Albert Watson Large Format photography with his 4×5 Horseman camera

Albert Watson Large Format photography with his 4×5 Horseman camera was what he was pretty well known for. Even doing a Levis campaign with a handheld 4×5

Source: Albert Watson Large Format photography with his 4×5 Horseman camera

ALBERT WATSON – THE HORSEMAN YEARS

Albert Watson Large Format

http://www.facebook.com/plugins/like.php?href=http%3A%2F%2Fwww.anatomyfilms.com%2Falbert-watson-horseman-years%2F&layout=standard&show_faces=false&width=450&action=like&colorscheme=lightAlbert Watson was born in 1942 in Scotland. Most thought of him as that guy who was doing large format fashion when most were using 35mm and medium format. Albert Watson Large Format photography. I know that didn’t hang on his studio door, but really he was even sometimes hand holding his 4×5 Horseman.

 

Albert Watson Large Format photography

 

The Smartest Guy in NY Real Estate?

Since I lived in the neighborhood,  (decades later}, and my studio was just a couple of blocks away, I thought of him as the smartest, or luckiest, man in the world. He bought the building on Washington that housed his home and studio at a time  when prices were depressed and the nearby Meatpacking District was exactly that, and inundated with transexual prostitutes. Today? The building is worth millions, and they built Industria next door, (one of the worlds premier rental studios), and the “Meatpacking District” is all poo-poo. (they even closed “Mother’s” and “Hogs and Heifers”,… my party place and my watering hole)

 

Albert Watson Large Format photography

 

He has shot over 100’s  of Vogue covers, and I think more covers for Rolling Stone  than Annie Leibovitz. PDN named him one of the most influential photographers of all time! He studied at an art college in London, studying graphic arts and film. Part of his studies included photography.

Albert Watson Comes to America

His wife got a job in Los Angeles, so he followed her to America in 1970. Although his photography was mostly a hobby at that point, his very distinctive, graphic style was noticed by the fashion magazines. He started commuting between LA and NY. By 1973, he got his first celebrity shoot,…Alfred Hitchcock with a goose for the Christmas issue of Harper’s Bazaar’s. It became one of his iconic images.

 

Albert Watson Large Format photography

 

In 1975, he received his first commission for Vogue, and subsequently moved to New York. While he did a lot of editorials, he was in great demand in advertising. Everything from Levis and Revlon to 100’s of TV commercials. All while a  large-format Watson print of a Kate Moss photograph taken in 1993 sold at Christie’s in London for $108,000.

 

Albert Watson Large Format photography

 

Albert Watson Large Format Photography

While he did on occasion use a Nikon early in his career, or Hasselblad during his career, the 4×5 Horseman usually trumped those in actual work. However, I don’t know why Horseman, as most of the “big” large format shooters at the time used Sinar,…or maybe Deardoff or Linhof. While the Horseman is a great camera, I don’t think it’s considered the Mercedes of cameras. I’m sure he could afford any camera he wanted.

 

Albert Watson Large Format photography

 

The Books

And as of late, he has done a lot of solo retrospectives in high end galleries and museums worldwide. His books are a look into this Masters’ great iconic works, from Steve Jobs to Sade. BTW,  Steve Jobs was still being done on 4×5 film in 2006.

 

Albert Watson Large Format photography

Horseman 4×5 Camera

albert-watson-1

A great career and a great artist. Albert Watson was inducted into the Scottish Fashion Awards Hall of Fame  in 2006. Find Horseman 4×5

Albert Watson Website

 

 

 

Ansel Adams was a photographer who is known for his large format imagiing.

 

Ansel Adams was an American photographer who is widely known for his modern day representations that are made on calendars, posters, and in books.

Source: Ansel Adams was a photographer who is known for his large format imagiing.

Ansel Adams is one of the most truly famous photographers that ever existed. Ask any truck driver who Mario Testino is, and he’ll look at you perplexed. (or Terry Richardson or Avedon, etc.) But ask them who Ansel Adams is, and they’ll say, “He was that photography guy.”  My point being, you don’t have to be a photographer, or in the “industry” to know who Ansel Adams is. Hence, real fame.

He is best remembered as a master of  black and white photography.And if they had the Sierra Club back then, he would have  sat on the board of directors!. This is the man who invented the Zone System, still used to this day. The Zone System basically determined proper exposure of the negative and contrast of the final print. Adams was nothing if not the greatest teacher of the importance of sharpness and how to achieve it. And he loved his large format cameras and high f stops. He is also known for being a co-founder of Group f/64.

