#Commercial photography in New York

[astarte-salon]

#midjorneyart #midjourney #concept art #woman character #commercial illustration #ai art #character design #woman portrait #1930 #1930s fashion #1930s style #1930s art #1930s #vintage photography #1920s #30s #vintage new york #astarte salon #astarte art #astarte

[dougholtphotographyus]

DougholtPhotography: Pioneering NYC Fashion Photography

In the bustling streets of New York City, where fashion reigns supreme and creativity knows no bounds, the emergence of DougholtPhotography has sparked a new wave of excitement within the industry. Specializing in capturing the essence of fashion through the lens, DougholtPhotography has become synonymous with innovation, pushing the boundaries of traditional photography and embracing the digital landscape of Web 2.0.

At the heart of DougholtPhotography's success lies a fusion of talent, technology, and a deep understanding of the ever-evolving fashion scene in NYC. Led by a team of visionary photographers, each with a unique perspective and a keen eye for detail, the brand has carved a niche for itself in the competitive world of fashion photography.

One of the key factors setting DougholtPhotography apart is its adept utilization of Web 2.0 tools and platforms to connect with clients and showcase its work. From engaging social media campaigns to immersive online portfolios, the brand leverages the power of digital technology to reach a global audience and stay ahead of the curve.

For model photographers in NYC, collaborating with DougholtPhotography offers more than just a photoshoot – it's an opportunity to be part of a creative journey that celebrates individuality and authenticity. Whether it's capturing the raw energy of a bustling city street or the elegance of a high-fashion editorial, the team at DougholtPhotography approaches each project with a commitment to excellence and a passion for storytelling.

In a city where trends come and go in the blink of an eye, DougholtPhotography remains a constant force, continuously pushing boundaries and redefining what it means to be a nyc fashion photographers. With an unwavering dedication to craftsmanship and a keen understanding of the digital landscape, the brand continues to set new standards for creativity and innovation in the industry.

For aspiring NYC fashion photographers, DougholtPhotography serves as both an inspiration and a beacon of possibility. Through its pioneering work in the realm of Web 2.0, the brand showcases the transformative power of technology in shaping the future of fashion photography, opening doors to endless possibilities and new horizons.

As the fashion industry evolves and adapts to the digital age, DougholtPhotography remains at the forefront, leading the charge with its bold vision and unwavering commitment to excellence. With each click of the shutter, the brand captures not just images, but moments in time – a testament to the enduring allure and timeless beauty of fashion in the heart of New York City.

In the dynamic world of fashion photography, where trends fade and styles evolve, DougholtPhotography stands as a beacon of creativity and innovation. With its finger on the pulse of the industry and a keen eye for the avant-garde, the brand continues to push boundaries and redefine the art of capturing fashion in the digital age.

For model photographers in NYC and beyond, DougholtPhotography represents more than just a brand – it's a symbol of possibility, a testament to the transformative power of passion and

creativity. In an ever-changing landscape, one thing remains constant: the timeless allure of fashion, immortalized through the lens of DougholtPhotography.

#photography studio in new york #commercial photographer nyc

[pazzesco]

"The Terminal" by Alfred Stieglitz - 1892

"Winter, Fifth Avenue" by Alfred Stieglitz - 1892

"The Steerage" by Alfred Stieglitz - 1907

Alfred Stieglitz, (born January 1, 1864 - died July 13, 1946), art dealer, publisher, advocate for the Modernist movement in the arts, and, arguably, the most important photographer of his time.

Early in 1902 Stieglitz announced the existence of a new organization called the Photo-Secession, designed to break away from stodgy and conventional ideas. Photo-Secession was dedicated to promoting photography as an art form.

Autochrome self-portrait, c. 1907

The Above photo is NOT colorized, Stieglitz was a pioneer in the use of the autochrome process, invented in France by Auguste and Louis Lumière. It was the first practicable method of color photography.

This photo of his daughter is believed to be one of the first color photographs - "Kitty Stieglitz in a Field with Blue Flowers," - 1907

Alfred and Kitty Stieglitz, 1907

This Autochrome was made in the Bavarian resort town of Tutzing, Austria, in the summer of 1907, by either Stieglitz or his young protégé Edward Steichen, or possibly both. Stieglitz was experimenting with the newly invented Autochrome, the first viable and commercially manufactured color process.

Late in 1905, with the encouragement of Steichen, Stieglitz opened the Little Galleries of the Photo-Secession, a name soon shortened to 291, the gallery’s address on lower Fifth Avenue in New York City. During the gallery’s first four years it most often functioned as an exhibition space for the Photo-Secession photographers. By the 1909 season, however, the gallery began to promote progressive art in a variety of media, and the work of painters, sculptors. These exhibitions included the first shows in the United States of the work of Henri Matisse, Henri de Toulouse-Lautrec, Paul Cézanne, and Pablo Picasso. It's also the place where he met his future wife Georgia O'keeffe.

Georgia O'Keeffe, "Hands" by Alfred Stieglitz - 1918

Stieglitz & Georgia O'keeffe, 1919

His serial portrait of O’Keeffe, made over a period of 20 years, contains more than 300 individual pictures and remains unique and compelling in its ability to capture many facets of a single subject.

