Compiled by: Gerald Boerner ( @glbphoto )
Welcome to a new feature of my blog universe. For quite a while now, I have been posting a set of “Photographer’s Tips of the Day” on my Prof. Boerner’s Exploration page on Facebook. I wanted to try to share these tips with the followers of my blog and this is the first cut. I would appreciate any feedback that you might want to forward to me via the Comments section; if you are a Facebook user, you may use your Facebook credentials to smooth the process of accessing the comment area of this blog.
Each day I scan a number of photo related pages on Facebook as well as Twitter (my Twitter ID is @glbphoto). I hope that these tips and the “Photographer’s Quote of the Day” will help you in your pursuit of improving your photographic eye and skills. I also try to include one reference to a Museum Blog or Exhibit to help you develop your photographer’s eye. GLB
Copyright©2012 • Gerald L. Boerner • Commercial Rights Reserved
[ 1159 Words ]
Photographer’s Quote of the Day…
Photographer: Harry Callahan
“I do believe strongly in photography and hope by following it intuitively that when the photographs are looked at they will touch the spirit in people.”
Short Bio Statement: Harry Callahan, an American photographer who is considered one of the great innovators of modern American photography…
For more information, see: http://www.boerner.net/jboerner/?p=5445
Harry Morey Callahan (1912 – 1999) was an American photographer who is considered one of the great innovators of modern American photography. He was born in Detroit, Michigan and started photographing in 1938 as an autodidact. By 1946, he was appointed by László Moholy-Nagy to teach photography at the Institute of Design in Chicago. Callahan retired in 1977, at which time he was teaching at the Rhode Island School of Design.
Callahan left almost no written records–no diaries, letters, scrapbooks or teaching notes. His technical photographic method was to go out almost every morning, walk the city he lived in and take numerous pictures. He then spent almost every afternoon making proof prints of that day’s best negatives. Yet, for all his photographic activity, Callahan, at his own estimation, produced no more than half a dozen final images a year.
He photographed his wife, Eleanor, and daughter, Barbara, and the streets, scenes and buildings of cities where he lived, showing a strong sense of line and form, and light and darkness. He also worked with multiple exposures. Callahan’s work was a deeply personal response to his own life. He was well known to encourage his students to turn their cameras on their lives, and he led by example. Callahan photographed his wife over a period of fifteen years, as his prime subject. Eleanor was essential to his art from 1947 to 1960. He photographed her everywhere – at home, in the city streets, in the landscape; alone, with their daughter, in black and white and in color, nude and clothed, distant and close. He tried several technical experiments — double and triple exposure, blurs, large and small format film.
Sarah Greenough in her analysis of Harry Callahan, talk of his early life photographing his wife Eleanor…
“Yet it was with his series of photographs of Eleanor, more than with any other subject, that Callahan most fully learned what it meant to see photographically. Although he had photographed her intermittently before, beginning in 1947 he photographed Eleanor extensively for more than a decade and during that time she was central not only to his emotional, physical, and spiritual life, but also to his artistic development. He recorded her, as he recalls, "In an endless number of ways": nude and clothed; in parks, streets, and city squares; on the beach, in the water, in tents, and in the woods; in the privacy of their home – their ballroom studio or their bedroom – and the homes of relatives; in this country and in Europe; with their daughter Barbara or alone…" (Wikipedia)