101 Quick and Easy Ideas Taken from the Master Photographers of the Twentieth Century

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101 Quick and Easy Ideas Taken from the Master Photographers of the Twentieth Century

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If you've ever found yourself looking at a photograph in a museum or gallery and thinking, "I can do that,"this is the book for you. 101 QUICK AND EASY IDEAS TAKEN FROM THE MASTER PHOTOGRAPHERS OF THE TWENTIETH CENTURY shows you how to recognize and use the techniques of some of the great photographers of the last century. Each chapter of the book focuses on one photographer, and includes a brief biography that highlights what life experiences influenced his or her work, as well as descriptions of one or several iconic images they photographed that include the key photographic elements that apply to that work - light, shadow, narrative, and symbolism. Along with the descriptions are recreations of the images that use similar subject matter and settings, as well as the steps to help you compose and manipulate your own version of the image. As you work through the book you'll find that the same concepts and themes were used by many of the photographers, but the meanings change as their work is shaped as the events, technology, and environment changed throughout the twentieth century. Arranged alphabetically, 101 QUICK AND EASY IDEAS TAKEN FROM THE MASTER PHOTOGRAPHERS OF THE TWENTIETH CENTURY, features photographers you'll easily recognize and some that are new to you, such as Ansel Adams, Dorothea Lang, Robert Mapplethorpe, Berenice Abbott, Heri Cartier-Bresson, and many more. By learning about and trying the common photography concepts and techniques used by famous photographers you'll enhance your photographic skill set and hopefully find inspiration and ideas for your own work.

[...]... shock Many of the master photographers shot in black and white In the early part of the century, color film wasn’t available By the middle of the century, the photographers chose to shoot in black and white because that was the medium in which fine art photographers worked A few mid twentieth century photographers William Eggleston and Stephen Shore—broke the anti-color bias of many in the field and saw... the upper and lower falls While Adams didn’t follow the photography rule known as the Rule of Thirds (placing prominent subjects/objects a third of the way over from the either edge or the top/bottom of the frame), he did make an effort to place subjects/objects off center in the frame In his image of Yosemite Falls, he placed the waterfall just to the right of the center of the frame He also had the. .. Photographers of the Twentieth Century helps you to recognize some of the techniques used by the great photographers of the twentieth century Each chapter in the book includes a bio of the master photographer (including what life events influenced his or her work) and a description of one or several photographs the photographer shot In the photograph descriptions, I have described the elements of photography... variety of sepia tones There is also a discussion about layers with respect to creating a double exposure Other sidebars will refer to the methods of the artist’s work, the photography rules the artist followed and/ or broke, and the methods used to set up and photograph still lifes Introduction to the Masters The list of twentieth- century photographers who created techniques and passed them along to professional... reaching the top of the frame so that the sky was cut off when looking at the image from left to right Figure 2.3, a replica of Adams’ shot in the same area, shows the falls from Yosemite Lodge From that vantage point, the growth of the valley vegetation is so thick that it’s difficult to see the lower falls Even so, the view of the falls from that vantage point is quite impressive The image was taken. .. Another thing I discovered was that the great photographers (and artists) of the twentieth century were interconnected—they knew each other and learned from one another The book begins with Berenice Abbott, who looked at the world through its architecture from a number of different orientations It moves on to Ansel Adams and Robert Adams, who both defined novel ways to shoot landscapes the former in the. .. an effect of flattening the tops of the buildings, making it difficult to distinguish which building is taller than the other I’ve done the same thing in Figure 1.4 Upon glancing at the image, you might miss the fact that the buildings on the right side of the image are much taller than those on the left Also of note are the converging lines of the image They make the buildings look as if they are going... look as if you are right in the picture She obviously took the picture from the center of the road When you go to emulate the shot, you will be emulating only the subject and roughly, at that The other elements of the photograph—light, color, shades of gray—are up to you to refine The symbolism of the photos will also change In Lange’s The Road West, the road signified the trip west many people took... transform the commonplace into compelling subject matter Color comes alive from both photographers in their work, which took lonely Western outposts, vacuous suburban sprawl, and casual indoor scenes and made them fit to be seen on the walls of the great art museums of the world Then there were the photographers who unraveled messages in text and signage, creating art in words and letters Walker Evans and. .. this book, and I can only say that it was very rewarding to learn new ways of taking pictures by basing my photography loosely on the master photographers of the twentieth century In many of the images, important elements other than the subject may not be noticeably evident if they are not pointed out For example, in Dorothea Lange’s The Road West, the starkness along with the light hitting the road . h0" alt="" 101 QUICK AND EASY IDEAS TAKEN FROM THE MASTER PHOTOGRAPHERS OF THE TWENTIETH CENTURY Matthew Bamberg Course Technology PTR A part of Cengage. site at cengage.com. 101 Quick and Easy Ideas Taken from the Master Photographers of the Twentieth Century Matthew Bamberg Publisher and General Manager,