My Faraway One: Selected Letters of Georgia O'Keeffe and Alfred Stieglitz: Volume One, 1915-1933

Between 1915, when they first began to write to each other, and 1946, when Stieglitz died, O'Keeffe and Stieglitz exchanged over 5,000 letters (more than 25,000 pages) that describe their daily lives in profoundly rich detail.

How much we have in common. — Traits. — Both turn everything we touch into something really living — & amusing — for ourselves. — Both can laugh — really laugh — even at our heartaches… 300 years you want to live!! — I wish I could give you that as a gift —

Letter from Stieglitz to O’Keeffe, November 9th, 1916

#alfred stieglitz #georgia o'keeffe #Kitty Stieglitz #edward steichen #vintage photography #bw #autochrome #The Steerage #hands #The Terminal #historical photos #letters

[betterbemeta]

As it is right now, machine learning image generation is classist. It depends strongly on the human audience's eye for pareidolia to smooth over its inconsistencies and find patterns in its noise where its procedural generation falls short.

This means that the less opportunity a person has to gain context for information, the more likely 'AI art' is to be convincing. As long as that person has been given a baseline to 'believe' the general arrangement of elements, AI art will 'make sense' even if that baseline is just exposure to more acontextual imagery. Which is what the machine learning's algorithms were trained on in the first place.

For example, 'AI' right now struggles to coherently depict plants. When it's not blurry, indistinct plant fur, leaves from different kinds of plants appear on the same stem, plants from the wrong biome are included in 'nature' images. Someone who has very little educational opportunity, but has seen movies where people walk through jungles or forests as set pieces or something, might not notice the difference. And why do you 'need' to know if the plants look right, poor person; you'll never leave your immediate area or take a biology class!

Someone without the opportunity or comfort to travel might not recognize that a cityscape has been artificially generated, depicts no actual real-world city. Is that supposed picture of Dubai or New York City or Cairo showing a real place that exists? Who cares, you're too poor to ever go there.

Searching for information about animal species, even, can get messed up by generated 'content.' Do servals have ear tufts? What kind of insect is that? What species of lizard or snake am I looking at? You don't deserve to know what kinds of animals are real. What time do you have to go to a zoo, if there's even one around you?

The less money you have, the more likely you are to be surrounded by advertising and "AI Art" is ideal for advertising because it only tells a very simple story at best. There's no complicated human emotions; its literally made of averages of what has been seen before. Marketing and advertising content often replaces actual art that might be a window into a greater world. It may even just be dropped in there to fill the awkward silence or blankness that would have otherwise surrounded marketing efforts-- commercials would be surreal without some say-nothing 'music' track behind them, and billboards would be creepy without the graphic noise that surrounds the product and its information. Someone who passes through more monetized public spaces per day will see more of it than someone who inhabits private property.

And like, at the end of the day if you are wealthy... you probably don't care about any of this. You have access to whatever you want, so why do you care what's real? You trust you can 'pay for' the real thing, right?

Plus, who knows the economic status of who generated imagery the machine learning algorithms train on? It's all stolen.

Photography has been critical in modern history for bringing 'the world' across social divisions of class, race, geographical divides. Photographers and filmmakers, along with other visual artists as well as musicians, writers, and journalists associated with all of these disciplines give us lenses, framing, voices, and perspectives to understand our greater world no matter where we are. Hell, identifying the human intentions BEHIND those lenses, framings, voices is key to our development. No matter your circumstances, with a strong grasp of media literacy anyone can sit down and say, wait a minute, is this real, would it be true for me too? Or is this someone's point of view?

To the point of view of wealth and capital, the working class and those without wealth who cannot work (disabled people, displaced people, homeless people shut out of employment, and more) do not deserve to know about reality. To that point of view, nonwealthy people don't deserve to even know who created the perspectives they're allowed to see. You can be born, get trained to work, go to work, come home to the minimum, repeat, and die having seen no images of reality for all they care. They'd like that! How can you dream of something outside the current exploitative structure if you can't even trust you know what plants and animals and cities look like, outside your tiny box?

#long post #AI art #machine learning #something something the matrix

[blackswaneuroparedux]

On this type of film the only themes to work with are, it seems to me, sex or violence. I chose sex.

Robert Brownjohn, graphic artist and fill titles director, Goldfinger

While best known for his title sequences for the James Bond films From Russia with Love and Goldfinger, Robert Brownjohn had a short but influential career, which integrated design, advertising, film, photography, and music. A major figure in the New York advertising and design scene of the late 1950s. Brownjohn lived with heroin addiction, and its impact on his New York relationships eventually precipitated a move to London in 1960. There he was at the epicentre of the burgeoning music, art, and fashion scene of London’s “swinging ’60s.

In London, Brownjohn rapidly established himself as a designer of note. While working for the firm McCann Erickson, he designed the opening credits for the second James Bond film, From Russia with Love, his first foray into film. The following year he directed the film titles for Goldfinger.

