The Rhine II, 1999
99 Cent, 1999
Ocean I, 2010
Madonna in Los Angeles, 2001
Hamm, Bergwerk Ost, 2008
Paris Montparnasse, 1993
Dan Kramer
With his portrait of Bob Dylan
26.10.12
20.9.12
Helmut Newton: Portraits
I did find a wonderful girl last year, but the photographs that we did were more about motorcars.
(Helmut Newton)
I was
lucky to have my wife as the art director, and it turned out to be quite
something - a great success. I'm very proud of it.
(Helmut Newton)
It's
that I don't like white paper backgrounds. A woman does not live in
front of white paper. She lives on the street, in a motor car, in a
hotel room.
(Helmut Newton)
Technically,
I have not changed very much. Ask my assistants. They'll tell you, I am
the easiest photographer to work with. I don't have heavy equipment. I
work out of one bag.
(Helmut Newton)
Helmut Newton (1920 - 2004)
Helmut Newton Foundation | helmut-newton.com
Helmut Newton on artnet
19.9.12
The Distortions of Kertész
...Henri Cartier-Bresson once stated on behalf of himself, Robert Capa, and Brassaï, “Whatever we have done, Kertész did first.”
Distortion #70
I wanted to do something my way—with my conception—without complications. I took the dancers along and photographed them on a children’s playground dancing. Some children were playing hide-and-seek and the dancers started to mix with the children. Look at the adoration of the children in the picture. This was a fantastic moment captured in a photo. The dancer, which is the glamour, and the children. the publicity manager sent the photos over to Life magazine. They came back to one and a half years later: “We do not find a place for using them.”
- André Kertész, Kertész on Kertész
Distortion #40
Distortion #140
Distortion #41
One day my mother said, “If you want to go to Paris, go.” This was a great moment in my life. It was 1925. Arriving late at night, I and two other Hungarian boys took a room in a hotel. We were very tired, but next morning I looked out of the window and say my first subject. I knew no one in Paris, but I soon made friends.
- André Kertész, Kertész on Kertész
Distortion #172
Distortion #78
Distortion #23
Distortion #80
A Hungarian friend of mine introduced me to the editor of the magazine “Le Sourire,” a very French sort of magazine–satiric, risqué. Many artists worked for this publication. They had never published photos before. The editor asked me to do something. I bought two distorting mirrors in the flea market–the kind of thing you find in amusement parks. With existing light and an old lens invented by Hugo Meyer, I achieved amusing impressions. Some images like sculptures, others grotesque and frightening. I took about 140 photographs in a month, working two or three times a week. “Le Sourire” published a couple of them, and we planned a book, but it had to wait forty years to be published–but that is another story.
- André Kertész, Kertész on Kertész
Robert Doisneau and André Kertész in Arles, France, 1975 © Wolfgang H. Wögerer
Chasing Light » André Kertész
Andre Kertesz at Photography-Now.net - The International Artist Index
The Great Bresson!
"The photograph itself doesn't interest me. I want only to capture a minute part of reality."
CHINA. Shanghai. December 1948-January 1949. As the value of the paper money sank, the Kuomintang decided to distribute 40 grams of gold per person. With the gold rush.
SPAIN. Andalucia. Seville. 1933.
"It seems dangerous to be a portrait artist who
does commissions for clients because everyone wants to be flattered, so
they pose in such a way that there’s nothing left of truth."
(
Henri Cartier-Bresson)
SPAIN. Barcelona. Barrio Chino. 1933.
USA. New York City. Manhattan. Downtown. 1947.
FRANCE. Paris. 14th arrondissement. Rue d'Alésia. Swiss painter and sculptor, Alberto GIACOMETTI. 1961.
GREAT BRITAIN. London. Coronation of King George VI. 12 May 1937.
"They . . . asked me:
"How do you make your pictures?' I was puzzled . . .
"I said, 'I don't know, it's not important."
"How do you make your pictures?' I was puzzled . . .
"I said, 'I don't know, it's not important."
(
Henri Cartier-Bresson)
Henri Cartier-Bresson (1908 - 2004)
Fondation Henri Cartier-Bresson
Henri Cartier-Bresson - Magnum Photos Photographer Portfolio
Henri Cartier-Bresson - A French Photographer - The Father of ...
Masters Jury: Tim Flach
"My work is shaped by my studio experiences and advertising
background. I studied painting, not photography—Cézanne and Picasso were
my first mentors."
(Tim Flach)
Tim Flach is a photographer
best known for his highly conceptual portraits of animals, particularly
horses.
His work has been exhibited
in Britain, the United States and the Far East. He also frequently
lectures on photography in various countries and has received such
international awards.
horse #1
horse #2
horse #3
"For a photo shoot with animals to succeed, you need to
ask the right questions of the people who know them best. It also helps
to have an interest in animal behavior.
For example, with horses, you don’t want to make sudden or unfamiliar movements or go around back because they need to have a sense of what’s going on. Surprisingly, flash lighting is less disruptive than you would imagine."
For example, with horses, you don’t want to make sudden or unfamiliar movements or go around back because they need to have a sense of what’s going on. Surprisingly, flash lighting is less disruptive than you would imagine."
(Tim Flach)
@ Tim Flach
@ Tim Flach
"Less Is More! I have a passion for animals and a
fascination with our tendency to project human values upon them. We have
a unique partnership with horses, which is what makes them a great
subject to explore."
(Tim Flach)
anatomika #1
anatomika #2
anatomika #3
Tim Flach
Tim Flach - Hasselblad
7.8.12
Dreaming Deep
We usually think of Hurricane Katrina as a destructive force. But it’s inspired many acts of creation, including Scott Rhea’s stunning photo series An Inevitable Consequence.
Introduced to photography in eighth grade by his aunt and uncle, who owned a camera store, Rhea is primarily self-taught. In the 1990s he worked as an advertising and editorial photographer in Zurich, Hamburg and Athens, but he became jaded by commercial photography and turned to fine art and personal projects.
Today Rhea is most interested in spiritual and emotional growth as an artist. He often isolates himself from any outside media, including television and print publications, that might influence his creative process. While it’s easy to make an aesthetically pleasing image, he explains, “the real magic comes from having a great idea.”
scott rhea director/photographer
SCOTT RHEA underwater installation for FLUX on Vimeo
Scott Rhea | American Photo
1.7.12
Portraits of Portraits
Tim Mantoani's Capturing the visionaries behind great photographs:
Nick Ut
With his famous Vietnam photo of a young girl after a napalm strike at Trang Bang Village
Rodney Smith
hides behind his image.
hides behind his image.
Ryszard Horowitz
Holding his photo "Egg Head"
“Most of them were just doing their job. They didn’t realize that their work would have the significance it has today.”
“Most of them were just doing their job. They didn’t realize that their work would have the significance it has today.”
Karen Kuehn
Holding: "Legs"
Douglas Kirkland
With his photo of Marilyn Monroe
Commercial Advertising Photographer/Tim Mantoani
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