Libros de fotografía, página 16 de 623

Una noche de invierno de 1949 en Nueva York, el joven estudiante de marketing y fotógrafo en ciernes Walter Chandoha se encontró un gatito abandonado en medio de la nieve, lo cubrió con su abrigo y se lo llevo a casa. Poco podia imaginar que acababa de conocer a la musa que guiaria su vida. Chandoha se puso a retratar a su nuevo amigo felino, al que llamo Loco, y le gustaron tanto los resultados que empezo a fotografiar a los mininos de un refugio de la ciudad. Estas imagenes fueron el punto de partida de una carrera extraordinaria que se prolongaria siete decadas. Mucho antes de Internet y #gatosdeinstagram, Chandoha cautivo al publico con los protagonistas peludos de sus fotografias. De anuncios a tarjetas de felicitacion, pasando por puzzles y envases de comida para gatos, en sus imagenes confluian un afecto genuino por los animales, una etica profesional intachable y gran maestria. La glamurosa tecnica de iluminacion de Chandoha, con la que el pelaje de los gatos quedaba perfectamente definido, sento las bases del vocabulario visual del retrato de animales durante generaciones e inspiro a maestros como Andy Warhol, que siguio el ejemplo de los encantadores retratos de Chandoha para ilustrar su libro de gatos. The Cat Book salta hasta los archivos del artista que sento las bases de un genero fotografico. A traves de retratos en color de estudio y otros ambientes, imagenes callejeras en blanco y negro, escenas de certamenes antiguos de felinos y mucho mas, este libro constituye un merecido homenaje no solo a estos animales fascinantes, sino tambien a un artista, fallecido en enero de 2019 a la edad de 98 años, cuyo amor por ellos se percibe en cada una de sus fotografias.

El mundo parece estar dividido entre los amantes de los perros y los que prefieren a los gatos, pero por suerte Walter Chandoha, el mejor fotógrafo de mascotas del siglo XX, ocupó una posición intermedia. Amaba a estas intrigantes criaturas por su singular belleza y caracter, y las eligio como motivos fotograficos durante sus 70 años de carrera. Mientras trabajaba en Cats, libro de TASCHEN elogiado por la critica, Chandoha hizo una seleccion de sus fotos de perros favoritas para una posible continuacion del volumen, y coloco en cajas cuidadosamente ordenadas cientos de hojas de contacto, impresiones y transparencias en color, muchas de las cuales no se habian visto durante al menos 50 años y otras totalmente ineditas. Tristemente, Chandoha fallecio en 2019 a la edad de 98 años, pero su legado sigue vivo en esta deslumbrante secuela dedicada al mejor amigo del hombre. Las fotografias de Walter Chandoha resultan fascinantes no solo por el encanto inherente a los perros, tambien porque la persona detras de la camara era un maestro de su arte, escribe el critico de fotografia Jean Dykstra en la introduccion del libro. Vemos terriers, collies, beagles, sabuesos, caniches, perros pequeños, perros grandes, perros de concurso, perros de trabajo y muchos otros, con mas de 60 razas fotografiadas en blanco y negro y glorioso Kodachrome. El libro abarca un periodo de 50 años y esta dividido en seis secciones. Cada capitulo revela la excepcional combinacion de Chandoha de tecnica, versatilidad y alma. El primer capitulo In the Studio se centra en el retrato formal; a continuacion en Strike a Pose nuestros compañeros caninos se ponen a la altura de la camara; en Out and About se pasean y juegan, a menudo fotografiados con los propios hijos de Chandoha; en Best in Show Chandoha usa sus habilidades de reportero para capturar las antiguas exposiciones caninas de la era de Mad Men; en Tails from the City los perros salen a las calles del Nueva York de mediados de siglo; y en el capitulo final Country Dogs llega la vuelta a la naturaleza, los campos y las playas. Dogs es un tributo fotografico desatado a estas adorables y leales criaturas.

Joachim Baldauf renowned proponent of international fashion photography presents a new previously unknown side to his creative output Inspired by Johann Wolfgang von Goethe s Walpurgis Night in the tragedy Faust I and II his portraits studio subjects and outdoor themes illustrate its content with artistic freedom Thrilling revealing and erotic all leitmotifs tell their own story complement each other and spark the imagination From analog photography via mixed reality to the use of artificial intelligence Joachim Baldauf moves masterfully through a complex network of possibilities true to the maxim Consider What more deeply consider How Faust II Act II Text in English and German

Walls are merely material aspects, or an environment, a reflection of society and a place for artistic expression. From scribbled graffiti to wall paintings, from posters back to graffiti art: the greatest photographers bear witness, in black and white and in color, to diverse times or cultures and human passions.

Walking east

Un nuevo libro de unos de los principales referentes mundiales de la fotografía contemporánea

Walker Evans (1903-1975) ranks with Alfred Stieglitz, Edward Steichen and Paul Strand as one of America''s greatest photographers. When originally published in 1994, Walker Evans: The Hungry Eye was the first book to survey every significant aspect of the artist''s oeuvre. This reduced-format version, identical in content to the previous volume, includes 300 beautiful duotone photographs. Evans was largely self-educated and began photographing regularly in 1927, using a small hand-held camera. He specialized in the life of the street - carefully observed views of American architecture, the roadside, and the people who lived in the nation''s villages, towns and cities. Beginning with Evans''s early abstractions, continuing through his three-year involvement with the Farm Security Administration and his breakthrough exhibition at the Museum of Modern Art in New York, and concluding with the artist''s experimentation with colour late in his life, Walker Evans: The Hungry Eye remains the most complete and authoritative view of this American photographic master.

