Eadweard Muybridge | The Horse in Motion, 1878
Happy Year of the Horse, everyone.
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Eadweard Muybridge | The Horse in Motion, 1878
Happy Year of the Horse, everyone.
Refugee Camp, Kurukshetra, Punjab
Henri Cartier-Bresson, 1947.jpg
René Burri, Garden Restaurant near Teheran, Iran, 1960
“If you are truly successful in capturing the pulse of life, then you can speak of a good photograph.” – René Burri
How the surreal 'Dali Atomicus' was captured
/ Todd Hido
Eugène Atget | Eclipse, 1912
This photograph is taken from the collection of the Metropolitan Museum of Art, where it’s dated incorrectly to 1911 as there were no solar eclipses visible from Paris that year. The Museum of Modern Art, however, correctly dates it to April 17, 1912.
Elliott Erwitt | Spain, Madrid, 1995
RIP.
John Albok | New York, 1938
Photographer Yousuf Karsh—a true master of 20th century photography—gained fame with his portrait of Winston Churchill. Karsh recalls, “My portrait of Winston Churchill changed my life. I knew after I had taken it that it was an important picture, but I could hardly have dreamed that it would become one of the most widely reproduced images in the history of photography. In 1941, Churchill visited first Washington and then Ottawa. The Prime Minister, Mackenzie King, invited me to be present. After the electrifying speech, I waited in the Speaker’s Chamber where, the evening before, I had set up my lights and camera. The Prime Minister, arm-in-arm with Churchill and followed by his entourage, started to lead him into the room. I switched on my floodlights; a surprised Churchill growled, ‘What’s this, what’s this?’ No one had the courage to explain. I timorously stepped forward and said, ‘Sir, I hope I will be fortunate enough to make a portrait worthy of this historic occasion.’ He glanced at me and demanded, ‘Why was I not told?’ When his entourage began to laugh, this hardly helped matters for me. Churchill lit a fresh cigar, puffed at it with a mischievous air, and then magnanimously relented. ‘You may take one.’ Churchill’s cigar was ever present. I held out an ashtray, but he would not dispose of it. I went back to my camera and made sure that everything was all right technically. I waited; he continued to chomp vigorously at his cigar. I waited. Then I stepped toward him and, without premeditation, but ever so respectfully, I said, ‘Forgive me, sir,’ and plucked the cigar out of his mouth. By the time I got back to my camera, he looked so belligerent he could have devoured me. It was at that instant that I took the photograph.” 📷 Winston Churchill, 1941 #ICPCollections http://bit.ly/2DKmMYD
Robert Frank | Fourth of July, Jay, New York, 1954
The Man Who Saw America.
Richard Misrach | Veronica, Friendship Park, Border Field State Park, San Diego, 2013, from the Border Cantos series
Joel Meyerowitz | Flag, Provincetown, July 4, 1983
Irving Penn | Frozen Foods, 1977
Bill Owens | Fourth of July parade, Pleasanton, California, 1972, from Suburbia
In his early years as a photographer, Paul Strand experimented with abstract compositions that look almost Cubist. Does this remind you of any paintings? “From the Viaduct, New York,” 1916 (negative), 1917 (photogravure), by Paul Strand (© Paul Strand Archive/Aperture Foundation)
Similar: Kertész
Edward Burtynsky | Salt River Pima-Maricopa Indian Reservation / Scottsdale (previously titled Navajo Reservation / Suburb, Phoenix), Arizona, USA, 2011, from the series Water
Also read his interview with the Los Angeles Times.
Update: This is the location, with the camera pointing west. Specifically, it's the Stonegate community of Scottsdale on the right, and the Indian Community on the left.
Robert Frank | Parade, Hoboken, New Jersey, 1955