For both title sequences, he employed a surprising and attention-grabbing approach in which the credit texts and scenes from the films were projected onto scantily clad women, initiating the long-running Bond film tradition of elaborate title sequences featuring seductive women.

Brownjohn’s treatment of type as dynamic, abstract forms in the title sequences illustrated both his mastery of graphic design and the enduring influence of Moholy-Nagy’s use of type and photography. His combination of sexually suggestive images and wry humour was a fitting accompaniment to the James Bond mythos.

Margaret Nolan was a twenty-year-old pin-up known as Vicky Kennedy when she was selected to be dressed in a gold leather bikini and dipped in gold paint by Robert Brownjohn for Goldfinger.

Nolan was suggestive enough to requite state approval lest it drive viewers wild. It got the nod, becoming the the first film sequence to require clearance from British film censors. Nolan’s appearance, although eye catching in the title sequence, didn’t really give her fame of the other women who starred in Goldfinger like Pussy Galore or Shirley Eaton or Tania Mallet.

In the movie, it was Shirley Eaton who memorably played the golden girl suffocated in gold paint.

Nolan got a bit of cash and a small part role as Dink, a masseuse.

That small appearance was noticeable enough for her to grab a small part as ‘Grandfather’s Girl at Casino’ in The Beatles film A Hard Day’s Night. But the casting agents and viewers’ liked her. Nolan would go on to appear in such stables of British light entertainment as Crossroads, Carry on Cowboy, Adam Adamant Lives!, Steptoe and Son, The Sweeney and Crown Court. But she never really leveraged her Bond fame in the same way as other Bond girls were to do in the coming years.

Robert Brownjohn was recognised for his daring, winning the prestigious gold pencil at the Design and Art Director Awards in 1965. The broad acclaim he received for the Bond film titles led to more film and commercial work for clients ranging from Pirelli to Midland Bank to the Rolling Stones. Though he continued to produce original and challenging work, in the latter half of the 1960s, his life became increasingly unstable. He was moving from one partnership to another until he died in 1970, at the age of 44.

[madonnalouise-ciccone]

Madonna poses before she was famous in New York! On February 12, 1979 photographer Martin H. M. Schreiber called an agency and they sent one of their young models for him to shoot for one of his lecture classes. Years later the model would become Madonna, the images are now to be shown in the UK for the first time at the Brighton Festival. She is often hailed as a trend setter and the undisputed queen of pop, but now a gallery in Brighton is set to show Madonna as you have never seen her before. Taken 30 years ago these black and white photographs show the unknown 20-year-old Material Girl in an intimate and sensual photo shoot. Looking remarkably like her daughter Lourdes, Madonna was a then young carefree model. Posing nude for just $30 for New York photographer Martin H. M. Schreiber in 1979, the original photographs, "The Madonna Nudes – 30th Anniversary Exhibition", were shown at Brighton's Impure Art Gallery for the first time in the UK during summer. "These photographs were taken during my photography lecture courses in New York," says 52-year-old Schreiber. "At the time she was signed to a model agency and they sent her to this job at my studio on 22nd street Manhattan."The shoot lasted a few hours and it was after that time that we got to know each other for a while." Martin H M. Schreiber developed his eye and technical abilities in the US military in the sixties, while working freelance for the New York Times. After his discharge in 1968 he attended the School of Visual Arts in New York but quit and went solo, winning honorable mention in the first Life Magazine photography contest. In 1977 he began teaching a course at Parsons on photographing the nude and his first book BODYSCAPES was published in 1980. In 1985, after Madonna had become a global icon, the shots appeared in Playboy, catapulting Schreiber to fame. Established in May 2008, Impure Art is the UK’s only permanent, commercial, erotic art gallery. It has fast acquired a reputation for showing daring and exciting work of extremely high quality. They represent over 100 local, national and international erotic artists. The Madonna Nudes – 30th Anniversary Exhibition ran from May 1 to 31 as part of Brighton Festival Fringe.

#Madonna.1979 #Martin H. M. Schreiber

[hooked-on-elvis]

Elvis' first LP cover 📀

A LITTLE BACKGROUND STORY ABOUT THE PICTURES USED AS COVERS FOR ELVIS' FIRST LP "ELVIS PRESLEY" RELEASED ON MARCH 23, 1956. All the pictures were taken in 1955.

THE FRONT COVER

Scotty Moore, Elvis Presley and Bill Black in July 31, 1955, during concert in Tampa, Florida. Photo by Williams V. "Red" Robertson.

Known as the "Tonsil Photo", the picture of Elvis holding his 1955 Martin D-28 guitar (with custom made tooled leather cover with his name "Elvis Presley" blazoned across the front), as used on the front cover for his first RCA LP, was taken on July 31st 1955 in Tampa, Florida, according to Tampa photographer William V. "Red" Robertson, who took the picture.

