Pictorialism , an approach to photography that emphasizes beauty of subject matter, tonality, and composition rather than the documentation of reality. The Pictorialist perspective was born in the late s and held sway through the first decade of the 20th century. It approad the camera as a tool that, like the paintbrush and chisel, could be used to make an artistic statement. Thus photographs could have aesthetic value and be linked to the world of art expression. In the s the British photographer Peter Henry Emerson also sought ways to promote personal expression in camera images. While critical of composite photographs, Emerson and his followers, looking to models provided by artists such as J. Turner , the painters of the Barbizon school , and the Impressionist painters, attempted to recreate atmospheric effects in nature through attention to focus and tonality.
Mr Emerson's first photography exhibition, Blurry Borders, has captured with precision and warmth the friendly faces and rich colours from Pakistan to Myanmar.
With his exhibition on display in the regional Victorian town of Swan Hill, Mr Emerson said he hopes to challenge the stereotypes of what someone with a disability can achieve. While working in his garden six years ago, the idea of picking up a camera and using it to take photographs had a more practical approach.
Mr Emerson has travelled with his brother, making it easier to navigate the sometimes-hazardous streets of foreign countries. Mr Emerson said he did not let hectic traffic or cities with poorer roads and footpaths deter him. The usual tourist sights are not high on the agenda for Mr Emerson when he has travelled.
He has sought out more personal experiences with locals who then became subjects in his images. That turns out to be the best thing; sitting down to get to know the people. Armed with a digital single-lens reflex DSLR camera with an auto-focus setting, the process of taking photos for Mr Emerson has required lightning reflexes and a bit of luck.
It's the bright colours that grab my attention at first," he said. Just that big flash of colour jumps out at you. That's what I am always looking for. Slavish copying of nature, whether by brush, pen, or camera, can never be called art.
Demachy had no time for fellow pictorial photographers who used the 'straight' method. He pointed out that in all the best paintings you can see that the artist intervened between commonplace reality and the final work.
Did Turner's sunsets exist just as he painted them? Were Rembrandt's scenes just as they would have appeared to the eye? A straight photograph cannot possibly be a work of art even when taken by an artist, for it may be repeated exactly by someone else who is no artist simply by setting up a camera immediately in the same spot. Straight prints may suit documentary photographers who have special factual interests in the subject, but the whole idea of the pictorial photography movement was surely to break away from recording.
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Evans became a member of The Linked Ring a few years after it began, but he believed in a 'straighter' approach to pictorial photography.
Evans was a London bookseller and amateur photographer, turned professional. His subjects mostly ranged from portraits to architectural studies for Country Life magazine. A typical photograph for which he was well known at salon exhibitions is called "Sea of Steps" and shows the Chapter House steps at Wells Cathedral.
The fact that the subject is a particular 13th century staircase is less important than the way Evans communicated his feeling for wave after wave of worn steps. Evans believed that seeing was the most important single ct in photography. Picture making was best carried out on the focusing screen or viewfinder of the camera, using factors such as choice of viewpoint and the direction of light at a particular time of day, or the softness or hardness of shadows given by different weather conditions.
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Having spent hours walking about a cathedral deciding the area he would portray, Evans would return at different times to see the changing effects of light and shade. All this was done before his large plate camera and inch Zeiss lens were even unpacked. Frederick Evans believed in plain, simple, straightforward photography although he took great care technically to ensure his negative reproduced all the delicate tone values he saw as important in the subject.
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Printing was equally straightforward - prints were made by contact onto platinum paper, using the whole picture area and with absolutely no handworking of the image. Evans' idea of making the creative decisions behind the camera instead of in the darkroom, was directly opposed to Demachy. He argued that it would indeed be possible for two photographers to occupy in turn the same spot with the same size camera, but only one might produce a picture perfect in proportions, atmosphere and sense of space.
The other would fail owing to the wrong choice of lens, camera height, moment in time etc. Too many photographers tried to fake results into a work of art by disguising its photographic qualities later.
Stieglitz and Photo-Secession.
He awarded first prize for a naturalistic study of street urchins sent in by Alfred Stieglitz, a young American student at Berlin Polytechnic. Stieglitz was in Germany to study engineering but had become increasingly interested in photography. He attended classes in photomistry and made his own study of the work of artists. The photographs taken by Stieglitz were pictorial but straight and generally un-manipulated, although he was less obsessed by the importance of this than Emerson.
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Mostly they featured simple scenes from daily life. Many were hung at the Vienna Salon and were greatly admired. It was therefore a shock for Stieglitz when he returned home to New York to find the American photographers there were still struggling with a high art approach - years behind Britain and the Continent.
For a time he worked as a partner in the new business of photo-engraving, making printing plates of photographs. He continued taking pictures mostly with a hand-held plate camera in and around the New York streets. But unlike Jacob Riis and Lewis HineStieglitz saw the city as a source of beauty and form, even in the most commonplace daily scenes.
He was particularly interested in the visual effects of weather conditions, sometimes waiting hours for the right juxtaposition of people and objects. The idea of a pictorialist using a hand camera was unusual, but Stieglitz also dared to crop his images, often printing only the part of the negative which gave best composition. Some of his photographs at this time had the softness of detail and delicate use of tone similar to Impressionist paintings he had admired in Europe.
