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IMAGERY The Photographer CELEBRATING THE EYES BEHIND THE IMAGES

1826

THE FIRST PHOTOGRAPH

The Beginning of something magnificent that would change our Society forever

The earliest recorded photograph was an image produced in 1826 by the French inventor Joseph NicĂŠphore NiĂŠpce. (View from the Window at Le Gras, 1826.)

The next step in the evolution of photography was the development of the Daguerreotype process, which was invented in 1829 by Louis Daguerre. He worked with Niepce to figure out a way to reduce the incredibly long exposure that was needed to get an image using the heliograph process:

The Impact of Photography on Society By Dirk Huds

Modern photography began in 1839 when Louis Daguerre invented his eponymous daguerreotype. This image-making process could reproduce a fleeting image on a metal plate in just 30 minutes. Since then, photography has gone through many developments, from 35mm film to digital imaging, and has had a significant impact on many aspects of society. Memory Photography changed the way we remember things. It offers instantaneity and has the ability to capture actual events, a slice of reality. Roland Barthes, a preeminent theorist of photography, said that photograph is the â&#x20AC;&#x153;sovereign contingency,â&#x20AC;? meaning it is dependent on something else happening. We now look to photographs as confirmation of memory. History Photography has played a large role in our conception of history. Historically, photographs provided an objective record of real events. They were key, for instance, in confirming for the public the ravages of the Civil War and horrors of the Holocaust. However, we now know that photographic images can be manipulated. Employment A tangible impact of photography has been the number of people employed in the industry, particularly after the introduction of 35mm film in the 1920s by the Kodak company. The innovation meant a number of people were needed to sell and service cameras and films. Photography also meant new employment opportunities as photo reporters and editors, and in photographic agencies and libraries. Access In its earliest incarnations, photography was still the domain of the rich. However, the Eastman Kodak company, which invented the instant camera and cheap 35mm film, put the power of photography in the hands of the general public. Anyone could point and click a camera, making photography the most widely used art form. Science The ability of the camera to record the world as it is has made it an invaluable tool in scientific research. It its early days it was used to record evidence on field trips, show portraits of remote tribes people or newly discovered animal species. For example, Eadweard Muybridgeâ&#x20AC;&#x2122;s ability to shoot consecutive photographs in quick succession demonstrated that a horse has all four legs off the ground at certain points when running. Photographic technology has led directly to scientific innovation in brain scanning and assessment of the human body. Art It could be argued that the invention of photography liberated the traditional arts (painting, sculpture, even literature) from the yoke of representation. Previously, art had been used to simply reproduce the world, but photography could do that better than any other form, and much more quickly. Artist had to find new modes of operation and seismic shifts in art production, from modernism to abstract expressionism, were all conceived in the wake of photography.

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The Masters The photographers that captured our Imagination and show us the power of Imagery, and how they change our Perception on art, fashion, war, Journalism etc. “The Masters”

Annie Leibovitz

Richard Avedon

Gordon Parks

James Nachtwey

Vivian Maier

Steve McCurry

Carrie Mae Weems

David LaChapelle

Henri Cartier-Bresson

Ellen von Unwerth

Sally Mann

Mary Ellen Mark

Nick Knight Peter Lindbergh

The Masters few names of photographers for you to look up for your inspiration.....

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COLOR SHADE Photographer, Karol Balak, Model, Natalia Stysiat, MUA, Karolina Jankowska, Stylist, Karol Balak, Location, Legnica, Poland

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Rosa Parks Sitting on the bus

(Picture: AP Photo/Nick Ut, File) The image of a napalm scarred little girl running from her burning village in Vietnam is one of the most well known photographs in the world.

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South Vietnamese police chief Nguyen Ngoc Loan executing Vietcong member Nguyen Van Lem in the street.

