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Maestros De La Fotografía Técnicas Creativas De 100 Grandes Fotógrafos

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Maestros De La Fotografía Técnicas Creativas De 100 Grandes Fotógrafos ¿Qué hace que una fotografía pase a formar parte de nuestra memoria colectiva? A veces puede ser simplemente el con- tenido de la imagen, pero más a menudo es la destreza y el Maestros talento del fotógrafo, su profesionalidad, lo que la convierte en un referente visual. de la fotografía Este libro explora la obra de 100 grandes fotógrafos de Técnicas creativas de todos los tiempos para desvelarnos los secretos de cómo fueron creadas y regalarnos la magia de su oficio para que 100 grandes fotógrafos la traslademos a nuestras propias creaciones. Organizado en diez bloques temáticos, cada uno de ellos presenta una Paul Lowe selección transversal de fotografías emblemáticas que son analizadas técnicamente abordando cuestiones como la cámara y las lentes utilizadas para realizar la fotografía, la composición, la exposición y la luz o el tono y el color. Francis Frith / Timothy O’Sullivan & Mark Klett Ansel Adams / Robert Adams/ Joel Sternfeld /John Davies /Paul Graham Desde Eugène Atget y Nadar hasta Martin Parr, Rineke Joel Meyerowitz /Richard Misrach /Jem Southam /Simon Norfolk Frederick H. Evans / Eugène Atget / Berenice Abbott / Walker Evans Dijkstra o Jeff Wall, pasando por August Sanders, Weegee Hiroshi Sugimoto / Andreas Gursky / Robert Polidori / Gregory Crewdson o Paul Strand… el libro se convierte además en una singular Lisa Barnard / Man Ray / László Moholy-Nagy / Edward Weston historia del medio fotográfico que logra enseñarnos técnica William Eggleston / Martin Parr / Alec Soth / Peter Fraser y creatividad de forma accesible y sorprendente. Julia Margaret Cameron / Nadar / Lisette Model / Harry Callahan Paul Strand / Norman Parkinson / Eve Arnold / Brian Griffin Paul Lowe es fotoperiodista y director del máster en Foto- Mary Ellen Mark / Bruce Gilden / Harry Borden / August Sander Dorothea Lange / Horst P. Horst / Cecil Beaton / Malick Sidibé / Nan Goldin periodismo y Fotografía Documental del London College fotografía la de Maestros fotógrafos grandes 100 de creativas Técnicas Rineke Dijkstra / Wolfgang Tillmans / Steve Pyke / Laura Pannack of Communication. Ha colaborado como reportero gráfico Eadweard Muybridge / John Heartfield / Ed Ruscha / Duane Michals para medios internacionales como Time, Newsweek, Life, Nicholas Nixon / Cindy Sherman / Jeff Wall / Adam Broomberg & The Sunday Times Magazine, The Observer y The Independent. Oliver Chanarin / Mishka Henner / Manuel Álvarez Bravo / Robert Frank Es también crítico e investigador especializado en la repre- www.ggili.com.mx William Klein / Tony Ray-Jones / Garry Winogrand / Lee Friedlander sentación del conflicto en fotografía, entre otros temas. — Elliott Erwitt / Josef Koudelka / Alex Webb / Dougie Wallace David Alan Harvey / Weegee / W. Eugene Smith / Anders Petersen William Albert Allard / Sebastião Salgado / Raghu Rai / Larry Towell Paolo Pellegrin / John Stanmeyer / Jacob Riis / Lewis Hine Paul Lowe Paul David Goldblatt / Danny Lyon / Bernd & Hilla Becher / Chris Killip Larry Sultan / Jim Goldberg / Anna Fox / Richard Billingham Roger Fenton / Erich Salomon / Henri Cartier-Bresson / Robert Capa www.ggili.com Larry Burrows / Philip Jones Griffiths / Gilles Peress / Anthony Suau Susan Meiselas / David Burnett www.ggili.com GG GG www.ggili.com.mx — www.ggili.com Maestros de la fotografía Técnicas creativas de 100 grandes fotógrafos Paul Lowe www.ggili.com.mx — www.ggili.com Página anterior Gente rezando durante las primeras oraciones en la mezquita de Begova Džamija, en Sarajevo, Bosnia, tras su reapertura después de la guerra civil. En contracubierta Arriba © Wolfgang Tillmans, cortesía Maureen Paley, Londres; centro cortesía Anders Petersen; abajo © Henri Cartier-Bresson / Magnum Photos Título original: Photography Masterclass. Creative Techniques of 100 Great Photographers. Publicado originariamente por Thames & Hudson Ltd. en 2016 Diseño gráfico: Josse Pickard Documentación: Jo Walton Traducción: Cristina Zelich Diseño de la cubierta: Toni Cabré/Editorial Gustavo Gili, SL Cualquier forma de reproducción, distribución, comunicación pública o transformación de esta obra solo puede ser realizada con la autorización de sus titulares, salvo excepción prevista por la ley. Diríjase a CEDRO (Centro Español de Derechos Reprográficos, www.cedro.org) si necesita fotocopiar o escanear algún fragmento de esta obra. La Editorial no se pronuncia, ni expresa ni implícitamente, respecto a la exactitud de la información contenida en este libro, razón por la cual no www.ggili.com.mx puede asumir ningún tipo de responsabilidad en caso de error u omisión. — © Quintessence Editions Ltd., 2016 © de la traducción: Cristina Zelich para la edición castellana: © Editorial Gustavo Gili, SL, Barcelona, 2017 Printed in Spain ISBN: 978-84-252-3005-9 Editorial Gustavo Gili, SL www.ggili.com Via Laietana 47, 2.