Brain Pickings

Posts Tagged ‘photography’

19 NOVEMBER, 2012

Andrew Zuckerman’s Extraordinary Portraits of Flowers

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Blossoms like you’ve never seen them before.

Thanks to his ethos of curiosity and rigor as the key to creativity, photographer Andrew Zuckerman has consistently managed to captivate the imagination and stir the soul with his crisp portraits of nature’s creatures, celebrated musicians, and our era’s most beloved elders. He now brings his singular lens to nature’s most vibrant and whimsical flora with Flower (public library) — a collection of mesmerizing, luminous close-ups of more than 150 species, making the familiar sparkle with newfound curiosity and shedding scintillating light on the exotic.

Here is but a tiny taste — though it’s worth noting the screen does Zuckerman’s lush, rich artwork absolutely no justice.

Datura fastuosa 'Double Purple'

Andrew Zuckerman :: flowerthebook.com

fiddlehead fern

Andrew Zuckerman :: flowerthebook.com

Rosa Charlotte

Andrew Zuckerman :: flowerthebook.com

Aechmea 'Del Mar'

Andrew Zuckerman :: flowerthebook.com

Brugmansia suaveolens

Andrew Zuckerman :: flowerthebook.com

Cannabis sativa species Indica cultivar

Andrew Zuckerman :: flowerthebook.com

Chrysanthemum 'Coral Reef'

Andrew Zuckerman :: flowerthebook.com

Couroupita guianensis

Andrew Zuckerman :: flowerthebook.com

Maxillariella picta

Andrew Zuckerman :: flowerthebook.com

Paeonia cultivar 6

Andrew Zuckerman :: flowerthebook.com

Paphiopedilum Pink Fred

Andrew Zuckerman :: flowerthebook.com

Strongylodon macrobotrys

Andrew Zuckerman :: flowerthebook.com

In addition to the photographs, Zuckerman also produced a series of breathtaking short timelapse films with fantastic sound design:

Flower comes on the heels of Zuckerman’s Bird, the sequel to Creature.

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12 NOVEMBER, 2012

Changing New York: Berenice Abbott’s Stunning Black-and-White Photos from the 1930s

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A breathtaking time-capsule of this ageless, ever-changing city.

New York City loves its streets, loves its dogs, loves its heat waves, loves its apocalyptic fictions — but, above else, loves its timeless dignity. Between 1935 and 1939, photographer Berenice Abbott (1898-1991) made 307 black-and-white prints of New York City that endure as some of the most iconic images of city’s changing face. In advance of the 1939 World’s Fair, 200 of them were gathered in Berenice Abbott: Changing New York (public library), along with a selection of variant images, line drawings, period maps, and background essays — a lavish time-capsule of urban design organized in eight geographical sections, documenting the social, architectural, and cultural history of the city.

Many of the photographs are now in the public domain and have been made available online by the New York Public Library. Here are some favorite images Abbott took between November 1935 and May 1936, as part of the Federal Art Project (FAP) — a Depression-era government program related to the Works Progress Administration, enlisting unemployed artists and workers in creative projects across advertising, graphic design, illustration, photography, and publishing.

Stone and William Street, Manhattan

Gasoline Station, Tenth Avenue and 29th Street, Manhattan

Seventh Avenue looking south from 35th Street, Manhattan

Ferry, West 23rd Street, Manhattan

Henry Street, Manhattan

Fulton Street Dock, Manhattan skyline, Manhattan

Cliff and Ferry Street, Manhattan

23rd Street Surface Car, West 23rd Street, Manhattan

Oldest apartment house in New York City, 142 East 18th Street, Manhattan

Radio Row, Cortlandt Street, Manhattan

'El', Second and Third Avenue lines, Bowery taken from Division St., Manhattan

Lyric Theatre, Third Avenue between 12th and 13th street, Manhattan

And, hey, is that time-traveling Don Draper?

Department of Docks and Police Station, Pier A, North River, Manhattan

A few blocks around my studio:

Jay Street, No. 115, Brooklyn

Brooklyn Bridge, Water and Dock Streets, looking southwest, Brooklyn

Warehouse, Water and Dock Streets, Brooklyn

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24 OCTOBER, 2012

100 Ideas That Changed Photography

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From the camera obscura to the iPhone, or why photography is an art of continuous reinvention.