Colonel Parker hired quite a few different studios and photographers to photograph Elvis in the 50s for commercial purposes. Williams Vernon "Red" Robertson was one of the professional photographers hired by Parker, in his case to photograph a show with Elvis Presley on July 31, 1955. Robertson did field work for his Robertson & Fresh commercial photography studio, a firm active in Tampa from 1932 to 1960. Roberton's business partner, Harry Fresh, processed and printed the images. You can see some other pictures from Robertson & Fresh's studio in here (digitalcommons.usf.edu archives).

The "tonsil photo" since taken was extensively used in newspaper and print to promote future shows in the 50s, and due to its use in Elvis' first LP, specially, it's one of the most famous pictures of the King of Rock and Roll.

[1] Elvis' Martin D-28 guitar backstage at the Mosque in Richmond - June 30, 1956 Photo © Al Wertheimer -- [2] The "Tonsil Photo" used in a February 8th ad for the shows on the 10th in the Charlotte Observer. Friday, February 10, 1956, Elvis, Scotty, Bill and DJ made their first appearance in Charlotte with four shows at the Carolina Theatre. [3] Elvis' tooled leather cover (trimmed) and D-28 - Aug 5, 1956 Photo © Bob Moreland.

Other pictures of Elvis taken that same day, July 31st 1955, in Tampa, Florida:

Elvis at Fort Homer W. Hesterly Armory in Tampa, FL on July 31, 1955.

THE BACK COVER

On November 30th 1955, Elvis and the Colonel flew to New York, where they register at the Hotel Victoria on Fifty-first Street.

On Thursday, December 1st 1955, Elvis and the Colonel met RCA executives, including president Larry Kanaga and publicity director Anne Fulchino, at the RCA's Twenty-fourth Street studio in New York.

JUST SO YOU KNOW: I think there isn't photos of Elvis with RCA's president Larry Kanaga (at least I haven't found one yet) but below is a photograph from another day (in the future) of EP and Anne Fulchino, publicist for RCA Victor's Pop Record Division. They were waiting for the elevator at CBS Studio 50 in New York City on Saturday, March 17, 1956. Photo by ©Alfred Wertheimer.

Back to December 1st, 1955: A photo shoot was arranged and pictures of Elvis and the Colonel, Elvis and Steve Sholes and Elvis and fellow RCA recording artist Eddy Arnold, who happened to be in New York for a session, were taken in December 1st 1955.

December 1st, 1955, RCA's Twenty-fourth Street studio in New York: Elvis and Steve Sholes; Elvis and Eddy Arnold; Colonel Parker, Eddy Arnold, Elvis and Steve Sholes.

After the pictures with other people, Elvis was photographed by himself... a lot (I mean it). From all the pictures, four of them (posed action shots of Elvis) were used on the back of Elvis' first album.

THE PICTURES ON THE REAR JACKET OF ELVIS' FIRST RCA LP:

Note: I haven't found the 2nd picture in a satisfying quality yet but if I do, I'll update the post.

Some other pictures taken that same day:

Elvis Presley. December 1st 1955. Photo shoot at the RCA's Twenty-fourth Street studio in New York. Photographs by William "Popsie" Randolph.

Credits: Pictures from Pinterest Elvis fan accounts (too many different accounts); Discogs (album sleeves), elvispresleymusic.com.au (some more pictures and info from the December 1955 day in Elvis' life); scottymoore.net (some other pictures and info from the December 1955 day in Elvis' life); digitalcommons.usf.edu (information about one of Elvis' early photographers, William V. "Red" Robertson, who was responsible for the "Tonsil photo").

#there are more and more photos from that December 1 1955 #but Tumblr won't let me flood you with them #elvis discography #elvis presley #1956 album #1956 #elvis music #elvis history #elvis photographs #elvis fans #elvis fandom

[mybeingthere]

Masahisa Fukase (Hokkaido, 1934 – 2012) is considered one of the most radical and experimental photographers of the post-war generation in Japan.

A legend and an enigma in his native Japan, postwar photographer Masahisa Fukase (1932-2012) produced a body of work whose dark expressionism reflects the artistic reaction to a country ravaged by defeat. He began showing his photographs in the 1960s, focusing on industrial scenes. By the early 1970s, he turned to the tender subject of his wife, gaining critical and commercial success. In 1974, together with contemporaries including Shomei Tomatsu and Daido Moriyama, he established a photography school, The Workshop, which propagated the grainy, raw style they pioneered. That same year, his work was included in “New Japanese Photography,” a groundbreaking exhibition at the Museum of Modern Art, New York. By the late 1970s, bereft after the dissolution of his marriage, Fukase began photographing ravens, their inky-black bodies serving as ciphers for the pain and loneliness by which he was plagued.

He is best known for his 1986 book Karasu (Ravens or The Solitude of Ravens), which in 2010 was selected by the British Journal of Photography as the best photobook published between 1986 and 2009. Since his death in 2012 there has been a revival of interest in Fukase's photography, with new books and exhibitions appearing that emphasize the breadth and originality of his art.

[justforbooks]

The American photographer Elliott Erwitt, who has died aged 95, was renowned for his largely unposed images of famous people. Among the political figures he caught on film were Fidel Castro and Che Guevara, laughing and waving a cigar in Havana (1964); Jacqueline Kennedy swathed in a black veil at her husband’s funeral in 1963; and Richard Nixon, pointing and jabbing his finger at Nikita Khrushchev’s chest in 1959.