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THE IMAGES, PHOTOGRAPHERS, AND STORIES THAT FOREVER SHAPED OUR SOCIETIES AND OUR LIVES

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-Photographer Darlington Panton, dress-red, ColdVenus, Designer -Isaac West, Models, Nyajima Lok, Nyakim Gatwech

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Darlington Panton, dress-red, ColdVenus, Designer -Isaac West, Models, Nyajima Lok, Nyakim Gatwech

GOLD & RED

-Photographer Darlington Panton, dress-red, ColdVenus, Designer -Isaac West, Models, Nyajima Lok, Nyakim Gatwech

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pher Darlington Panton, dress-red, ColdVenus, Designer -Isaac West, Models, Nyajima Lok, Nyakim Gatwech

GOLD & RED

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hotography: is it art?

By: Michael Prodger

For 180-years, people have been asking the question: is photography art? At an early meeting of the Photographic Society of London, established in 1853, one of the members complained that the new technique was “too literal to compete with works of art” because it was unable to “elevate the imagination”. This conception of photography as a mechanical recording medium never fully died away. Even by the 1960s and 70s, art photography – the idea that photographs could capture more than just surface appearances – was, in the words of the photographer Jeff Wall, a “photo ghetto” of niche galleries, aficionados and publications. But over the past few decades the question has been heard with ever decreasing frequency. When Andreas Gursky’s photograph of a grey river Rhine under an equally colourless sky sold for a world record price of £2.7 million last year, the debate was effectively over. As if to give its own patrician signal of approval, the National Gallery is now holding its first major exhibition of photography, Seduced by Art: Photography Past and Present. The show is not a survey but rather examines how photography’s earliest practitioners looked to paintings when they were first exploring their technology’s potential, and how their modern descendants are looking both to those photographic old masters and in turn to the old master paintings. What paintings offered was a catalogue of transferable subjects, from portraits to nudes, still life to landscapes, that photographers could mimic and adapt. Because of the lengthy exposures necessary for early cameras, moving subjects were impossible to capture. The earliest known photograph of a person was taken inadvertently by Louis Daguerre – with Henry Fox Talbot one of photography’s two great pioneers – when he set up his camera high above the Boulevard de Temple in Paris in 1838. His 10-minute exposure time meant that passing traffic and pedestrians moved too fast to register on the plate, but a boulevardier stood still long enough for both him and the bootblack who buffed his shoes to be captured for ever. When Daguerre turned his camera on people rather than places the results were revelatory. Elizabeth Barrett Browning was so struck by Daguerreotypes that she rhapsodized over “the very shadow of the person lying there fixed forever”. The fidelity of features captured meant that she “would rather have such a memorial of one I dearly loved, than the noblest Artist’s work ever produced” not “in respect (or disrespect) of Art, but for Love’s sake”. If, however, her photographer followed the advice of Eugène Disdéri, who wrote in 1863 that: “It is in the works of the great masters that we must study the simple, yet grand, method of composing a portrait,” she could satisfy love with both physiognomy and art. What some pioneering photographers recognized straight away was that photographs, like paintings, are artificially constructed portrayals: they too had to be carefully composed, lit and produced. Julia Margaret Cameron made this explicit in her re-envisagings of renaissance pictures. Her Light and Love of 1865, for example, shows a woman in a Marian head-covering bending over her infant who is sleeping on a bed of straw. It is part of a line of nativity scenes that is as long as Christian art, and was hailed by one critic as the photographic equivalent of “the method of drawing employed by the great Italian masters”. I Wait, 1872, shows a child with angel’s wings resting its chin on folded arms and wearing the bored expression that brings to mind the underwhelmed cherubs in Raphael’s Sistine Madonna. Such photographs were not direct quotations from paintings, but they raised in the viewer’s mind a string of associations that gave photography a historical hinterland. If Cameron and contemporaries such as Oscar Rejlander and Roger Fenton (who took numerous photographs of still-life compositions of fruit and flowers as well as his better known pictures of the Crimean war) were keen that their photographs should reflect their own knowledge of art, the links went both ways. In 1873, Leonida Caldesi published a book of her photographs of 320 paintings in the National Gallery, and her intended audience was not just the public but artists themselves, for whom the photographs were both more accurate and more affordable than engraved reproductions. By 1856, thanks to Fenton’s photographs, artists could study classical statues in their own studios. It was perhaps in depicting the nude – such as Fenton’s bestselling photograph of the discus thrower Discobolus – that photography could repay its debt to art. Hiring a life model was expensive, and engravings were a poor substitute. Delacroix was one artist who “experienced a feeling of revulsion, almost disgust, for their incorrectness, their mannerisms, and their lack of naturalness”. He praised instead the painterly aid provided by académies (books of nude photographs) since they showed him reality: “these photographs of the nude men – this human body, this admirable poem, from which I am learning to read”. He even helped the photographer Eugène Durieu pose and light his models. And in 19th-century Britain and France, when pornography was illegal, photographs of the nude were in demand from customers who had no artistic interests.

