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The images, erotic depictions of black men, were widely criticized for being exploitative. [52] [53] [54] The work was largely phallocentric and sculptural, focusing on segments of the subject's bodies. His purported intention with these photographs and the use of black men as models was the pursuit of the Platonic ideal. [21]
Between the Dark and Light - The Grateful Dead Photography of Jay Blakesberg (2002) To Defy the Laws of Tradition - A Photographic Archive of Primus and Les Claypool (2003) Waking Up With a Placebo Headwound, 1987-2004 Images of the Flaming Lips from the Archives of Jay Blakesberg and Michelle Martin-Coyne (2004) Grateful Dead Day Planner (2005)
The man in the photograph is Harold Salvage (1905–1991), a British builder, who was part of a group of friends on a surfing trip. [4] The first version of the Sunbaker image (with Harold's hands clasped) appeared only once, in a limited edition booklet entitled Max Dupain: photographs which was published by Hal Missingham in 1948. [ 7 ]
Photographer Location Format Notes Cited survey(s) Abraham Lincoln: 27 February 1860 Mathew Brady: New York City, United States Gelatin silver print: Taken shortly before Lincoln's Cooper Institute speech. Widely used in his campaign during the 1860 presidential election, both Brady's photo and the speech helped him become president. [24] [s 2 ...
Edward Henry Weston (March 24, 1886 – January 1, 1958) was an American photographer. He has been called "one of the most innovative and influential American photographers" [1] and "one of the masters of 20th century photography."
He is best known for his experimental images using techniques such as pinhole cameras, hand-painted photographs, photograms, and light drawings. Many of his photographs explore issues of gay identity, homoeroticism, and living with AIDS, linking his work to that of contemporaries such as Robert Mapplethorpe , Peter Hujar , and David Wojnarowicz .
Example of a low-key photograph. Low-key photography is a genre of photography consisting of shooting dark-colored scenes by lowering or dimming the "key" or front light illuminating the scene (low-key lighting), and emphasizing natural [1] or artificial light [2] only on specific areas in the frame. [3]
Weston photographed Pepper No. 30 using his Ansco 8×10 Commercial View camera with a Zeiss 21 cm lens. The smallest aperture on this lens is f /36. [citation needed] According to Weston's grandson Kim, it was shot at an aperture of f /240 with an exposure time of four to six hours. [5]