The first technique that Graciela Iturbide learned from Manuel Bravo was the idea of waiting for a photograph. Manuel Bravo states in Eyes to Fly With, “Be patient, the best pictures come when you least expect it” (20). This is a distinguishing technique because many photographers take as many pictures as they can in a hurry. Graciela Iturbide states, “…and yet (the photographers) cannot get a photo as good as Manuel Álvarez Bravo…” (Eyes To Fly With 6). Manuel Bravo taught Iturbide the patience and joy of taking photographs. He always demonstrated patience when taking photographs. Graciela comments, “He took very few photographs, but even if he took only two shots he never got frustrated.” (Eyes To Fly With 8). Graciela also learned to photograph the things that interested her without bothering the people or events taking place. As she observed Manuel Bravo, she would see that way he, “…went to little towns, to fiestas, and how, in an almost imperceptible way, he photographed what interested him without bothering people or offending them” (Eyes to Fly With 6-7). Almost instantly Graciela Iturbide began to realize the kinds of relationships Bravo obtained with his subjects. This idea of building relationships with the people that are being photographed directly influenced some of Graciela Iturbide’s most famous photographs.
All in all, the apprenticeship with don Manuel encompassed everything she could have wanted or needed. Graciela states, “more than his images, the thing that influenced me most profoundly was witnessing his way of seeing the world… his aesthetic is what marked my own development the most” (Eyes to Fly With 8). Graciela Iturbide has overcome difficulties in her life and studied under one of the most well know M...
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...2 (2008): 95-102. Print.
Debroise, Olivier. "Toccata." Mexican Suite: A History of Photography in Mexico. Austin: University of Texas, 2001. 150+. Print.
Durant, Mark Alice. "The Performance Of Everyday Life: Reflections On The.." Afterimage 24.2 (1996): 6. Academic Search Complete. Web. 27 Feb. 2014.
Iturbide, Graciela, Fabienne Bradu, and Alejandro Castellanos. Eyes to Fly With: Portraits, Self-portraits, and Other Photographs. 1st ed. Austin: University of Texas, 2006. Print.
Iturbide, Graciela, Judith Keller, and Mark Greenberg. Graciela Iturbide: Juchitán. Los Angeles: J. Paul Getty Museum, 2008. Print.
Marable, Darwin. "Graciela Iturbide." World & I 19.3 (2004): 90-95. Military & Government Collection. Web. 27 Feb. 2014.
Warren, Lynne. "Graciela Iturbide." Encyclopedia of Twentieth-century Photography: Volume 1 A-F. New York: Routledge, 2006. 809-10. Print.
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.
Johnson, Brooks. Photography Speaks: 150 Photographers on their Art.” New York: Aperture Foundation Inc., 2004. Print.
... middle of paper ... ... Amoruso, Carol. A. “Julia de Burgos Cultural Center-
Have you ever been at the beach safely shielded by a dark pair of sunglasses and just watched? Being a silent third party to a father screaming at his seven-year-old daughter for putting the inner tube in the wrong place. People watching has for a long time been one of my favorite activities as third party you are able to see people for what they are, unbiased by already having known the person. Eugene Richards’s book has made me look at my hobby from an artistic vantagepoint. He’s made me start to think that one day I would like to be one behind a telephoto lens capturing those moments that people don’t think anyone else saw. Richards photographs have made me relies that photography is more then a point a shoot process.
Gustavon, Todd. Camera: A History of Photography from daguerreotype to Digital. New York, NY: Sterling Publishing, 2009
In addition to the notably simplistic design, the collection itself provides access to a remarkable breadth and depth of both classic and contempora...
Catalano, Christina. History Department at Digital Commons @ IWU. Vol. 3. N.p.: n.p., 2002. Digital Commons @ IWU. Web. 27 May 2014. .
Thom, P (1992), For an Audience: A Philosophy of the Performing Arts (Arts and Their Philosophies), Temple University Press
The camera is presented as a living eye in her work, capable of bending and twisting, contorting reality in its own light. It is at the same time a sensuous device, one that exp...
Parker, Margaret. The story of a story across cultures: the case of the doncella Teodor New York: Rochester, 1996.
Whereas men had a so-called “head-start” with painting and sculpture, photography was pioneered by and equally associated with both genders. Sexualized images of women circulated via mass media. Described as a voyeuristic medium, photography was a powerful tool in deconstructing the male gaze and bringing private moments into the public domain (Bonney 1985: 11).
Born to Nettie Lee Smith and Bill Smith on December 18, 1918 in Wichita, Kansas was William Eugene Smith, who would later revolutionize photography. His mother Nettie was into photography, taking photos of her family, especially her two sons as they grew up, photographing events of their lives (Hughes 2). Photography had been a part of Smith’s life since he was young. At first it started out always being photographed by his mother, and then turned into taking photographs along with his friend Pete, as he got older. They often practiced developing photos in Nettie’s kitchen, and he later began to create albums with his photographs. His photographs diff...
Marrs, Suzanne. Eudora Welty(tm)s Photography: Images into Fiction. Critical Essays on Eudora Welty. W. Craig Turner and Lee Emling Harding. Boston, MA: G.K. Hall, 1989. 288-289.
...agazines, Newspapers, Journals, Reference Articles, and Classic Books – Free Online Library. Visual Studies Workshop. 4 Apr. 1998. Web. 21 Apr. 2010. .
Women desire to become beautiful and powerful, even if they don’t say it in words. And the Photographer plays with that concept and creates that desire, that you can become that person you see in the photograph. And live that lifestyle. Photographers use techniques from the cinema/cinematic, to create the desire of viewers/Buyer/Consumers. The cinematic techniques made it possible the way people lived and the...