Advertisement When it came to landscape photography the new medium appeared just as the impressionists were beginning to work in the open air. Some commentators saw photography’s real challenge to painting as lying in its ability to capture what the photographer and journalist William Stillman called in 1872 “the affidavits of nature to the facts on which art is based” – the random “natural combinations of scenery, exquisite gradation, and effects of sun and shade”. Another practitioner, Lyndon Smith, went further, declaring landscape photography the answer to the “effete and exploded ‘High Art’, and ‘Classic’ systems of Sir Joshua Reynolds” and “the cold, heartless, infidel works of pagan Greece and Rome”. Being new was a laborious business, however. Eadweard Muybridge, the British-born photographer who first captured animals in motion and as a result ended the old painterly convention of showing horses running with all four legs off the ground, was primarily a landscape photographer. His pictures of the Yosemite wilderness, for example, involved carrying weighty cameras, boxes of glass negatives, as well as tents and chemicals for a makeshift darkroom, up mountains and through forests. Monet’s painting expeditions by contrast required only paint and canvas. If early photographers had no option but to negotiate their own engagement with painting their modern descendants can call on nearly two centuries of photographic history. It is a point the exhibition makes by combining old and new. So when a contemporary photographer such as Richard Billingham photographs an empty expanse of sea and sky in Rothko washes of slate blues and greys (Storm at Sea) he is referring to a heritage that encompasses both the monochrome tonality of Gustave Le Gray’s atmospheric photographic seascapes of the 1850s and a painting such as Steamer on Lake Geneva, Evening Effect, 1863, by the Swiss artist François Bocion. The point is made across the different media. A brittle portrait of a suburban couple from Martin Parr’s 1991 album Signs of the Times, for example, is contrasted with Gainsborough’s Mr and Mrs Andrews of 1750. Both are images of possession and entitlement, the latter displaying landowners at ease amid their fields and woods, comfortable with both themselves and their station, the former a couple posing stiffly in their sitting room. Meanwhile a 19th-century flower painting by Henri Fantin-Latour is the starting point for Ori Gersht’s fragmented blooms, Blow Up. Gersht froze his flowers with liquid nitrogen before exploding them with a small charge and photographing the petals turned to flying shards. Among the nudes, Richard Learoyd’s Man with Octopus Tattoo, 2011, is placed next to the gallery’s 1819-39 painting of Angelica Saved by Ruggiero by that connoisseur of bodily curves, Ingres. The appeal of flesh and its sinuosity is timeless. The curators of the National Gallery exhibition have avoided using many of contemporary photography’s biggest names (there is no Andreas Gursky and no Cindy Sherman for example), and nor do they include photo-realist painters such as Gerhard Richter or Andy Warhol. Their choices are largely less celebrated figures as if to show how deep is the seam of photographers still working with the long visual past. When in 1844-6 Fox Talbot published his thoughts about photography he gave the book (the first publication to contain photographic illustrations) the title The Pencil of Nature. This exhibition lays out what photography’s founding father could never know: how the camera has also always been the pencil of art.

An image of a couple in their suburban home, from Martin Parr’s album Signs of the Times, England, 1991 Photograph: Martin Parr/Magnum

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Models, : Eleanor Guanue & Francisa Rubi Morel // Style by Eleanor Guanue & Francisa Rubi Morel Clothes, Bra-Victories secret, Suit- Express, photographer-Darlington Panton

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THE ICONâ&#x20AC;&#x2122;S

Collage of iconic photographers that change the world. Images that will live for generations to come.

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Celebrating imagery and the Photographer ISSUE -Winter

Photographers

Photographer

The Masters

The photographers that shade our Imagination and show us the power of Imagery, and how they change our Perception on art, fashion, war, Journalism etc. The Masters of photography.