A 75th-anniversary facsimile edition of one of the most significant photobooks ever publishedMore than any other artist, Walker Evans invented the images of essential America that we have long since accepted as fact, and his work has influenced not only modern photography but also literature, film and visual arts in other mediums. The original edition of American Photographs was a carefully prepared letterpress production, published by The Museum of Modern Art in 1938 to accompany an exhibition of photographs by Evans that captured scenes of America in the early 1930s. As noted on the jacket of the first edition, Evans, "photographing in New England or Louisiana, watching a Cuban political funeral or a Mississippi flood, working cautiously so as to disturb nothing in the normal atmosphere of the average place, can be considered a kind of disembodied, burrowing eye, a conspirator against time and its hammers." This seventy-fifth anniversary edition of American Photographs, made with new reproductions, recreates the original 1938 edition as closely as possible to make the landmark publication available for a new generation. American Photographs has fallen out of print for long periods of time since it was first published, and even subsequent editions--two of which altered the design and typography of the book in small but significant ways--are often available only at libraries and rare bookstores. This version, like the fiftieth-anniversary edition produced by the Museum in 1988, captures the look and feel of the very first edition with the aid of new digital technologies.

La exposición está compuesta de un centenar de extraordinarias fotografías realizadas en gelatina de plata, que proceden de los fondos de la que sin duda es la principal colección particular de obras del fotografo y documenta ampliamente todas las etapas de la trayectoria de Evans.

Walker Evans (190375) is now considered perhaps the finest documentary photographer ever and his images have had considerable influence on other artists, and not only in the field of photography. He is well known for his 1930s work for the Farm Security Administration, documenting the effect of the Great Depression on a section of the rural population. He also took many photographs of shopfronts, billboards and the seemingly inconsequential details of urban life.

In 1930 a disaffected young photographer in New York pointed his camera at two workers shoving a huge sign reading DAMAGED into a truck. With that image, Walker Evans gave birth to the quirky, edgy genre of street photography. Yes, this is the same Walker Evans famous for eye-level photographs of Alabama sharecroppers, rural churches and roadside signs. The special appeal of Walker Evans is that—in addition to nearly 200 classic photographs—it offers new images and fresh assessments of his work, based on diaries, letters, field notes and unpublished negatives acquired a decade ago by the Metropolitan Museum of Art in New York. The engagingly written essays by four specialists all bump up against the contradictory impulses of this meticulous, aloof yet curiously passionate artist. A self-described "gray man," he hated color photography. Yet the photographs from his final years--he died in 1975--include strikingly offbeat Polaroids of the glum or startled faces of friends and acquaintances. Four decades earlier, too inhibited to confront strangers directly, he hid a camera in his coat to capture the slack faces of subway riders. Despite the unadorned power of his images of people, Evans had a deeper connection to vernacular architecture and roadside signs. He photographed these everyday subjects straight on, at eye level, deliberately opting for the most deadpan approach. Yet the images are imbued with Evans' unique sensitivity to subtle visual rhythms. Influenced by Surrealism, he freely cropped photographs to shift the viewer's perspective. Despite his ardent scrutiny of the American scene in the 1930s, Evans stood apart from politics and disdained both sentimentality and social criticism. His omnivorous appetite for the culture of his time was tempered by the sober documentary influence of nineteenth century photographers Eugène Atget and Matthew Brady. For all its shrewd commentary, this beautifully produced book discusses Evans' life only insofar as it illuminates the story of the photographs. More detailed accounts are available in biographies by James R. Mellow and Belinda Rathbone

Walker Evans, more than any other photographer in the thirties and forties, defined the documentary aesthetic. For over four decades he used his camera precisely and lucidly to record the American experience. He is generally acknowledged as America''s finest documentary photographer of this century. He attempted to show both the beauty of his subjects and the horror of the social situations in which they lived. During the Depression, from 1935 to 1937, Evans took part in the most extensive photographic project ever carried out in the United States-the pictorial survey of the Farm Security Administration. The now-legendary collaboration with James Agee that resulted in the masterpiece Let Us Now Praise Famous Men documents his dedication to photographing the country he knew. Evans''s talented eye and sensitive heart make him one of the great photographers of this century. This volume contains many of his best-known images.

Walker Evans (1903-1975) is best known for documenting the people and living conditions of the American South during the Great Depression. But his photographic accomplishments were much broader than these famous images: modernist views of New York City, such as his Flatiron Building, New York (1928-29) and Brooklyn Bridge (1929); architectural studies of Victorian homes and other buildings in Boston, Cape Cod, Saratoga Springs, and small towns in upstate New York; a series of spontaneous and surreptitious portraits taken on the Manhattan subway; scenes from Cuba in the 1930s; and his commercial assignments as a staff photographer and writer for Fortune magazine. The familiar work from his Farm Security Administration project is also here-views of the rural South immortalized in his collaborative book with James Agee, Let Us Now Praise Famous Men, along with urban images from New Orleans and Savannah. Essays by Christian A. Peterson, associate curator of photography at The Minneapolis Institute of Arts, describe Evans''s photographic vision and include fascinating information about the acquisition history of many of the photographs in this book. Illustrated with almost one hundred high-quality black-and-white photographs, Walker Evans presents the full breadth of Evans''s expansive and varied photographic art. Distributed for The Minneapolis Institute of Arts.

El libro más completo del mítico fotógrafo, W. Eugene Simth, el maestro del fotoensayo, con las imágenes que dieron la vuelta al mundo en la revista “Life”. Incluye textos inéditos de W. Eugene Smith