hearing she was “married”, Steichen burned the negatives of these photos, wanting to avoid embarrassing either her or her husband. However, when he realised her partner was that great bohemian, e.e. Cummings, he regretted it because he thought he of all people would have actually relished the pictures.

Marion Morehouse herself died on May 18, 1969, while living at Greenwich Village, New York City, where Cummings had resided since 1924.

[osquance]

After staring to develop movement and style, the idea of monochrome imagery to capture and create contrast in the shots became stimulating. This photograph, used as inspiration - suggested by Catherine Healy - taken by Edward Steichen of Greta Garbo ( taken for vanity fair in 1928), exemplifies elements used in our piece; close up shot of shoulders and head, use of hands to frame/accentuate a focal point and a colour scheme to draw a parallel with the intention (intense and brooding imagery). To me, this picture radiates beguiling femininity, which unintentionally was incorporated into our piece. This coincides with international women’s day ( 8th March ) which in the final takes influenced my interpretation of choreography. 

[noursoudan]

class activity 2

       Photography now becoming a part of the capitalist market has allowed it to be worth a lot of money. William Klien who is a well-known photographer is amazed by how people perceive photography today compared to how it was perceived years ago. When people such as Edward Steichen decided to make money by selling photographs in the late 1920’s for the purpose of funding; this was not considered normal and a friend of his was shocked to find out he was selling photographs. However, Edward perceived it as a way to make a living out of this and therefore he was convinced that art could be used in that manner. In fact, he made various photographs and one of his photographs which was named “The Pond-Moonlight” featured a forest across a pond; it was considered the most valuable photograph as it was sold at a large amount 2,600,000 due to how remarkable it was.

Nowadays the market is what determines the value of a photograph. It is interesting how people perceive this form of art and how they tend to make use of it. This is because people tend to judge how good a photograph is mainly based on its price and how it is advertised. Therefore, if a photograph is extremely expensive and a person buys it they would feel satisfied as it is considered somehow luxurious.

This brings us to an important point which is how some artists such as Wang Qingsong do not tolerate how some people buy photographs for the purpose of investing. As he stated “I discovered there was a danger as the market opens up today the man buys my work and tomorrow he sells it to the auction house.”

Indeed, even somebody like Wang who attempts to address the dark comedy of the worldwide market, actually needs to play by market's standards to succeed, it has now gotten exceptionally amazing. He attempted to challenge those guidelines by just offering to the individuals who really esteemed the work and not the cost but rather it would have influenced the craftsman ships thus he chose to diminish the measure of creation to secure his work. "With regards to a photo less turns out to be more all things considered".

[finlaylaverygc]

Week 6 - ANSEL ADAMS

nice hat

What group did Ansel Adams start? 

Adams helped to found Group F/64 or F.64 in the San Francisco Bay Area, along with fellow photographers Edward Weston, and Imogen Cunningham.

Find the groups manifesto online

Why did he set up this group? 

His aim with Group F/64 was to have photography seen as a true art form.  In short, they call for “Pure Photography” meaning to let photography be photography and let photographers develop their techniques within, to explore new methods and ideas and not to borrow ideas and styles from other art forms to gain acceptance. 

What type of photography is best known for? 

Ansel was known for his Black & White Landscape and Environmental photography. 

What did Ansel first train as? 

He trained as a musician and piano player, learning from the age of 12. 

When did his love for photography begin? 

His love of photography began from going on family trips to Yosemite National Park, Nevada.  

What was his first camera? 

Kodak No. 1 boxed Brownie Model B. 

What age was Ansel when he had his first images published? 

Ansel had his first images published at the age of 19. 

What type of techniques did start experimenting with? 

Ansel experimented with soft focus, bromoil process and Pictorialism.  

How much did Ansel sell his first portfolio for? 

First first portfolio “ Parmelian Prints of the High Sierras ” sold for $3900, a great success at the time. 

What Artists did Ansel meet whilst in New Mexico? Who was a huge influence on Ansel? 

