Gregory Crewdson Essay

Elliott Erwitt is a street photographer born in Paris from Russian immigrant parents (Erwitt, 2011). This essay will not focus on his biography but rather put emphasis on his work. Elliott Erwitt is known for his spontaneity when taking snapshot and passion for the human condition (Magnum Photos, 2011). He also has a very sharp sense of humor that is without a doubt reflected on his work. Elliott Erwitt has also a particular affinity for dogs and kids (Erwitt, 2011). It is said that the challenge is to be able to recognize the work of a particular photographer based on specific characteristics distinctive to him (Magnum Photos, 2011). As a matter of fact, Elliott Erwitt’s snapshots all have distinguishing

Winogrand took photos of everything he saw; he always carried a camera or two, loaded and prepared to go. He sought after to make his photographs more interesting than no matter what he photographed. Contrasting many well-known photographers, he never knew what his photographs would be like he photographed in order to see what the things that interested him looked like as photographs. His photographs resemble snapshots; street scenes, parties, the zoo. A critical artistic difference between Winogrand's work and snapshots has been described this way, the snapshooter thought he knew what the subject was in advance, and for Winogrand, photography was the process of discovering it. If we recall tourist photographic practice, the difference becomes clear: tourists know in advance what photographs of the Kodak Hula Show will look like. In comparison, Winogrand fashioned photographs of subjects that no one had thought of photographing. Again and again his subjects were unconscious of his camera or indifferent to it. Winogrand was a foremost figure in post-war photography, yet his pictures often appear as if they are captured by chance. To him and other photographers in the 1950s, the previous pictures seemed planned, designed, visualized, understood in advance; they were little more than pictures, in actual fact less, because they claimed to be somewhat else the examination of real life. In this sense, the work of Garry Winogrand makes a motivating comparison to Ziller's

John Szarkowski is an American photographer and curator, whose opinions on a photograph’s narrative and direction are highly valued. In his time he analyzed many works of art, and produced many different interpretations, one being the ideals of mirrors and windows.

Due to harsh weather, Dean Grieberg along with a school bus of kids crash into a nearby store. Later discovering out that a chemical spill led to a real-life apocalypse. Dean and his friends never expected to find themselves trapped in a mall with no one else except a group of little kids, football jocks and the love of his life. Individuals with a specific blood type had a raging effect when exposed to the harsh chemicals, with no authority over their own body.

Uelsmann’s work was not well received in the photography community. His creations were not considered photography; however, he was well received in the art community. John Szarkowski hosted a solo exhibit at the Museum of Modern Art in 1967. Uelsmann was considered “iconoclastic” and “set out to convince critics that photography offered alternatives to the conventional “purist” sensibility…” Uelsmann debated that photos could “evoke elusive states of feeling and thinking triggered by irrational and imaginative juxtaposition” (Kay). Uelsmann has succeeded in finding a following among photographers and artist alike. In the past forty years, Uelsmann’s work has been exhibited in over 100 solo shows throughout the US and overseas. He has permanent instillations in museums worldwide (Taylor). Uelsmann’s photos are now revered for their original technical form as well as their surreal matter (Johnson).

The documentary What Remains follows photographer Sally Mann’s life over a span of five years as she balances being a mother, wife and photographer. In the film viewers are able to get an intimate glimpse of Mann’s creative process as she captures various images of her loved ones, landscapes, and even a new series that explores death. In this paper I will discuss Mann’s work detailing the criticism it receives as well as how my experience as a novice photographer parallels hers.

Powell received her Bachelor of Applied Arts at Ryerson University, studying image arts in photography. She then went on to Queen’s University to receive her Bachelor of Education in Technological Education. Her artwork has mainly consisted of photography, although she has also dabbled in film. She works in the modern digital age as well as exploring historical processes of photography. These include, polaroids, hand colouring, using the dark rooms to develop film, and many other alternatives. Powell has a particular interest in the abandoned, places or things that may appear ugly on the outside but have their own weird hidden treasures. She explains that it’s neat to see how nature takes back these places. She also photographs small towns and the more rural lifestyle. “My art isn’t ‘deep’,” she says, “but it’s about finding beauty in everything, beauty in every form”. Powell spent her early years taking portraitures in the wedding industry. Now, she has her own business alongside teaching and having a family. With this busy lifestyle it is amazing that Powell’s perspective on beauty is unchanged. Her perspective is something unique and important— something that everyone should see more of.

Hall painted this piece using realistic textures. The viewer can see the careful creases in the man’s pants, the man’s nicely done hair, and the birds’ careful feathers. Halls attention to detail, specifically texture, makes ideas seem more valid or “real.” The man turns his head away from the choices he is confronting, showing the viewer through this imagery the difficulty of his dilemma. Similarly, Montoya describes how Wopper, on the airplane, did not look out the window of the airplane until they were already airborne. The imagery shows someone reluctant to face their reality. More CM.

The combination of Crewdson’s obsessive attention to detail, moody lighting, his keen sense of aesthetic awareness, and his way of keep the plot mysterious, add to his images and suggest a fragility that makes my heart drop.

Gregory Crewdson’s work is very inspiring he manages to complete an entire story an entire character art all in one image and you really get involved in his world. Using light and colour cinematically places a major roll, the picture becomes an operatic framing device there so rich with props and all the other little details that when you look closer you will find something different

Gregory Crewdson’s photographs are rich in details that evoke different emotions, narratives, and engage the audience’s interest. He carefully chooses different lighting, camera angles, and other elements to help develop a visual and mental story to the audience. Through his photographs, he digs into a commonplace and challenges the normal reality to bring forth things that are surreal, haunting, or desirous. His photographs are very unique and creative, and they capture the sense of alienation and unreality. The photographs are very abstract and they tell a strong story visually but an even stronger story mentally. In flash fiction, the writer uses sensory details to engage the reader’s interest and help convey a visual image. The writer has

A painterly quality with an otherworldly aesthetic is what set pictorialism apart from other photographic practices at the time. This notion of perfection is what really captures my attention. What I find quite interesting is that looking into this aesthetic every man

The violent markings of the photo album and its images, however, produce an equally powerful message that jars the memory as it disrupts and distorts the photographic chronicle of her life and that of her family and friends. The result is a complex visual experience that addresses the use of images in producing knowledge and making history.

Art critic Robert Hughes once said, “People inscribe their histories, beliefs, attitudes, desires and dreams in the images they make.” When discussing the mediums of photography and cinema, this belief of Hughes is not very hard to process and understand. Images, whether they be still or moving, can transform their audiences to places they have either never been before or which they long to return to. Images have been transporting audiences for centuries thanks to both the mediums of photography and cinema and together they gone through many changes and developments. When careful consideration is given to these two mediums, it is acceptable to say that they will forever be intertwined, and that they have been interrelated forms of

Gregory Crewdson is another of my inspirations that I try to relate my work to. He did a series called brief encounters that beautifully captures figures lonesome in areas. All of the photos are captured in small urban towns or basic domestic interiors. Crewdson captures a quiet sense of desperation coming from his models in his photographs.