Earlier this year, British publisher Laurence King brought us 100 Ideas That Changed Graphic Design, 100 Ideas That Changed Film, and 100 Ideas That Changed Architecture. Now comes 100 Ideas That Changed Photography (public library) — an equally concise and intelligent chronicle of the most seminal developments in the history of today’s most prevalent visual art. From technical innovations like the cyanotype (#12), the advent of color (#23), the Polaroid (#84), and moving pictures (#20) to paradigms like photojournalism (#66) and fabrication (#93) to new ways of looking at the world like aerial photography (#54), micro/macro (#55), and stopping time (#49), each of the ideas is accompanied by a short essay contextualizing its history and significance.

Syracuse University fine art professor Mary Warner Marien writes in the introduction:

Before it materialized as the camera and lens, photography was an idea. The desire to make a special kind of representation, originating in the object itself, is as old as humankind. It appears in the stencil paintings of hands in prehistoric art. In Western culture, the legend of the Corinthian woman who traced the shadow of her lover on a wall before he departed for war has evolved into an origin story for figurative art and, in the 1840s, for photography. Soon after the medium was disclosed to the world in 1839, the word ‘facsimile’ was adapted to describe the photograph’s unprecedented authenticity. Samuel F. B. Morse observed that a photograph could not be called a copy, but was a portion of nature itself. That notion, which persisted throughout the nineteenth century, found new life in the late twentieth-century language theory, in which the photograph was characterized as an imprint or transfer of the real, like a fingerprint.

Marien goes on to illuminate the history of photography alongside the parallel history of innovations in science and technology, as well as social and cultural developments across philosophy, politics, and aesthetics.

IDEA # 1: THE CAMERA OBSCURA

When Christian Gobrecht illustrated the workings of a camera obscura for Abraham Rees’s The Cyclopedia or Universal Dictionary of Arts, Sciences, and Literature (1805-22), he was careful to show how the device created an inverted image.

IDEA # 2: THE LATENT IMAGE

The latent image was coaxed from the daguerreotype plate by being exposed to mercury fumes in a so-called 'bath' like this one.

IDEA # 4: NEGATIVE/POSITIVE

The negative formed the basis of photography until the digital age. It is based on the reversal of dark and light tone.

IDEA # 9: THE LENS

Specially designed weights or impromptu inventions were attached to the shutter to create timed lens exposures.

IDEA # 12: CYANOTYPE

The cyanotype allowed builders and engineers to create durable and detailed drawings.

IDEA # 12: CYANOTYPE

Anna Atkins was one of the first scientists to use the cyanotype to record delicate specimens, as in Himanthalia lorea, from her 1843 book on algae.

IDEA # 13: COLLODION

Photographers who used the collodion process had to process their glass plates before and after exposure. They brought a portable darkroom and sometimes employed assistants to help.

IDEA # 27: CARTES DE VISITE

Disdéri’s multiple portraits of a ballet dancer is entitled Petipa (c. 1862), for the renowned French dance master and choreographer. Performers and public figures often had cartes de visite made in great numbers, which they either gave away or sold.

IDEA # 46: PROJECTION

In 1925, the French children’s magazine Le Petit Inventeur captured the wonder of projected images.

IDEA # 56: THE PEOPLE'S ART

For the cover of a 1929 issue of the German publication The Worker Photographer, Ernst Thormann chose a close-up of a Roma child.

IDEA # 56: THE PEOPLE'S ART

In this anonymous early Kodak snapshot from about 1888, the maker’s shadow is clearly visible on the lower left side.

IDEA # 77: THE SELF-PORTRAIT

In her 1896 Self-Portrait (as New Woman) successful Washington, D.C. photographer and business owner, Frances Benjamin Johnston, poses cross-legged, as a man might do, while holding a cigarette and a beer stein.

Ultimately, what emerges from 100 Ideas That Changed Photography, besides the fascinating historical perspective, is an underlying message that our present-day fears about the alleged affronts to photography are misplaced, oblivious to the perpetually evolving heart of the art of recording light. As Marien puts it:

While it may seem that a new photo technology is born every day, photography is still what we make it, not what it makes us.

Images and captions courtesy of Laurence King

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