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David LaChapelle is an incredible, modern photographer. He combines celebrities with the bizarre. His photography is unique, charged with sexual imagery, and provides a unique view on people you see in the media, today.
I chose an article from American Photo, May/June 2003, as the basis of my research paper on David LaChapelle. The magazine has a nice design. It is easy to read the print, and the titles of topics are always visible. You won't turn a page and have to take a minute to figure out what is going on, on that page.
Although there are many ads in the magazine, I suppose that one shouldn't expect any less; they're mainly ads for photography-type companies and such. This issue is still plentiful in articles, starting off with a page on Henri Cartier-Bresson.
As I skim through American Photo, I finally come to an article on "The 25 Most Important Photographers Now." There's a nice introduction on the first page, about what this article is about, and on the bottom-left corner it starts with the first photographer in the list, Gilles Bensimon. The article has a nice layout, including a picture by each photographer and their name headlined above or below, and each photographer also has a good-sized paragraph about himself or herself.
Many, many pages into the "top 25," David LaChapelle finally appears. The bottom half of the page shows LaChapelle's photograph, "Facial," which was taken for Italian Vogue in 2001 ("David LaChapelle"). The paragraph written about him starts off with a self-explanation of his photography: " My pictures are escapist. For me, pictures are fantasies. At the same time, they're a document of our time." The article goes on to explain his photography with more detail, and basically fin...
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... plays a major part. The pattern adds to the absurdity of the two girls; their expressions are both totally different. It's actually really hard to tell what this picture is even supposed to be about exactly, but I guess I just love all the colors and the beautifulness of the photograph as a whole.
The use of color is an important aspect in David LaChapelle's photography. He uses saturation to a very high extent. As far as almost making his photography seem dreamlike. I think it's beautiful, and I love the bright colors he uses. Even though he may use a lot of computer manipulation, I think LaChapelle's photography shows a distinct honesty throughout his photography. He still shows what is real, but he dramatizes it and puts it in your face.
Overall, David LaChapelle is a wonderful photographer, and is obviously continuing to develop his skills as an artist.
For my museum selection I decided to attend Texas State University’s Wittliff Collection. When I arrived, there was no one else there besides me and the librarian. To be honest, I probably would have never gone to an art museum if my teacher didn’t require me to. This was my first time attending the Wittliff Collection, thus I asked the librarian, “Is there any other artwork besides Southwestern and Mexican photography?” She answered, “No, the Wittliff is known only for Southwestern and Mexican photography.” I smiled with a sense of embarrassment and continued to view the different photos. As I walked through Wittliff, I became overwhelmed with all of the different types of photography. There were so many amazing pieces that it became difficult to select which one to write about. However, I finally managed to choose three unique photography pieces by Alinka Echeverria, Geoff Winningham, and Keith Carter.
Many different sensory properties compose the artwork. There is a soft light that seems very natural coming off the boy’s face. The light shines at the boy’s face at an elevated level, as if he were outside on a hot afternoon with the sun overhead. There is a wide range of tones from very bright, in the reflection off the boys cheeks to very dark in the skin of the boys face. Muniz does an excellent job using shadows to provide a feeling of depth and adding curves to the boys body and face. The shape of the boy is positive, but the background is not defined, allowing a negative shape or void in the picture. Although there is no actually texture on the photograph the texture from the original work of art is apparent. The use of sugar gives off a hazy effect preventing the photo from having a clear focus.
Johnson, Brooks. Photography Speaks: 150 Photographers on their Art.” New York: Aperture Foundation Inc., 2004. Print.
He wore a white button up shirt with black dress pants, a tie, and spotlessly clean shoes. His face lit up as he was looking through the pictures he just took. He faced his camera screen towards me. On the screen I saw silhouettes of people and sailboats with their reflection glistening on the water, as if it was a mirror. After viewing his photographs, you could tell that Paris has a very unique perspective on the world.
John Fielder takes amazing shots and I love how he takes it of nature because I love to explore the outdoors and discover new places. One of my favorite photos by him is Ice lake James Peak Wilderness near winter park. I really love the colors in this photo they look really amazing and the photo. It captures the sunrise makes it look like a breath taking view. The photo really follows the one thirds rule. It draws a person attention to the middle of the picture, right where the sunrise is. Overall I really like John fielders photos and the works that he does.
According to the book entitled Ways of Seeing written by John Berger, the power of an image is extraordinary given that it can speak a thousand words. This has also been enhanced by the rapidly evolving technology that elicits more subconscious views about an image by anyone who sees them online or in real life. Some professional writers like Susan Bordo have emphasized that pictures of men often receive a wide range of negative tones or opinions due to the physiological effects that are fashionable to society or any other individual who approves or disapproves the beauty in a portrait of two men or women (Berger 38). This essay offers my opinion concerning the pictures of the Doloce and Gabbana, the gay Italian designers, as well as that of
Annie Leibovitz is one of the best portrait photographers in this modern age. Her works focus on varied subjects but hover more among celebrity portraits. Apart from these, her photographs depict visual stories that affect audience's emotions. The diversity and life of her photographs create visual artistic realms that touch the soul.
Peter Gasar one of the great Swiss photographers demonstrates a photolytic style that sits amongst the leagues of the best landscape photographers in history, such as Galen Rowell and Ansel Adams. He has an ability to create amazing intricate photos out of nothing. The only thing I wish he had was a firmer grip on the subjects he
Castro, Katie. "Photography and Its Limits on Perspective." By Katie Castro., 11 Aug. 2007. Web. 15 Apr. 2014.
The world has many photographers that anyone can look at. You can call me an amateur or say I don’t really understand the art but when I look at most of the pictures available, and I have looked at thousands lately, I don’t see anything different in the style of photography. I just see pictures. I see pictures of beautiful subjects and pictures of ugly subjects. I never really thought about the difference being the photographer instead of the subject, until I saw Elliott Erwitt.
"Salgado and Fine Art photojournalism." What Is to Be Done. N.p., n.d. Web. 23 Oct. 2013.
...technique of fluid in the brush strokes, which lead to an impression of blurry. The spots of soft color combine with the color of the figures, which shows bright light of beams through the trees. He blends colors in the background that appear to be people dancing. The lack of outlines is a traditional Impressionist technique.
Leibovitz photographs women of remarkable accomplishment: senators, supreme court justices, astronauts, athletes, opera singers, firefighters, a philanthropist maid, basketball stars, movie stars, elementary school teachers, weightlifters, and performance artists, as well as those who happen to fall in the viewfinder, sitting in the back of a pickup truck playing with Barbie dolls, or seeking shelter from domestic abuse at the local YMCA. Viewing this seemingly objective portrayal of women, we must consider the statements being made. Carol Duncan, in her essay “The MoMA’s Hot Mamas,” describes the modern art museum and a vast array of modern art in general as “a ritual of male transcendence, if we see it as organized around male fears, fantasies, and desires (118).” One might assume that Leibovitz, a respected and established photographer, might take ...
Works of Sophie Calle has appeared in several media across the US and Europe (Yve-Alain Bois, 1). Her works have been described to leverage on the use of constraints which is reminiscent of the French literary cult Oulipo of which she was a member. Sphie’s works are are a reflection of her personal life, where she tries to create a link between her intimate moments and her art (www.egs.edu). Sophie employs a unique and unconventional form of photography that has made her standout in the art circles. Her natural tendency to be contentious has made her works what they are. From mode of execution to exhibition Sophie marks a different role for her kind of work.
“What I like about photographs is that they capture a moment that’s gone forever, impossible to reproduce” - Karl Lagerfeld