Cultural figures included Marilyn Monroe showing a leg while filming The Seven Year Itch in 1954; Jack Kerouac, unusually meditative, wearing a tie, in 1953; and Dustin Hoffman, with whom Erwitt made a short film, The Many Faces of Dustin Hoffman (1968). Animals were his obsession, and he devoted several books to pictures of dogs, with titles such as Woof (2005) and DogDogs (1998), as well as another short film, I Bark at Dogs (2011).

He spent nearly 80 years behind a camera (for preference a Leica 35mm or a Rolleiflex medium format), selecting subjects from around the world, and working primarily in black-and-white, though he could use colour to make a point.

According to Erwitt, who disliked over-theoretical analysis: “Colour is descriptive. Black-and-white is interpretative.” He defined photography as “an art of observation” or “a biography of a moment”. He suggested that artistry lies in “finding something interesting in an ordinary place … I’ve found it has little to do with the things you see and everything to do with the way you see them.”

In his view everything has photographic potential. If you care to look, he wrote, “you can find pictures anywhere. It’s simply a matter of noticing things and organising them. You just have to care about what’s around you and have a concern with humanity and the human comedy.”

He cared a great deal, politically and personally. Erwitt was furious rather than flattered that the Republicans used his Nixon/Khrushchev image (without his permission) for their 1960 presidential campaign, and sent a $500 invoice, which was paid. It can be viewed as Nixon bullishly asserting the US against the USSR, and represented what Erwitt most abhorred in US politics.

He was born Elio Ervitz in Paris, the son of Orthodox Jewish parents, Eugenia and Boris, who had fled Russia following the 1917 Revolution. His forenames were his father’s choice since “he had once attended the University of Rome … and liked it”, and he later anglicised his name. The family moved to Milan, until the rise of fascism prompted their return to Paris in 1938.

Although Erwitt’s parents had separated, a year later all three left together for New York, then Los Angeles. Erwitt completed his schooling there in 1947, and a year later he returned to New York to embark on film studies at the New School. He then joined the US army Signal Corps and, while serving in Europe (1951-53), his fluency in four languages assisted him in compiling his portfolio.

He gained further experience working as a film cameraman in France; a staffer for the Standard Oil Company and Pittsburgh Photo Library; and then – increasingly – as a contributor to a variety of new picture magazines including Look, Life and Holiday, which provided his entry into the prestigious Magnum Photo Agency, established in Paris and New York in 1947.

Robert Capa, one of Magnum’s four founder members, recruited Erwitt, and a fellow founder, Henri Cartier-Bresson, championed him, describing him as “working on a chain-gang of commercial campaigns and still offering a bouquet of stolen photos with a flavour and smile from his inner self”. Praise indeed, which Erwitt later returned in a homage to Cartier-Bresson’s Behind the Gare Saint-Lazare (1932) with Umbrella Jump in Paris (1989), which captures the balletic leap of a man over a puddle beneath the Eiffel Tower during a rainstorm.

Alongside his sense of empathy, Erwitt maintained his sense of humour. Humans’ capacity for projecting their attitudes – and fashion fads – on to their pets was a reliable subject. One image, New York City, 1974 (Dog Legs), taken at knee level, shows a diminutive pooch in a fancy knitted beret, next to a pair of a women’s fashionable, shiny boots, with another pair of taller legs, clearly canine, completing the lineup. It was a perfect example of stylistic crossover: what appears to be a found image was in fact a shoe advert.

In another image from the same year, a disgruntled-looking bulldog squats on a brownstone doorstep, next to a much larger bulldog squatting on the lap of a human, obliterating any view of his master’s face. Erwitt not only loved dogs, but enjoyed seeing the world from a dog’s eye level.

He was not afraid of humour even in more ghoulish surroundings. In 1955, he shot the naturally preserved naked Mexican mummies lining the museum walls at Guanajuato. Their desiccated skins, slack jaws and awkwardly positioned limbs flank a prettily dressed young couple. The blond lad, in an American-style checked shirt, is pointing, in spirited discussion with his girlfriend. They appear as incongruous as their silent observers.

The incongruous and the absurd became hallmarks of Erwitt’s work, as did political events. In one sequence both came together, during Nelson Rockefeller’s campaigning for the Republicans in 1962. Once more taking a mutt’s eye view of humans, the first shot shows one apparently observing intently; in the next he has turned to sniff the ground; and in the third he raises a back leg. “Fair comment,” a viewer might say. Erwitt’s conclusion was, after all, that: “The whole point of taking pictures is so that you don’t have to explain things with words.”

His work appeared all over the world, including several shows at the International Center of Photography in New York, Elliott Erwitt: a one-man exhibition at the Barbican in London in 1989; and a retrospective at the Musée Maillol, Paris, earlier this year.