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  • Contents

  • CHAPTER 1 Berenice Abbott (1898–1991)

    • Barbershop Photography

    • Building Soup

    • The Power of Negative Space

  • CHAPTER 2 Ansel Adams (1902–1984)

    • Photographing and Photoshopping Trees

    • Redefining Sky

    • Reflecting Freeway Light in Black and White

    • Perspective Revised

  • CHAPTER 3 Robert Adams (1937– )

    • Black Smoke

    • Smoggy Light

    • Scrawling in Pristine Lands

  • CHAPTER 4 Eugène Atget (1857–1927)

    • Le Cirque Shadows

    • Catch the Right Angle

  • CHAPTER 5 Bill Brandt (1904–1983)

    • The Wet Cobblestone Street

    • Human Body Parts Close-Ups

  • CHAPTER 6 Brassaï (1899–1984)

    • Surrealist Graffiti

    • Paris (or Any Big City) at Night

  • CHAPTER 7 Harry Callahan (1912–1999)

    • Vast Landscapes with Tiny People

    • Minimalist Windows

  • CHAPTER 8 Henri Cartier-Bresson (1908–2004)

    • Moving Group of People

    • Kids Playing a Game with Spectators

  • CHAPTER 9 Imogen Cunningham (1883–1976)

    • Details of Pattern and Form

    • Zebra Skin

  • CHAPTER 10 Robert Doisneau (1912–1994)

    • Human Interaction with Surroundings

    • Wait for Foreground Subjects

    • Frame the Audience

  • CHAPTER 11 William Eggleston (1939– )

    • Find Muted Color Tones in a Landscape

    • Photograph an Old Car with an Added Extra

    • Photograph a Bright Color Indoors

    • Find Beauty in Junky Surroundings

  • CHAPTER 12 Walker Evans (1903–1975)

    • Find Showbills on City Walls

    • Frame the Façade of an Old Storefront

    • Isolate Interesting Windows on a Building

  • CHAPTER 13 Lee Friedlander (1934– )

    • Frame Scenes That Other Photographers Avoid

    • Use a Fence to Add Lines to Your Photo

  • CHAPTER 14 John Gutmann (1905–1998)

    • Shoot an Object with Writing Covering the Entire Surface

    • Place a Person’s Back in the Foreground in a Two-Shot of a Couple Facing Each Other

    • Shoot a Person Performing a Gymnastic Feat

  • CHAPTER 15 Lewis Hine (1874–1940)

    • Document Child Labor

  • CHAPTER 16 André Kertész (1894–1985)

    • Photograph Someone Reading

    • Photograph Your Own Shadow

    • Stage or Find a Still Life

  • CHAPTER 17 William Klein (1928– )

    • Frame Soda Ads or Signs

    • Photograph Active Children

    • Make Images Grainy

    • Form a Relationship, However Brief, with Your Subjects

  • CHAPTER 18 Dorothea Lange (1895–1965)

    • Photograph Signs of Poverty

    • Shoot Inside of a Streetcar

    • Photograph a Café or a Restaurant Counter

  • CHAPTER 19 Clarence John Laughlin (1905–1985)

