Use LEFT and RIGHT arrow keys to navigate between flashcards;
Use UP and DOWN arrow keys to flip the card;
H to show hint;
A reads text to speech;
36 Cards in this Set
- Front
- Back
|
Oscar Rejlander, The Two Ways of Life, 1857, combination albumen print -art photography, art photography was meant to bring photography up to the level of fine art, "grand machines", rejlander was trained as a painter, set up like a theatrical stage, predecessor to pictorialism -sometimes only the right half is printed, controversial content -combination printing, over thirty negatives were used here, range of focus and varying lighting set ups |
|
|
Henry Peach Robinson, Figures in a Landscape, c 1880,albumen print from 2+ negatives -elevating their wort o fine art through references to literature and theater, landscape painting -combination printing allowed control over the amount of focus in each part of the print, maintaining daguerreotype-like clarity throughout the photo. there were debates at the time about how human vision worked -robinson decides its much more enjoyable to see everything in focus. |
|
|
Lady Clementina Hawarden, Photographic study (figure andmirror), c 1864, albumen print -she uses a lot of light, so much that it affects the clarity of her images, the dark cuts in to the figure, the light washes out the figure - art photography |
|
|
Julia Margaret Cameron, Sir John Herschel, carbon print,1867 -uses light and shadow to build up the sculptural feeling of the face |
|
|
Roger Fenton, The Valley of the Shadow of Death,1855, salted paper print (Newhall, p. 87) |
|
|
Alexander Gardner, Killed at the Battle of Antietam, 1862,albumen print |
|
|
Timothy O’Sullivan, Pyramids and Tufa Domes, Pyramid Lake,NV, 1868, albumen print, approx 8 x 10” |
|
|
Timothy O’Sullivan, Ancient Ruins in Canyon ofChelle, NM,1873, albumen print (Newhall, p. 100) |
|
|
Eadweard Muybridge, Galloping Horse, 1878,albumen print (reproduced as drawings in Scientific American, Oct. 18, 1878, and also in the French magazine, La nature) (Newhall, p. 120) |
|
|
Anon., France, The Ghost of Bernadette Soubirous, c. 1890,albumen silver print |
|
|
Hippolyte Baraduc, Photograph of the FluidicNimbus of a Medium’s Thumb, 1893, gelatin silver print |
|
|
Jacob Riis, The Bandits’ Roost, gelatin silver print(Newhall, p. 131) |
|
|
Peter Henry Emerson, Poling the Marsh Hay, 1886, platinumprint |
|
|
A Stiff Pull, 1888, albumen print; A Stiff Pull,photogravure from Pictures of EastAnglian Life, pl. 4 |
|
|
George Davison, The Onion Field, photogravure, published in Camera Work, 1907 (Newhall, 144) |
|
|
Stieglitz, Paula, or Sun’s Rays, Berlin, 1889,gelatin silver print (Newhall, p. 140) |
|
|
Stieglitz, Winter Fifth Avenue, photogravure, 1893, printed1905; gelatin silver print from entire negative, |
|
|
Steichen, Pond, Moonrise, 1904, platinumprint with applied color |
|
|
Steichen, Rodin, the Thinker, 1902,photogravure from 2 negatives |
|
|
Coburn, Views in Edinburgh, 1905; A Passagebetween Tall Lands: Weir’s Close, platinum print |
|
|
Blessed art thou among Women, 1899,platinum print (Newhall, 157) |
|
|
Paul Strand, From the Viaduct, 1915, platinum print |
|
|
Strand, Abstractions, Porch Shadows, CT, 1915, gelatinsilver print |
|
|
Eugene Atget, Storefront, 21 Faubourg St-Honoré,1902, albumen print |
|
|
Atget, Staircase, Hotel Sully-Charost, 1904-5,albumen print |
|
|
Lazslo Moholy-Nagy, From the Radio Tower, Berlin, c. 1928,gelatin silver print (Newhall 198) |
|
|
Man Ray, Rayograph, 1922, gelatin silver print, from Les champs délicieux,(Newhall, 203) |
|
|
André Kertész, Meudon, 1928, gelatin silver print (Newhall, 224) |
|
|
Kertesz, Clochards sleeping on the Quai, 1927, gelatin silverprint |
|
|
Brassai, Involuntary sculpture, 1933, gelatinsilver print |
|
|
Henri Cartier-Bresson, Beyond the Gare St. Lazare, 1932, gelatinsilver print |
|
|
Lewis Hine, A Madonna of the Tenements, c. 1911,gelatin silver print |
|
|
August Sander, Unemployed Man, 1928, gelatin silver print |
|
|
William Warnecke, Shooting of NY Mayor William Jay Gaynor, 1910,gelatin silver print (Newhall, 256) |
|
|
Martin Munkacsi, cover for Berliner Illustrirte Zeitung, July 21,1929 |
|
|
Erich Saloman, A Summit Meeting, 1928, gelatin silver print |