In New Mexico Ansel befriended artists Georgia O’Keeffe, John Marin, poet Robinson Jeffers and photographer Paul Strand. 

Find out more about the artist that influenced Ansel Adams, can you see the influence of this artist on Ansel’s work? 

Paul Strand was a great influence on Ansel and pushed him to advance his work in photography to a higher level. Strand was a modernist photographer, founded the Photo League who used their work to promote social and political causes. His photography used a lot of strong contrast with light and shadow.   

Why was group F64 significant? 

F64 or F/64 was a size of aperture popular with Ansel and like minded photographers at the time in Large format photography. This aperture gave great depth of field and sharpness to the image when used right. 

What is Pictorialism? 

Pictorialism is a photography aesthetic that was very popular in late 19th and early 20th century.  A method to create an image rather than document an image. To empathize the beauty of the subject matter. through tone balance and composition.  

What age did Ansel open his first gallery? 

At age 31 he opened up his own gallery in San Francisco.  

What happened in a trip to Mexico in 1941? 

He took one of his most famous images “Moonrise, Hernandez, New Mexico”

How long was Ansel Adams career? 

His photographic career started in the early 1920s to 1950s until his health began to decline Be he worked on further still to the 1970s when he took a portrait of President Jimmy Carter in 1979. His career spanning the best part of a 60 years. 

Along with Fred Archer, what did Ansel Adams pioneer? 

The Zone System 

Research the system. What is it? Can it be applied to digital photography? 

Zone system is a method to determine the correct exposure for film photography and film developing. Using full tone graduation from Black through to Grey and to White, dividing each step of the grade into eleven zones from 0 to X.

It is a precursor to the Histogram on a digital camera. 

What was Ansel’s biggest selling image called. Show an example of this. 

“Moonrise, Hernandez, New Mexico” was one of his hottest selling pictures, selling more than 13000 prints, banking him a nice bug sum of dosh.

Another famous landscape was “Monolith, the Face of Half Dom”.

What type of camera did Ansel mainly use? 

Ansel used several cameras throughout his career for different jobs and purposes. For landscapes he used a 4x5 View Camera which produced very sharp large format images. When doing medium format images, he used a Zeiss Ikon Super Iknota B camera.  

Why did Ansel use a red filter? 

The red filter darkens any blue colours or light and creates a stronger low-key contrast.  

What typical technical camera settings would Ansel use and why? 

Long exposure and small aperture.

Steichen and Stieglitz? Who are they and what are they known for? 

Edward Steichen was a photographer and art curator. Alfred Stieglitz was a modern art painter and photographer. Both tried to get photography seen as a style of Fine Art, borrowing methods and techniques from other art forms such as the manipulation of the image, using filters etc. Stark contrast from Ansel Adams and Group f/64 who experimented techniques of photography without borrowing from other art forms. Although they (Group f/64) also did use manipulation methods in their work.

@nqphotoblog​

[rogankelly]

Photography Study - Ansel Adams

What group did Ansel Adams start? Group f/64.

Why did he set up this group? He wanted to get photography to be considered as a type of art form.

What is pictorialism? Pictorialism is using techniques of painting and fine art, focusing on composition and printing techniques to emphasis beauty.

Group Manifesto:

What did Ansel Adams first train as? He first trained as a musician, more specifically a pianist and took composition lessons.

When did his love for photography begin? His love of photography began when he started taking family trips to Yosemite National Park.

What was his first camera? His first camera was a Kodak brownie box camera.

What age was Ansel Adams when he has his first images published? He was 19.

What age did Ansel open his first gallery. At the age of 20 he started selling prints to his girlfriend Virginia’s family gallery called Bests Studio.

What type of techniques did he start experimenting with? In the 1920s he began to experiment with pictorialist techniques including edging, bromoil process and soft focus.

How much did Ansel sell his first portfolio for? Almost $4,000.

Who was a huge influence on Ansel? Paul Strand.