Erwitt married and was divorced from four wives: Lucienne Van Kan, from 1953 to 1960; Diana Dann, from 1967 to 1974; Susan Ringo, from 1977 to 1984; and Pia Frankenberg, from 1998 to 2012. He is survived by two daughters, Ellen and Jennifer, and two sons, Misha and David, from his first marriage; two daughters, Sasha and Amelia, from his third marriage; 10 grandchildren and three great-grandchildren.

🔔Elliott Erwitt, photographer, born 26 July 1928; died 29 November 2023

Daily inspiration. Discover more photos at Just for Books…?

#just for books #elliott erwitt #in memoriam

[fashionbooksmilano]

Modern Look

Photography and the American Magazine

by Mason Klein with essays by Maurice Berger, Leslie Camhi, and Marvin Heiferman

Yale Un.Press, New Haven 2020, 192 pages, 24,5x31,3cm, ISBN 9780300247190

euro 32,00

email if you want to buy [email protected]

A fascinating exploration of how photography, graphic design, and popular magazines converged to transform American visual culture at mid-century

This dynamic study examines the intersection of modernist photography and American commercial graphic design between 1930 and 1960. Avant-garde strategies in photography and design reached the United States via European émigrés, including Bauhaus artists forced out of Nazi Germany. The unmistakable aesthetic made popular by such magazines as Harper’s Bazaar and Vogue—whose art directors, Alexey Brodovitch and Alexander Liberman, were both immigrants and accomplished photographers—emerged from a distinctly American combination of innovation, inclusiveness, and pragmatism. Beautifully illustrated with more than 150 revolutionary photographs, layouts, and cover designs, Modern Look considers the connections and mutual influences of such designers and photographers as Richard Avedon, Lillian Bassman, Herbert Bayer, Robert Frank, Lisette Model, Gordon Parks, Irving Penn, Cipe Pineles, and Paul Rand. Essays draw a lineage from European experimental design to innovative work in American magazine design at mid-century and offer insights into the role of gender in fashion photography and political activism in the mass media.

Published in association with the Jewish Museum, New York

Exhibition Schedule:Jewish Museum, New York (April 2–July 11, 2021)

#Modern Look #fashion exhibition catalogue #Jewish Museum NY 2021 #American viaual culture #Vogue #Harper's Bazaar #fashion books #fashionbooksmilano

[brooklynmuseum]

Against a backdrop of policing, censorship, and gay liberation in early 1970s Atlanta, DeSana staged photographs of his mostly queer friends, including the notorious drag performer Diamond Lil, nude in suburban environments. While other Conceptual artists using photography like Dan Graham were focused on the architectural homogeneity of suburbia, in “101 Nudes,” a portfolio of 56 photolithographic prints, DeSana penetrated the veneer of seriality and conformity.

Both his subjects’ poses and his halftone reproduction techniques mimicked images from mass-market, soft-core pornographic magazines that emerged during the artist’s youth. The title sends up that of the wholesome 1961 Disney animated film 101 Dalmatians, which was rereleased in 1972. 

DeSana eventually sent copies of the portfolio through the mail, which served as an alternative channel for sharing Conceptual art and challenging the privileged spaces of museums and commercial galleries during these years. He embraced “correspondence art” in part to connect with other gay artists and construct identities that defied mainstream standards of “respectability” for gay people.

📷 Jimmy DeSana (American, 1949-1990). Untitled, from the series 101 Nudes, 1972. Offset print, 12 3/4 × 8 1/2 in. (32.4 × 21.6 cm). Courtesy of the Jimmy DeSana Trust and P·P·O·W Gallery, New York. © Estate of Jimmy DeSana. (Photo: Allen Phillips)

#Brooklyn Museum #brooklyn #museum #art #exhibition #Jimmy DeSana #JimmyDeSanaBkM #photographs #photography #lgbtq+ artists

[beautifulbizarremagazine]

OPEN CALL // TRADITIONAL ARTISTS If you work in any traditional medium including: oils, acrylic, tempera, gouache, watercolour, pencils, charcoal, graphite, pastels, chalk, ink etc, you are eligible to enter the Beautiful Bizarre Art Prize, @raymarpanels Traditional Art Award. 1st Prize Winner of the Raymar Art Traditional Art Award will receive: ⚫ US$3,000 cash, generously donated by RAYMAR, creators of the finest panels! Panels are their passion. They craft their panels with the world’s finest materials to serve as the foundation for your artwork. ⚫ US$1,500 cash, generously donated by Rosemary Brushes, the finest quality handmade Artists’ Brushes. ⚫ US$1,500 worth of art photography and/or Fine Art archival print reproduction from Static Medium. ⚫ A beautiful, specially commissioned glass art award trophy. ⚫ The opportunity to exhibit in the prestigious Beautiful Bizarre Magazine exhibition at Haven Gallery, in New York, USA, alongside 80+ of the world’s best contemporary representational artists. ⚫ Exposure to a successful commercial gallery’s collector base with the opportunity to sell their work. ⚫ Winning artwork published in the December 2023 issue of Beautiful Bizarre Magazine + MUCH MORE! For more information, and to enter please visit https://beautifulbizarreartprize.art/raymar-traditional-art-award-prizes/ [link in our profile] The 2023 Beautiful Bizarre Art Prize is proudly sponsored by: GOLD SPONSORS: @Raym@raymarpanels, @inprnt , @icanvas_art, @yashayoungprojects, Beautiful Bizarre Magazine Founders SILVER SPONSORS: @staticmedium, @rosemarybrushes SUPPORTING SPONSORS: @wacom, @sculpey_official, @linktr.ee, @smarterartschool, @stanwinstonschool, @Haven Gallery MEDIA PARTNERS: @supersonicart Artwork by 2022 RAYMAR Traditional Art Award, 2nd Prize Winer, @kremena.chipilova.art #beautifulbizarreartprize #beautifulbizarre #artprize #painting #drawing #artist #artwork #investinyourself https://www.instagram.com/p/Coa37bcJN5K/?igshid=NGJjMDIxMWI=

