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Prof. Boerner's Explorations

Thoughts and Essays that explore the world of Technology, Computers, Photography, History and Family.

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Tag: DigitalPS

Compiled by: Gerald Boerner ( @glbphoto )

    

    
Introductory Comments:

JerryPhoto_thumb2Welcome 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

    

[ 1094 Words ]
    

    

    
Photographer’s Quote of the Day…

Photographer: Paul Strand

Quote:
“Honesty no less than intensity of vision is the prerequisite of a living expression. This means a real respect for the thing in front of… the photographer… this is accomplished without tricks of process or manipulation through the use of straight photographic methods…”

Short Bio Statement: Paul Strand, an American photographer and filmmaker who helped establish photography as an art form in the 20th century…

For more information, see: http://www.boerner.net/jboerner/?p=2329

    
Photographer’s Backgrounder:

Paul Strand PortraitPaul Strand was an American photographer and filmmaker who, along with fellow modernist photographers like Alfred Stieglitz and Edward Weston, helped establish photography as an art form in the 20th century. His diverse body of work, spanning six decades, covers numerous genres and subjects throughout the Americas, Europe and Africa.
 
Born in New York City to Bohemian parents, in his late teens Strand was a student of renowned documentary photographer Lewis Hine at the Ethical Culture Fieldston School. It was while on a fieldtrip in this class that Strand first visited the 291 art gallery – operated by Stieglitz and Edward Steichen – where exhibitions of work by forward-thinking modernist photographers and painters would move Strand to take his photographic hobby more seriously. Stieglitz would later promote Strand’s work in the 291 gallery itself, in his photography publication Camera Work, and in his artwork in the Hieninglatzing studio.

Some of this early work, like the well-known "Wall Street," experimented with formal abstractions (influencing, among others, Edward Hopper and his idiosyncratic urban vision). Other of Strand’s works reflect his interest in using the camera as a tool for social reform. He was one of the founders of the Photo League, an association of photographers who advocated using their art to promote social and political causes.  (Wikipedia)

Strand subsequently traveled to Mexico, where he photographed the landscape, architecture, folk art, and people and in 1934 produced a film about fishermen for the Mexican government. Thirteen years earlier he had collaborated with Charles Sheeler on a film, Manhatta, a study of the urban high-rise environment. Having returned to New York late in 1934, Strand devoted his energies to theater and filmmaking cooperatives.

In 1943 Strand resumed his still photography, focusing on the people and surroundings of New England. In the early 1950s he moved to Europe, spending six weeks in the northern Italian agrarian community of Luzzara and later traveling to the Outer Hebrides, islands off the northwest coast of Scotland. He traveled and photographed in North and West Africa in the 1960s.  (Getty Museum)

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Compiled by: Gerald Boerner ( @glbphoto )

    

    
Introductory Comments:

JerryPhoto_thumb[2]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

[ 1293 Words ]

    
Photographer’s Quote of the Day…

Photographer: Sebastião Salgado

Quote:
“Most of the information we now get is through television and is mutilated. Photography offers the opportunity to spend much more time on a topic. It’s relatively cheaper medium, and can allow a photographer really to live in another place, show another reality, get closer to the truth.”

Short Bio Statement: Sebastião Salgado, a Brazilian social documentary photographer and photojournalist…

For more information, see: http://www.boerner.net/jboerner/?p=3474

Photographer’s Backgrounder:

Sebastião Salgado is a Brazilian social documentary photographer and photojournalist. It’s not just that this celebrated Brazilian photojournalist has been sniffling since he arrived in the city, explaining: “I was born in a tropical ecosystem. I’m not used to these plants.” It’s also that he peppers his description of the city with words like strange and crazy, noting that he was mesmerized by the sight of the endless stream of automobile traffic as his plane made its descent.

After a somewhat itinerant childhood, Salgado initially trained as an economist, earning a master’s degree in economics from the University of São Paulo in Brazil. He began work as an economist for the International Coffee Organization, often traveling to Africa on missions for the World Bank, when he first started seriously taking photographs. He travelled often to Africa on missions affiliated with the World Bank. It was then that he first began taking his first photographs. On his return to London these images began to preoccupy him, and he abandoned his career as an economist. At the beginning of 1973 he and his wife returned to Paris so that he could begin his life as a photographer.

Salgado initially worked with the Paris based agency Gamma, but in 1979 he joined the international cooperative of photographers Magnum Photos. He left Magnum in 1994 and formed his own agency, Amazonas Images, in Paris to represent his work. He is particularly noted for his social documentary photography of workers in less developed nations. Longtime gallery director Hal Gould considers Salgado to be the most important photographer of the early century, and gave him his first show in the United States.

Salgado works on long term, self-assigned projects many of which have been published as books: The Other Americas, Sahel, Workers, and Migrations. The latter two are mammoth collections with hundreds of images each from all around the world. His most famous pictures are of a gold mine in Brazil called Serra Pelada. He is presently working on a project called Genesis, photographing the landscape, flora and fauna of places on earth that have not been taken over by man.

In September and October 2007, Salgado displayed his photographs of coffee workers from India, Guatemala, Ethiopia and Brazil at the Brazilian Embassy in London. The aim of the project was to raise public awareness of the origins of the popular drink. (Wikipedia)

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Compiled by: Gerald Boerner ( @glbphoto )

    

    
Introductory Comments:

JerryPhoto_thumb2Welcome 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

Quote:     
“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

    
Photographer’s Backgrounder:

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)

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