By Stieglitz's work had won him election as one of the first American members of "The Linked Ring".
The following year he left the engraving business with a small private income, determined to encourage creative photography in America.
Appointed editor of American Amateur Photography Stieglitz wrote knowledgeably on both creative and technical matters, as well as setting high standards for the pictorial photography he chose to print.
In fact this was his undoing, for he insulted readers in turning down their work and had to leave. Stieglitz was determined that the magazine should crusade for modern pictorialism.
He discovered and reproduced work by unknown young American photographers such as Clarence WhiteEdward Stein and Gertrude Kasebierbut club members complained he failed to devote enough space to their own photographs.
Squeezed out for being too ambitious, in Stieglitz was offered the chance of exhibiting his own work and the work of his discoveries at the prestigious National Arts Club. On the spur of the moment he called this show the work of the " Photo-Secessionists " secession in art means breaking away from accepted ideas, see for instance: Vienna Secession.
At first Stieglitz was the only secessionist in existence, but he quickly persuaded the other exhibitors to become founder members of the new Photo-Secession group, whose aims were to "hold together those Americans devoted to pictorial photography and exhibit the best that has been accomplished by its members".
Many of their ideas for advancing photography were similar to "The Linked Ring" - one closely knit group, membership by invitation only, and emphasis on exhibitions. However they had a much broader acceptance of style - from straight photography to the diffused manipulated gum print processes used at the time by Coburn and Stein.
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In Stieglitz they also had a very dictatorial leader. He only permitted photo-secessionists to show their work as a group and then only provided that all work approved by him was hung without submission to any exhibition selection committee.
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Despite this arrogant attitude, Stieglitz's brilliance in maintaining high standards across a wide range of pictorial styles paid off.
Group work hung at most of the major European exhibitions proved what a distinctive medium of individual expression photography could be. From Stieglitz financed, published and edited the secessionists' own quarterly magazine called Camera Workto show contemporary pictorial photography.
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It contained work from all over the world, written criticisms, exhibition reviews, and articles on trends in art and photography. The gravure-printed illustrations, on the finest paper, were of outstanding quality Stieglitz's photo-engraving experience no doubt helped. By Stieglitz had also opened a small gallery at Fifth Avenue to show and sell photographs, and later modern drawings and paintings.
Both gallery and magazine helped to introduce the work of British and European photographers to America. Within the first year this ranged from retrospective photographs by Hill and Adamsonto the current work of Frederick Evans. Once again Stieglitz insisted on selecting exactly which prints he would hang, however distinguished the photographer.
He also showed his own work which included portraits of fellow artists and photographers as well as his city scenes - sombre, atmospheric, full of rich tone values.
In many ways one man's efforts as critic, writer, art dealer and photographer had shifted the centre of new ideas in pictorial photography from Britain to America.
An important contemporary of Stieglitz was Edward Stein. An apprentice lithographic artist and amateur photographer, he had been born in Europe but brought up in the USA. Some work he submitted to an exhibition judged by Alfred Stieglitz led to their publication in Camera Notes. After a period studying in Paris, mostly with the idea of becoming a painter, Stein's soft-focus low-key portraits and landscapes were included in the first Photo-Secessionist show of which he was a founder member.
Having designed and helped set up the Gallery for Stieglitz, he returned to live in Europe. Here he both painted and photographed, including portraits in colour using Lumiere's new Autochrome plates.
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From Paris he arranged for drawings and paintings by then unknown artists like Henri Matisse and Pablo Picasso to be sent for hanging at Later, after experience during the First World War as a photo-reconnaissance officer with the US army, Stein abandoned painting and totally changed his earlier manipulated style of photography.
He taught himself to use images with crisp hard edge detail and full tone range. By the s he had become chief fashion and portrait photographer for Vogue and Vanity Fair magazines. Stein was to end his career as curator of photography at the Museum of Modern Art, New York during the late s and s. Meanwhile, in the period just before World War I, time was running out for what had been the new movements in pictorial photography.
By "The Linked Ring" had become the establishment, stifling rather than encouraging new ideas; lack of leadership now generated considerable argument and in-fighting between the 'links'. Within the Photo-Secession many members had turned professional and drifted away by about The group's sense of purpose seemed to be lost.
The Gallery and Camera Work now featured modern paintings and drawing more often than photographs. The last two issues were devoted to the strikingly direct straight approach of a young American photographer Paul Strand, but already subscribers had dropped to less than InStieglitz closed both the publication and gallery, left his wife and set up home with a year old artist, Georgia O'Keeffe - whom he married in In the general state of change which followed World War I Stieglitz rather dropped out of sight.
His own photography was changing and he was exploring a more personal form of image, expressing feelings about life through symbolic pictures of trees, clouds, etc.
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He went on to open the Intimate Gallery inand its successor An American Place which he ran until he died in Always these were meeting places for creative people working in photography or painting. He remained dedicated to the new and the emerging, always opposed to institutions which had a repetitive deadening influence. It matters with online dating as well is on social media. Online Profile Pros charges one simple price for professional profile pictures.
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