#beautifulbizarreartprize #beautifulbizarre #artprize #painting #drawing #artist #artwork #investinyourself

[professorpski]

Under Cover: J.C. Leyendecker and American Masculinity

Now through August 13, 2023, the New York Historical Society has 19 oil paintings and a boatload of other illustrations from the collection of the National Museum of American Illustration, Newport, RI, featuring the work of J.C. Leyendecker (1874–1951) who worked as a commercial artist. He is best known for this Arrow Collar Man advertisements, but he did covers for the Saturday Evening Post too in the early 20th Century. Leyendecker was gay in an era when hiding that identity was often essential to success, but his work reveals how much he loved the beauty of young men.   

He worked in the era before fashion photography dominated, and the ability of illustrators to capture realistic images of people, and to indicate some kind of story, whether for magazines or advertisements, was big business. This image is called “Record Time” and captures the moment during a swim meet as the man in the suit holds a stop watch. It was created for Kuppenheimer & Co of Chicago which sold menswear, including suits. Leyendecker’s illustrations can give you a good idea about what men wore, at least well-off men who had money to spend on nice clothes.  

For more information, go here: https://www.nyhistory.org/exhibitions/under-cover-leyendecker-and-american-masculinity

#undercover #Newyorkhistoricalsociety #vintagefashion #vintagemenswear #costumehistory #dresshistory #fashionhistory #costumehistoryexhibition #dresshistoryexhibition #fashionhistoryexhibition #historyofillustration #vintageillustration #menswear #arrowcollarman #arrowcollar #saturdayeveningpost #jcleyendecker

[projectourworld]

Mankind and Nature

Backyard Friend (from Cities Gone Wild). Asheville, North Carolina, United States.

With a wildlife corridor passing through their property, a retired couple living on the outskirts of Asheville, North Carolina frequently find four-legged visitors at their back porch, including this beautiful American black bear (Ursus americanus). In fact, residents of Asheville are known for their close relationship with wild black bears in the area.

This photographer theorizes that through this coexistence, these bears may be growing more intelligent and increasingly bold—resulting in close contact like that featured here. Corey Arnold is a commercial fisherman and photographer exploring the complicated relationship between mankind and nature. He creates photographic stories related to his life at sea, working communities, and human-animal relationships. His work has been exhibited extensively in galleries and museums worldwide including the Portland Art Museum with local representation by Charles A. Hartman Fine Art. Arnold’s photography has been featured in Harpers, The New Yorker, New York Times, Rolling Stone, Time, Outside, Smithsonian, National Geographic, Mare, and The Paris Review, among others. A National Geographic Explorer and Hallie Ford Foundation Fellow, he has published two books of photography by Nazraeli Press including Fish-Work: The Bering Sea and Fishing with My Dad. Courtesy : Big Picture Natural World 2033 Competition #bold #black #bears #northcarolina

[jackfm]

[ jonathan bailey, cis man, he/him ] — whoa! JASPER ‘JACK’ TOMKINS just stole my cab! not cool, but maybe they needed it more. they have lived in the city for TEN YEARS, working as a MODEL / OWNER OF GLOW. that can’t be easy, especially at only 35 YEARS OLD. some people say they can be a little bit RESTLESS and STUBBORN, but i know them to be GENIAL and DILIGENT. whatever. i guess i’ll catch the next cab. hope they like the ride back to BROOKLYN! — (penny, 24, gmt, she/her, none)

fullname:  jasper henry tomkins. nickname(s): jack ( used by everyone ), jas ( usually just close friends / family ), jasp ( uncommonly used ). age:  thirty-five. birthday: july 6th. gender / pronouns:  cis man ,  he / him. orientation:  homosexual / homoromantic. place of birth: oxford, england. current residence: 'vintage' loft apartment, brooklyn. height: 5'9. personality: considerate, pragmatic, evasive, self-critical.

born and raised in oxford jasper's parents were both teachers ( mum of biology & dad of history ) and he the youngest of three, with an older brother & sister. while his siblings followed in the academic path set by their parents, jasper was consumed by a love for ballet from a young age.

