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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: LACMA

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

    

[ 1291 Words ]

    
Photographer’s Quote of the Day…

Photographer: David Bailey

Quote:
“It takes a lot of imagination to be a good photographer. You need less imagination to be a painter, because you can invent things. But in photography everything is so ordinary; it takes a lot of looking before you learn to see the ordinary.”

Short Bio Statement: David Bailey, an English photographer who helped create the ‘Swinging London’ of the 1960s…

For more information, see: http://en.wikipedia.org/wiki/David_Bailey_(photographer)

    
Photographer’s Backgrounder:

David Bailey_PhotographerDavid Royston Bailey CBE (born 2 January 1938) is an English photographer. Bailey developed a love of natural history, and this led him into photography. Suffering from undiagnosed dyslexia, he experienced problems at school. He attended a private school, Clark’s College in Ilford, where he says they taught him less than the more basic council school. As well as dyslexia he also has the motor skill disorder dyspraxia.

In 1959 he became a photographic assistant at the John French studio, and in May 1960, he was a photographer for John Cole’s Studio Five before being contracted as a fashion photographer for British Vogue magazine later that year. He also undertook a large amount of freelance work.
 
Along with Terence Donovan and Brian Duffy, he captured and helped create the ‘Swinging London’ of the 1960s: a culture of high fashion and celebrity chic. The three photographers socialized with actors, musicians and royalty, and found themselves elevated to celebrity status. Together, they were the first real celebrity photographers, named by Norman Parkinson as "the Black Trinity".
 
The film Blowup (1966), directed by Michelangelo Antonioni, concerns the work and sexual habits of a London fashion photographer played by David Hemmings and is largely based on Bailey.
 
The "Swinging London" scene was aptly reflected in his Box of Pin-Ups (1964): a box of poster-prints of 1960s celebrities and socialites including Terence Stamp, The Beatles, Mick Jagger, Jean Shrimpton, PJ Proby, Cecil Beaton, Rudolf Nureyev, Andy Warhol and notorious East End gangsters the Kray twins.
 
The box was an unusual and unique commercial release, and it reflected the changing status of the photographer that one could sell a collection of prints in this way. (The strong objection to the presence of the Krays on the part of fellow photographer Lord Snowdon was the major reason no American edition of the "Box" ever appeared, nor a British second edition issued.) The record sale for a copy of ‘Box of Pin-Ups’ is reported as "north of £20,000".
 
Bailey’s ascent at Vogue was meteoric. Within months he was shooting covers and at the height of his productivity he shot 800 pages of Vogue editorial in one year. Penelope Tree, a former girlfriend, described him as "the king lion on the Savannah: incredibly attractive, with a dangerous vibe. He was the electricity, the brightest, most powerful, most talented, most energetic force at the magazine".
 
American Vogue’s creative director Grace Coddington, then a model herself said "It was the Sixties, it was a raving time, and Bailey was unbelievably good-looking. He was everything that you wanted him to be – like the Beatles but accessible – and when he went on the market everyone went in. We were all killing ourselves to be his model, although he hooked up with Jean Shrimpton pretty quickly".  (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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