    • Frame a Spiral

    • Make a Double Exposure

  • CHAPTER 20 Helen Levitt (1913–2009)

    • Photograph Children Playing

    • Make a Near Match in Colors Duplicated in the Frame

    • Find Animals in Configurations of Three

    • Find Chalk Drawings on the Sidewalk or Building Walls

    • Find a Window with a Subject Looking Out

  • CHAPTER 21 Robert Mapplethorpe (1946–1989)

    • Shoot the Heads of Statues as Profiles

    • Make a Black Background for a Flower Image

    • Frame a Subject Covering Her Face with Her Hands

  • CHAPTER 22 Ralph Eugene Meatyard (1925–1972)

    • Photograph Subjects Wearing Masks

    • Make a Silhouette in Front of a Window

  • CHAPTER 23 Lisette Model (1901–1983)

    • Photograph a Pair of Elderly Women

    • Frame Only the Bottom of People’s Legs

  • CHAPTER 24 Tina Modotti (1896–1942)

    • Photograph a Large Group Wearing Hats

    • Photograph Multiple Telephone Wires

  • CHAPTER 25 Arnold Newman (1918–2006)

    • Frame Porches with People

    • Include an Arrow in the Frame

    • Emphasize Shapes in the Frame

    • Frame Clothes Hanging to Dry

  • CHAPTER 26 Marvin Newman (1927– )

    • Take a Portrait of a Performer in Costume

    • Catch a Passenger through a Bus or Train Window

    • Photograph a Shadow Upside Down (or Rotate an Image with a Shadow in Photoshop)

  • CHAPTER 27 Paul Outerbridge (1896–1958)

    • Photograph a Gas Station

    • Stage a Still Life

  • CHAPTER 28 Gordon Parks (1912–2006)

    • Frame a Musician Playing for Money

    • Find Patterns in Religious Dress

  • CHAPTER 29 Alexander Rodchenko (1891–1956)

    • Use a Variety of Angles to Photograph Objects and Subjects

    • Photograph Repeating Balconies

    • Photograph Buildings from the Bottom Up

    • Make a Photo Montage

  • CHAPTER 30 W. Eugene Smith (1918–1978)

    • Photograph Trails from a Moving Vehicle

  • CHAPTER 31 Aaron Siskind (1903–1991)

    • Place People in Motion on a White Background

    • Find Abstract Art on Walls

    • Find Abstract Art in Architecture

  • CHAPTER 32 Frederick Sommer (1905–1999)

    • Remains of Animals

    • Frame a Landscape without a Horizon

  • CHAPTER 33 Stephen Shore (1947– )

    • Photograph an Old Car in an Old Neighborhood

    • Take a Picture of a Parking Lot from Above

    • Shoot a Landscape of a Road with Two-Thirds of the Frame Filled with Sky

  • CHAPTER 34 Julius Shulman (1910–2009)

    • Avoid Converging Lines in the Frame

    • Choose Indoor/Outdoor Settings

  • CHAPTER 35 Alfred Stieglitz (1864–1946)

    • Find Dead or Dormant Branches in Front of a Cloud

    • Rotate Cloud Photographs

    • Zoom in Close When Photographing a Celebrity

    • Photograph a Reflection of Subjects/Objects in a Body of Water

  • CHAPTER 36 Paul Strand (1890–1976)

    • Isolate Buildings from Exterior Elements

    • Photograph a Toadstool

    • Find Architectural Shadows That Border on the Abstract

    • Make a Fence Your Primary Subject

  • CHAPTER 37 Edward Weston (1886–1958)

    • Photograph a Lake Scene from the Top of a Hill

    • Frame Vegetation against the Sea

    • Find Programmatic Architecture

  • Index

    • A

    • B

    • C

    • D

    • E

    • F

    • G

    • H

    • I

    • J–K

    • L

    • M

    • N

    • O

    • P

    • Q–R

    • S

    • T

    • U

    • V

    • W

    • Y

    • Z

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