Why was the group f/64 significant? It proved to be significant for advancing photography as it proved that it was a modern alternative to the Steichen Stieglitz camera clubs. It promoted pure and straight photography.

What age did Ansel open his first gallery? He opened his first gallery in San Francisco when he was 31.

What Artists did Ansel meet in New Mexico? The many artists who were in Stieglitz inner circle which included Georgia O’Keeffe, John Marin and Paul Strand.

What happened in a trip to New Mexico in 1941? He took once of his most famous images while he was on that trip, Moonrise over Hernandez.

How long was Ansel Adams career? Nearly 60 years as a fine art and commercial photographer.

Along with Fred Archer what did Ansel Adams pioneer? He pioneered the zone system.

What was Ansel’s biggest selling image called? Moonrise, Hernandez.

Why did Ansel use a red filter? To control the negative more and to be able to get an easier print because of the high contrast as it takes blues and turns them dark which makes a lot more contrast.

What type of technical camera settings would Ansel use and why? He mainly liked to work with long exposures, small apertures so he could get the best sharpness and depth of field.

What type of camera did Ansel mainly use? He used many like a Hassleblad 500c Medium Format or Deardorf 8×10 View Camera.

Steichen and Stieglitz? Who are they and what are they known for?

Edward Jean Steichen was a Luxembourgish American photographer, painter, and curator, who is widely renowned as one of the most prolific and influential figures in the history of photography.

Alfred Stieglitz was an American photographer and modern art promoter who was instrumental over his fifty-year career in making photography an accepted art form.

[crmphotogrxphy]

Ansel Adams

What group did Ansel Adams start?- He started the group F64.

Why did he set up this group?- He set this group to get photography to be accepted as an art form.  

What type of photography is he best known for?- Ansel Adams was most known for his landscapes and his sharp detailed photography.

What did Ansel first train as?- He first trained as a musician with piano and composition lessons.

When did his love for photography begin?- His love for photography began when he went to Yosemite National Park on a family trip.

What was his first camera?- His first camera was a Kodak brownie box camera that was given to him by his father.

What age was Ansel when he had his first images published?- He was 19 years old.

What type of techniques did start experimenting with?- He started experimenting with pictorial techniques, edging and soft focus.

How much did Ansel sell his first portfolio for?- His first portfolio sold for $4000.

What Artists did Ansel meet whilst in New Mexico?- He met Georgie O’Keeffe, John Martin and Paul Strand whilst visiting New Mexico.

Who was a huge influence on Ansel?- Paul Strand had a huge influence on Ansel.

Find out more about the artist that influenced Ansel Adams, can you see the influence of this artist on Ansel’s work?- Paul Strand’s photography inspired Ansel Adams. Both photographers used black and white and leading lines in their photographs.

Why was group F64 significant?- The group contributed to the advancement of photography and brought more attention to Southern California schools of photography.

What is Pictorialism?-  It is an artistic style of photography and it looks similar to the work of artists from the late 19th and early 20th centuries. 

What age did Ansel open his first gallery?- He opened his first gallery in San Francisco at the age of 31.

What happened in a trip to Mexico in 1941?- On this trip he shoot one of his most famous images “Moonrise over Hernandez”.

How long was Ansel Adams career?-His career lasted almost 60 years.

Along with Fred archer what did Ansel Adams pioneer?- He pioneered The zone system. 

Research the system? What is it? Can it be applied to digital photography? - It is a technique that helps the photographer to reach the optimal exposure during the capture of the image, and the developing and printing of the negative. The Zone System can be applied to digital photography.

What type of camera did Ansel mainly use?- He used a DearDorf 8 by 10 view camera.

Why did Ansel use a red filter?- He used it to convert the bright sky to dark/black.

What typical technical camera settings would Ansel use and why?-Ansel would shoot in landscape mode and would use long exposure and small aperture. This helped him with sharpness and depth of field in his photographs.

Steichen and Stieglitz? Who are they and what are they known for? Edward Steichen and Alfred Stieglitz were well known photographers and they helped to get photography accepted as an art form.