Photography Books and the Photographers Who Created Them

Douglas Crimp begins his essay by delivering a story about a librarian, Julia Van Haaftan and how she was interested in the photography organization at the Art and Architecture Division of the New York Public Library. In addition, Crimp delivers his most enlightening and meaningful point by explaining how Julia Van Haaftan is also now a “director of the Photographic Collections Documentation Project”. She discovered several lost books and photographs, which she researched, re-categorizing, and placed them under the photography or art category in the photographic collection. I found this section of the essay entertaining because it demonstrates that the history books can get lost

When Irving was thirty-six years old, the simultaneous publications of The Sketch Book of Geoffrey Crayon, Gent. (1819), in

photography, and then made a photo journal of his work and named the book “How the Other

using water colors and oils, and did excellent pen and ink drawings. He began to make a name for

My MYP project topic is Photography. I am researching photography because it is a subject that really interests me and that I enjoy. Photography falls under the global context of Personal and Cultural Expression because it is a form of art and a way for people to express their creativity. Throughout this MYP journey I hope to become a better photographer and explore more of Washington D.C. Some questions i’m trying to answer for this project are, What are some restaurants in D.C that are highly favored? What are some cool places I should visit in D.C? How can I become a better photographer?

Albert first became familiar with the identification of forms of writing and types of inks when he was raised on a farm and found that it just wasn’t for him. He attended the State College in Lansing and became interested in penmanship. Later he was offered a job teaching at Rochester Business Institute in 1882, where when he became a highly qualified teacher, lawyers began submitting documents to him. By 1920, business had grown so much that he had to leave Rochester. He went to New York City and opened an office

Some people refer to Alfred as the father of photojournalism because his photos were good. One could observe classical balances, sharp inequalities of light and shadow, and dominant vectors of confining and expansion, as in the active movement up the street into the space and light of Times Square. Those are the artistic illusions that the photojournalists emulate up to date and will continue into the future (Clpgh.org, 2015).

Until the 19th century most artwork was created in a two or three-dimensional media. In England, William Fox discovered a technique that allowed camera images to be captured on paper. This medium has evolved since Fox’s discovery in 1839 to a serious and viable form of art today. Photography allows the artist to capture what he sees. The image produced is reality to the artists eye, it can only be manipulated with light and angles.

John Szarkowski, a photographer and director of the Department of Photography of the Museum of Modern Art. Not only that, but based on the reading he’s also critic. Throughout the years Szarkowski had influence many American photographers, a forward thinker person who at that time had control of the art institution change photographer’s point of view. He taught American photographers how to look at photographs, from proving representations of the world, to making a story real, and to unique angles and perspective through photography.

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.

In our Unit 2 reading, it explains the art of photography and how it has really complimented paintings an artwork from painters such as Paul Delaroche. As many artists thought that “arts of painting” and “arts of photography” would leave little room for the creative representations painters and photographers provide. However, it turned out that Delaroche and many other were wrong and paintings and photos still thrive.

Section 2 – Stresses the importance of continued evaluation of information. He addresses some of his ideas for future advancements in photography and facsimiles. He states “The Encyclopedia Britannica could

Szarkowski’s “The Photographer’s Eye” was a much more intriguing engaging piece in my opinion, while it was significantly shorter than Berger’s, I felt the message was much clearer. I love the point he makes about paintings being made and photographs being taken. The influx of photographs in the 1850s after the increased accessibility to the daguerreotype is reminiscent of the influx of ‘beat makers’ and home producers in the music industry. When home computers and laptops became technologically advanced enough for anyone to fit their own, very basic music studio–– in the form of a digital audio workstation, or DAW, like ProTools or Ableton–– in their computer, music industry very quickly became over-saturated; everyone wanted to be the next big thing, and the necessary tools were now at their fingertips. Anyone can become a “producer” and much like the accidental artistic qualities found in a handful of early photographs, there are a plethora of novice producers who accidentally create something

Originally used to only print designs on cloth, by early fifteenth century the process extended to printing text and illustrations on paper (Stokstad 589). One of earliest adapters of the latter, Laurens Koster of Haarlem, began printing pages with text and accompanying pictures produced with woodcut relief method as early as 1430. Unfortunately, Koster died around 1440 and did not carry his invention beyond experimental stages (Slater 6-7). No known prints by Koster exist. The woodcut method was rather involved. The artist would draw a design on a smooth surface of a wooden block. Then, the artist himself or a skilled woodworker, would cut away all areas around the lines with a sharp tool. Prepared block would be smeared with ink, and a piece of paper would be pressed hard against it. The ink from the relief areas would transfer onto the paper, creating a reverse image of the design. Additional details could be added to the design by varying the thickness of the relief lines. Often, the printed images would be hand colored. One of the examples of woodcut prints is “The Buxhium St. Christopher” (Fig. 2), found in southern Germany and dated around mid-fifteenth

Benjamin’s death in 1940 at the age of 48, is rumored to be a suicide when the Naza’s took office, but is still a mystery. His ideas and concepts however, would live on for decades to come. Much of what he wrote about when discussing art came essentially after the development of photography and film. In his work, “Art in the Age of Mechanical Reproduction,” Benjamin addresses his perception of the changes in art and the aesthetic experience congruent with societal changes. He writes with concern of how the great artworks are viewed after the introduction of photography and film. His idea of mechanical reproduction changed the art world as society knew it, particularly in how the public views artwork and the value of that work as more and more people are able to own, view and discuss it. This paper will specifically look at aspects of Benjamin’s groundbreaking essay and how educators can relate his ideas to the practices in their art classrooms.