#RimelNeffati Shall I Compare Thee To A Summer’s Day @MarkGKirshner

Sonnet XVIII Shall I compare thee to a summer’s day? Thou art more lovely and more temperate: Rough winds do shake the darling buds of May, And summer’s lease hath all too short a date: Sometime too hot the eye of heaven shines, And often is his gold complexion dimm’d; And every fair from fair sometime declines, By chance or nature’s changing course untrimm’d; But thy eternal summer shall not fade, Nor lose possession of that fair thou ow’st; Nor shall Death brag thou wander’st in his shade, When in eternal lines to time thou grow’st: So long as men can breathe or eyes can see, So long lives this, and this gives life to thee. William Shakespeare (1564–1616)

Source: #Neffati Shall I Compare Thee To A Summer’s Day

Thou art more lovely and more temperate: Rough winds do shake the darling buds of May, And summer’s lease hath all too short a date

Sometime too hot the eye of heaven shines, And often is his gold complexion dimm’d; And every fair from fair sometime declines,

But thy eternal summer shall not fade, Nor lose possession of that fair thou ow’st; Nor shall Death brag thou wander’st in his shade,

When in eternal lines to time thou grow’st: So long as men can breathe or eyes can see, So long lives this, and this gives life to thee.

Sara Sani is Italian photographer and seems to have settled in Barcelona

Sara Sani is Italian photographer and seems to have settled in Barcelona for the past few years.She always has her Contax G1 or Olympus MJU II with her.

Source: Sara Sani is Italian photographer and seems to have settled in Barcelona

Edward Weston’s 1941 Photographs for Walt Whitman’s “Leaves of Grass”

 

 

Although the book was a failure, Edward Weston considered his 1941 photographs for Walt Whitman’s “Leaves of Grass” as some of his best work.

Source: Edward Weston’s 1941 Photographs for Walt Whitman’s “Leaves of Grass”

Although the book was a failure, Edward Weston considered his 1941 photographs for Walt Whitman’s ‘Leaves of Grass’ as some of his best work.
When Edward Weston Took Photographs for Walt Whitman’s ‘Leaves of Grass’
realamerican011

Real American Places: Edward Weston & Leaves of Grass
Edward Weston, “Woodlawn Plantation House, Louisiana” (1941), gelatin silver print (courtesy the Huntington Library, Art Collections, and Botanical Gardens, © 1981 Center for Creative Photography, Arizona Board of Regents)
Walt Whitman’s America is large, it contains multitudes. When Edward Weston set out to photograph the United States of the 1940s for a new edition of the 19th-century poet’s Leaves of Grass, he attempted to represent the manifold experiences of life in the country. Although Weston believed he did some of his best work on the cross-country road trip, the book was a failure. This was in part due to its bad design that printed his photographs on a seafoam green background, paired with Whitman quotes that gave his images an unintended illustrative perspective.

Real American Places: Edward Weston & Leaves of Grass
Edward Weston, “Mr. and Mrs. Fry of Burnet, Texas” (1941), gelatin silver print (courtesy the Huntington Library, Art Collections, and Botanical Gardens, © 1981 Center for Creative Photography, Arizona Board of Regents)
Real American Places: Edward Weston & Leaves of Grass, opening October 22 at the Huntington Library, Art Collections, and Botanical Gardens in San Marino, California, reconsiders this dialogue between the two creators. As Whitman died in 1892, and Weston was born in 1886, there was naturally no in-person discussions. Rather, it’s an unexpected connection between Whitman’s free verse and Weston’s tightly controlled photographs.

“Both Weston and Whitman were thinking about groups of pictures, whether mental pictures conjured by reading poems or those of photographic prints,” James Glisson, Bradford and Christine Mishler assistant curator of American art at the Huntington, told Hyperallergic. “Both poet and photographer are in a manner of speaking filmmakers cutting from shot to shot, jumping from place to place. Whitman has his lists that roll on for pages, while Weston was thinking about the groups of photographs gathered in the photobooks he spent much of his later years publishing. The abrupt transitions as one reads lines or flips through a photobook’s pages are roughly equivalent.”

Real American Places: Edward Weston & Leaves of Grass
Edward Weston, “White Sands, New Mexico” (1941), gelatin silver print (courtesy the Huntington Library, Art Collections, and Botanical Gardens, © 1981 Center for Creative Photography, Arizona Board of Regents)
Real American Places features 25 of Weston’s images from the 1941 Limited Editions Book Club edition of Leaves of Grass, as well as some of Whitman’s manuscripts from the Huntingon’s archives. While there has been new attention to these photographs — such as a 2012 exhibition at the Museum of Fine Arts Boston — they remain among Weston’s lesser known work.

The California-based photographer could transform the tight detail of a cabbage leaf or the close portrait of a face into monumental architecture, each detail having weight. By the 1940s, he’d already had a prolific career, yet his images for Leaves of Grass reach beyond that studied formalism.