FEATURE COLOR SHADE Photographer, Karol Balak, Model, Natalia Stysiat, MUA, Karolina Jankowska, Stylist, Karol Balak, Location, Legnica, Poland

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How photography

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How photography evolved from science to art? By The Conversation Much like a painting, a photograph has the ability to move, engage and inspire viewers. It could be a black-and-white Ansel Adams landscape of a snow-capped mountain reflected in a lake, with a sharpness and tonal range that bring out the natural beauty of its subject. Or it could Edward Weston’s close-up photograph of a bell pepper, an image possessing a sensuous abstraction that both surprises and intrigues. Or a Robert Doisneau photograph of a man and woman kissing near the Paris city hall in 1950, a picture has come to symbolize romance, postwar Paris and spontaneous displays of affection. No one would question that photographs such as these are works of art. Art historians can explain the technical and artistic decisions that elevate photographs by the masters, whether it’s Weston’s use of a tiny aperture, Adams’ printing techniques or Doisneau’s distinctive aesthetic. It’s clear that Pepper No. 30 belongs in a museum, even if a selfie posted on Facebook doesn’t. Oddly enough, it was not always this way. Photography has not yet celebrated its 200th birthday, yet in the medium’s first century of existence, there was a great deal of debate over its artistic merit. For decades, even those who appreciated the qualities of a photograph were not entirely sure whether photography was – or could be – an art. Science or art? In its first incarnation, photography seemed to be more of a scientific tool than a form of artistic expression. Many of the earliest photographers didn’t even call themselves artists: they were scientists and engineers – chemists, astronomers, botanists and inventors. While the new form attracted individuals with a background in painting or drawing, even early practitioners like Louis Daguerre or Nadar could be seen more as entrepreneurial inventors than as traditional artists. Before Daguerre invented the daguerreotype (an early form of photography on a silver-coated plate), he had invented the diorama, a form of entertainment that used scene painting and lighting to create moving theatrical illusions of monuments and landscapes. Before Nadar began to create photographic portraits of Parisian celebrities like Sarah Bernhardt, he’d worked as a caricaturist. (An aeronaut, he also built the largest gas balloon ever created, dubbed The Giant.) One reason early photographs were not considered works of art because, quite simply, they didn’t look like art: no other form possessed the level of detail that they rendered. When the American inventor Samuel F B Morse saw the daguerreotype shortly after its first public demonstration in Paris in 1839, he wrote, “The exquisite minuteness of the delineation cannot be conceived. No painting or engraving ever approached it.” A photograph of a haystack, with its thousands of stalks, looked visually staggering to a painter who contemplated drawing each one so precisely. The textures of shells and the roughness of a wall of brick or stone suddenly appeared vividly in photographs of the 1840s and 1850s. For this reason, it’s no surprise that some of the earliest applications of photography came in archaeology and botany. The medium seemed well suited to document specimens that were complex and minutely detailed, like plants, or archaeological finds that needed to be studied by faraway specialists, such as a tablet of hieroglyphics. In 1843, Anna Atkins produced Photographs of British Algae: Cyanotype Impressions – considered the first book illustrated with photographs.