he attended the royal ballet school for several years thanks to bursaries, but at eighteen suffered a back injury that had to be treated with surgery and though he mostly recovered ( it still plays up every now and then ) but decided then it wasn't the career path for him.

so he started a degree in music and drama at university and ended up doing some modelling for fellow students in fashion and photography. with their encouragement & his family's, he built a portfolio and approached several agencies. he began part time work straight away ; dribs and drabs here and there, but enough for jack to find a real passion.

dropped out of uni and struggled through a few years of ups and downs ( mainly downs ) in london. his luck started to turn at 23 and this prompted his move to new york two years later. the ups and downs ratio slowly shifted towards more of the former and at 26 he booked his first real editorial shoot in an issue of harper's bazaar.

after this he started earning regularly in editorial and commercial fashion; enough to move from his first dingy brooklyn apartment and start saving. his ownership of glow came completely out of nowhere ; jasper would never dream of being a business owner. until, of course, a club space not far from his home became available. it is maybe the most impulsive thing he's ever done and for sure he has stress dreams about it since taking ownership with a friend ( maybe a wc ?? ) two years ago, but it's done and glow is now his baby. he still models & loves it of course, but channels most of his energy into glow.

it was always going to be an lgbtq+ space and it had been a club before, so that was a pretty easy decision. but it's by no means just a club. downstairs is only open from the evening and is the designated club space ( though there are alcohol-free & relaxed nights even in the club ), but upstairs is a much more relaxed space with a bar and cafe capabilities. jack really wants it to become a community hub of sorts.

headcanons

is probably a relatively mid to high-level model. he's had his fair share of shoots in popular magazines / work with well-known brands so recognisable to an extent, but not considered a supermodel or a household name, really.

supports local small businesses ( esp queer ones ) at any chance, whether in the club or through investment, sponsorship, whatever. he has money ( like, a good amount of it ) & kinda status for the first time in his life so is always trying to find ways to share it out and make sure as many people benefit as possible.

has been known to randomly appear at the club's karaoke night and take part. usually a wham! song or never gonna give you up if he's feeling funny. if he's not modelling, he can usually be found at glow, obsessing over one thing or the other and being a typical perfectionist / stress head overthinking things.

bubbly af ; just wants to be friends with everyone. lowkey golden retriever energy. some people-pleasing tendencies but he's getting better since being in business and realising that sometimes it's very important to say no.

a dreadfully hopeless romantic. his dating history has, like his career, had many ups and downs. still firmly believes in love and the idea of settling down with 'the one' which has been his most recent dating goal though he's fallen out of the scene a lot with being so busy.

i'm building a wee plots page here but it's bare af & i would frankly lay down my life for any plots at all

#boroughs.intro #this is pure gibberish but we move ! #pls love him. he will love u

[buriedinleather]

info about photography / edits

lol, i doubt anyone will read this or care, but w/e i have time to burn :'D

your local photog here to remind you that copyright law is merciless & doesn't care much about if you don't know what you're doing or do - if you're profiting off of edits of photos / using them in work you are getting to do be CAREFUL. places like pinterest, tumblr, twitter, etc are NOT good sources to get images ethically. even the more acceptable options for free photos only go as far as to protect their users. indemnification clauses only do so much! know what your rights are as a creator making a profit off of edits. know what licensing the photos you are using have available. just because there's a lower risk of getting caught doesn't mean that things couldn't possibly get fucky - and, honestly, you gotta decide if it's worth fuckin' over other creatives if you keep using stuff that's not been ethically gained!

( example : if you grab a stolen photo off of pinterest and use it for your edit, sure there's an inherent risk of getting told to stop using it or worse, but that's also money out of another artist's pocket. and, of course, the photog could potentially ask you to pay for licensing or, worst case scenario, sue! )

it's getting pretty fucking easy to find photos that have been taken / misused - protect yourself, protect other creatives. there's a lot of stock open for non-commercial use and plentyyyy of stuff that you can use for free on the up and up - your results may vary, ofc, but pleaaase try.

Under the cut is a list of links - places where you can find public domain photos, info about creative commons, and info about different public domain photo sites.

Library Of Congress - Public Domain Photos Sample ( Primarily older images! There is an entire online section outside this that's comprised of millions of images, but rights differ for some collections. )

New York Public Library: Public domain digital collection ( Keep in mind this also has a lot of archived historical content - please don't traumatize yourself. You can see NYPL's statement on historic content here. I personally suggest just searching up exactly what you need - for example, you can pull a lot of lovely botanical drawings! )

Smithsonian Open Access: Everything from photos of wild animals, to vintage furniture, and more!

National Gallery Of Art: Their permanent collection has an open access policy for both commercial and non-commercial use.

Creative Commons Info: Information about the various types of CC licensing - also has a repository of CC images!

Images: A Guide To Visual Resources: UIC has an entire online section about using visual resources, public domain, and attribution for different types of content. Neat!

Pros & Cons Of Different Photo Sites: If you're not sure of where to start or need something more specific than what galleries / museums offer, you can consider places like Pexels, Wiki Commons, etc.

#rph #rp help #rp resources #[ rp resources : themes & rph ]