Real American Places: Edward Weston & Leaves of Grass
Edward Weston, “Mr. Brown Jones, Athens, Georgia” (1941), gelatin silver print (courtesy the Huntington Library, Art Collections, and Botanical Gardens, © 1981 Center for Creative Photography, Arizona Board of Regents)
Riding with his wife Charis, who typed a detailed narrative of the trip, in a Ford nicknamed “Walt,” Weston traveled 24,000 miles across the United States. The couple gazed at the sky over White Sands, New Mexico; witnessed the alien Gulf Oil storage tanks in Port Arthur, Texas; explored aboveground cemeteries in New Orleans; and spent time in Whitman’s beloved Brooklyn. Weston took portraits with his huge 8×10 camera of as many different people as possible, from Yaqui Indians, to farmers in Tennessee, to an African-American cook and choirmaster named Brown Jones in Athens, Georgia. Yet when it came to image selection, the publishers did not include this diversity in the book.

Real American Places: Edward Weston & Leaves of Grass
Edward Weston, “Gulf Oil, Port Arthur, Texas” (1941), gelatin silver print (courtesy the Huntington Library, Art Collections, and Botanical Gardens, © 1981 Center for Creative Photography, Arizona Board of Regents)
“Though Weston deemed the book a failure, he considered the photographs an unqualified success,” Jennifer A. Watts, curator of photography at the Huntington, states in her exhibition essay. When Weston donated 500 photographs to the Huntingon in 1944, 90 of them were for Leaves of Grass.

Ultimately, the attack on Pearl Harbor caused the Westons to quickly return to California, with over 700 negatives in tow. On the brink of this involvement in war, Weston’s images respond in a similar way to Whitman’s plainspoken words, offering a cross-section of experience in a vast country that resists a single narrative. As Weston stated in 1941: “My plan for work on this commission was direct: I photographed anything and everything I saw which excited me. I could do no more.”

Real American Places: Edward Weston & Leaves of Grass
Edward Weston, “The Brooklyn Bridge” (1941), gelatin silver print (courtesy the Huntington Library, Art Collections, and Botanical Gardens, © 1981 Center for Creative Photography, Arizona Board of Regents)
Real American Places: Edward Weston & Leaves of Grass
Edward Weston, “New Orleans” (1941), gelatin silver print (courtesy the Huntington Library, Art Collections, and Botanical Gardens, © 1981 Center for Creative Photography, Arizona Board of Regents)
Real American Places: Edward Weston & Leaves of Grass opens at the Huntington Library, Art Collections, and Botanical Gardens (1151 Oxford Road, San Marino, California) on October 22 and continues through March 20, 2017,
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GRAPHIGEEK

Source: GRAPHIGEEK

JuxtaposedClaire Luxton’s vibrant works revolve around her self-portraits, celebrating the chiseled beauty of freckles sprinkled all over the contours of her face.
[[MORE]]The artist photographs her portraits submerged in water, her prominent, sharp...JuxtaposedClaire Luxton’s vibrant works revolve around her self-portraits, celebrating the chiseled beauty of freckles sprinkled all over the contours of her face.
[[MORE]]The artist photographs her portraits submerged in water, her prominent, sharp...JuxtaposedClaire Luxton’s vibrant works revolve around her self-portraits, celebrating the chiseled beauty of freckles sprinkled all over the contours of her face.
[[MORE]]The artist photographs her portraits submerged in water, her prominent, sharp...JuxtaposedClaire Luxton’s vibrant works revolve around her self-portraits, celebrating the chiseled beauty of freckles sprinkled all over the contours of her face.
[[MORE]]The artist photographs her portraits submerged in water, her prominent, sharp...JuxtaposedClaire Luxton’s vibrant works revolve around her self-portraits, celebrating the chiseled beauty of freckles sprinkled all over the contours of her face.
[[MORE]]The artist photographs her portraits submerged in water, her prominent, sharp...Juxtaposed

’s vibrant works revolve around her self-portraits, celebrating the chiseled beauty of freckles sprinkled all over the contours of her face.

The artist photographs her portraits submerged in water, her prominent, sharp nose, her dreamy eyes the focal point, her face holding the burden of many untold stories buried deep within her, all waiting to be unfolded. You could almost feel the thorns of pain haunting Luxton, her face an open book. The vivid colors she uses in her photographs is juxtaposition against the pale colors of her porcelain skin, her brown freckles making a bold statement against conformist, homogeneous beauty standards. “My photography is generally centered on the exploration of ‘self’, in the form of expression, transition, transformation and physicality,” says Luxton.

Luxton received her degree in Fine Art from University of London and her ethereal photography can be viewed on Instagram.