Finally, the genesis of a painting, drawing or sculpture was a human hand, guided by a human eye and mind. Photographers, by contrast, had managed to fix an image on a metal, paper, or glass support, but the image itself was formed by light, and because it seemed to come from a machine – not from a human hand – viewers doubted its artistic merit. Even the word “photograph” means “light writing.” Critics weigh in Before the photograph, painted portraits had almost always flattered the client and conformed to the fashions of the day; meanwhile, the earliest photographic portraits didn’t. Elizabeth (Lady) Eastlake, one of the foremost 19th century writers on photography, listed many of the photograph’s shortcomings when it came to rendering the female face. In a black and white photograph, blue eyes looked “as colourless as water,” she wrote, blonde and red hair seemed “as if it had been dyed,” and very shiny hair turned into “lines of light as big as ropes.” Meanwhile, she noted that the male head, with its rougher skin and beard or moustache, might have less to fear, but still suffered a distinct loss of beauty in the photographic portrait. To Lady Eastlake, the photograph, “however valuable to relative or friend, has ceased to remind us of a work of art at all.” Debate over photography’s status as art reached its apogee with the Pictorialist movement at the end of the 19th century. Pictorialist photographers manipulated the negative by hand; they used multiple negatives and masking to create a single print (much like compositing in Photoshop today); they applied soft focus and new forms of toning to create blurry and painterly effects; and they rejected the mechanical look of the standard photograph. Essentially, they sought to push the boundaries of the form to make photographs appear as “painting-like” as possible – perhaps as a way to have them taken seriously as art. Pictorialist photographers found success in gallery exhibitions and highend publications. By the early 20th century, however, a photographer like Alfred Stieglitz, who had started out as a Pictorialist, was pioneering the “straight” photograph: the printing of a negative from edge to edge with no cropping or manipulation. Stieglitz also experimented with purely abstract photographs of clouds. Modernist and documentary photographers began to accept the medium’s inherent precision instead of trying to make images that looked like paintings. “Photography is the most transparent of the art mediums devised or discovered by man,” wrote critic Clement Greenberg in 1946. “It is probably for this reason that it proves so difficult to make the photograph transcend its almost inevitable function as document and act as work of art as well.” Still, well into the 20th century, many critics and artists continued to view photography as operating in a realm that was not quite fine art – a debate that even continues today. But a look back to the 19th century reminds us of the medium’s initial shocking – and confounding – realism, even as photo portraits printed on calling cards (“carte de visites”) were becoming as fashionable and ubiquitous as Facebook and Instagram today.

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Tips to Take Better Photos by PetalPixel

f/4

f/4 is my ‘go to’ aperture. If you use a wide aperture with a long lens (200mm-400mm) you’re able to separate the subject from the background. This helps them stand out. Works every time. — Peter Wallis

Read your camera’s manual

The best way to know what to do with your camera is to actually read the manual. So many people miss this really important step on their photographic journey. Every camera is different, so by reading the manual you’ll get to know all the funky things it’s capable of.

Slow down

Take time to think about what is going on in the viewfinder before pressing the shutter. How are you going to compose the shot? How are you going to light it? Don’t jump straight in without giving it some thought first. — Brad Marsellos

Stop chimping (checking the photo on the back screen)

It’s a bad habit digital photographers can develop. Time and time again I see photographers take a photograph and then look at the back of the screen straight away. By doing that you could miss all the special moments. You can look at your photos later. You can miss ‘the shot’ and it affects the flow of your work, so just keep shooting! – Marina Dot Perkins

Framing

This is a technique to use when you want to draw attention to something in your photograph. By framing a scene or a subject, say with a window or an archway, you lead the viewer’s eye to the primary focal point.

Shape with light

Get in close

It was the famous photojournalist Robert Capa who once said “If your photographs aren’t good enough, you’re not close enough.” He was talking about getting in amongst the action. If you feel like your images aren’t ‘popping’, take a step or two closer to your subject. Fill the frame with your subject and see how much better your photo will look without so much wasted space. The closer you are to the subject, the better you can see their facial expressions too.

Never shoot with the sun directly behind you. It creates boring, flat light on the subject. If youshoot with the light source to the side or behind the subject, you are able to shape with the light, creating a more interesting photo. — Patria Jannides

Be present

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This means make eye-contact, engage and listen to your subject. With the eyes – lower that camera and be human. Bring Shoot every day the camera up for a decisive shot. But The best way to hone your skills is to practice. A lot. Shoot as much remember to lower it, like you’re coming as you can – it doesn’t really matter what. Spend hours and hours up for air, to check in with your subject. behind your camera. As your technical skills improve over time, your Having expensive camera equipment doesn’t Don’t treat them like a science experiment ability to harness them to tell stories and should too. always mean that you’ll take good photos. I’ve seen some absolutely amazing under a microscope. Being there with Don’t worry too much about shooting a certain way to begin with. images shot with nothing more than a smart phone. Instead of having ten your subject shows them respect, levels the Experiment. Your style – your ‘voice’ – will emerge in time. And it different lenses, invest in some fantastic photography books. By looking at playing field in terms of power dynamics, will be more authentic when it does. — Leah Robertson the work of the masters, not only do you get inspired, you come away with and calms them down. You’ll get much more natural images this way. — Heather ideas to improve your own photos. Leah Robertson is a super talented Melbourne based photographer Faulkner and videographer, specialising in music and documentary photograShutter speed phy.You can see her work here. Being aware of your shutter speed means the difference between taking a blurry photo and a See the light sharp photo. It all depends on what you are after. If you are shooting a sporting event or children Before you raise your camera, see where the light is coming from, and use it to your running around in the backyard, you probably want your subjects to be in focus. To capture fast advantage. Whether it is natural light coming from the sun, or an artificial source like action you will have to use a shutter speed over 1/500th of a second, if not 1/1000th to 1/2000th. a lamp; how can you use it to make your photos better? How is the light interacting On the opposite end of the scale, you might want to capture the long streaks of a car’s tail lights with the scene and the subject? Is it highlighting an area or casting interesting shadrunning through your shot. Therefore you would change your camera’s shutter speed to a long ows? These are all things you can utilise to make an ordinary photo extraordinary. exposure. This could be one second, ten seconds, or even longer.

Ask permission

Charge your batteries

Use flash during the day

Focal length

When photographing people, especially while in countries with different cultures and languages, it can be hard to communicate. In certain countries if you photograph someone you are not ‘supposed’ to photograph, it can get ugly and rough very quickly if you are not careful. So out of respect you should always ask permission. You might think that you should only use flash at night time or indoors, but that’s not the case at all. If it is an extremely bright day outside and the sun is creating harsh shadows on your subject, switch on your flash. By forcing extra light onto your subject, you will be able to fill in those ugly shadows and create an even exposure.

ISO

There are questions to ask yourself when deciding what ISO to use: What time of day are you shooting? If you are shooting outside during the middle of the day you will need to use a lower ISO such as 100 or 200. If you are shooting at night time without a tripod you will have to increase the ISO to a higher number to be able to record the light on the camera’s sensor. Will the subject be well lit? If your subject or scene is too dark you will need to use a higher ISO such as 800 or 1600. Do you want a sharp image or an image with more movement in it? Using a high shutter speed to capture fast movement might mean that you need to use a high ISO to compensate. Likewise, if you’re using a slow shutter speed to capture blur you will need a low ISO to compensate. Don’t forget, increasing your ISO increases the grain or pixel size in your photo. So don’t use an ISO of 3200 or 6400 if you don’t want a photo with a lot of ‘digital noise’.

This seems like a simple one, but pretty much every photographer on the face of the planet has been caught out before. Including myself. The trick is to put the battery onto the charger as soon as you get home from your photo shoot. The only thing then is to make sure you remember to put it back into the camera after it has been recharged… Keep it simple. I shoot with two prime lenses and one camera; A 28mm and a 35mm. For everything. I use the 35mm lens 70% and the 28mm lens 30% of time. It takes some time to get used to it, but once you work it out, shooting primes is the only way to go. It means you have to work with what you have and you can’t be lazy. Basically, this means more pictures and less fiddling around with zooming and maybe missing moments. It also helps for consistency. If you’re working on a project or a series, keeping the same focal lengths is a great way to maintain a powerful sense of consistency. — Justin Wilkes

Be part of a photographic community

Like ABC Open! Not only will you be able to publish your photos for the rest of the country to see, you’ll be part of an active group that offers feedback on how great you are going. You can learn new things to help you improve your technique, and you might even make some new photography buddies.

Shoot with your mind

Even when you’re not shooting, shoot with your mind. Practice noticing expressions and light conditions. Work out how you’d compose a picture of that scene over there that interests you, and what sort of exposure you might use to capture it best. — Leah Robertson

Have a camera on you at all times

You can’t take great photos if you don’t have a camera on you, can you? DSLR, point-and-shoot or smart phone, it doesn’t really matter. As long as you have access to a camera, you’re able to capture those spontaneous and unique moments in life that you might have otherwise missed.

choice is, be the master

Whatever your

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Gorgeous Murals by Street Artist(Fin Dac in Melbourne Adelaide-Australia