º, 08003 Barcelona, España. Tel. (+34) 93 322 81 61 Valle de Bravo 21, 53050 Naucalpan, México. Tel. (+52) 55 55 60 60 11 Prólogo 6 Introducción 8 Clave para los iconos de consejos y técnicas creativos 18 Índice Lugares 42 Espacios 68 Cosas 90 Rostros 108 Cuerpos 134 Ideas 158 Momentos 180 Relatos 206 Documentos 228 Historias 252 Bibliografía 276 Glosario 278 Índice temático y onomástico 282 Créditos de las fotografías 288 www.ggili.com.mx — www.ggili.com por Simon Norfolk Simon por Prólogo Me encontraba cenando en un restaurante de París la noche de los un altercado, como esos pececillos que siguen a los grandes tiburo- ataques terroristas en la sala de conciertos Bataclan y en el Stade de nes. Y yo, montado en una bicicleta de alquiler. No sabía por qué es- France en 2015. Los demás comensales recibieron, inquietos, mensa- tábamos allí. O bien estábamos perdiendo el tiempo (los terroristas jes de texto enviados por sus familiares desde lugares lejanos, y yo estaban en otro lugar) o estábamos a punto de convertirnos en es- me sentí obligado a salir corriendo para ver con mis propios ojos qué ponjas, listas para absorber alguna bala perdida. Me preguntaba por estaba ocurriendo —a fin de cuentas, ese es mi trabajo, ¿no?—. Las qué pensaban que de repente se habían convertido en fotógrafos calles estaban extrañamente desiertas y no había taxis, así que me profesionales. Habían salido de casa aquella noche buscando diver- monté en una bicicleta Vélib, del servicio de alquiler, y atravesé a sión para la noche del viernes y ahora estaban allí, escribiendo el pri- toda velocidad la ciudad. Tenía la batería del móvil a cero, así que mi mer borrador de la historia, y un mundo impaciente esperaba su co- www.ggili.com.mx táctica consistió en seguir a los bomberos, y en un momento dado municado —al menos, eso era lo que ellos creían—. Y yo, ¿era acabé en Les Halles, donde la policía pensaba que se habían escondi- diferente? ¿Por qué intentaba formar parte de aquello? ¿Por qué — do los atacantes. Un batallón de unidades SWAT de la policía, vesti- cualquiera toma fotografías? Ahora todos las hacemos, billones al día, dos como insectos acorazados y erizados de armas y escudos, explo- y una pequeña cantidad de ellas son mías. Durante veinticinco años raba las calles. Seguí avanzando detrás de ellos acompañado por al la fotografía me ha servido para pagar mi hipoteca, pero sigo sin sa- menos una docena escasa de viandantes, que, móvil en alto, lo foto- ber por qué. Me sentía ridículo y superfluo en Les Halles, así que de- grafiaban todo. Por algún motivo, algunos borrachos que volvían a sistí y pedaleé de vuelta a casa por las calles vacías. casa, algunos vecinos inquietos y curiosos empujados por la morbo- La respuesta más ajustada que puedo dar a la pregunta de por sidad se habían transformado en los nuevos equipos de la CNN. De- qué hago fotografías es una metáfora. Para mí hacer fotografías es lante de nosotros, la policía estaba preparada para hacer frente a una como el punto de ignición de un motor de combustión; los ingre- violencia extrema; detrás, transmitiendo de manera informal a través dientes (gasolina vaporizada, aire) se unen en una obra maestra de www.ggili.com de Facebook y Periscope, un grupo de chavales (todos eran chava- la ingeniería, se comprimen en un momento preciso y exquisito y les) vestidos con camisetas y vaqueros, deseosos de que se montara con una sacudida producen chispas brillantes y potencia. En la géne- 6 Prólogo sis de una buena fotografía, todo el esfuerzo precedente (el tiempo cálculo se transforma en un ¡Eureka! al saber que funciona. Quizá de investigación en busca del especialista académico, el esfuerzo sea por esto que rara vez reviso mis viejas fotografías, que me pro- para subir la colina hasta el lugar antes de que la luz cambie, ese duzca tan poca satisfacción que me digan que mi trabajo es bueno, truco inteligente inventado para que el relato se exprese de manera que conserve carpetas con proyectos sin publicar, que prefiera que nueva e intrigante, la metáfora plateada que envuelve toda la idea) otros diseñen mis libros o monten mis exposiciones. O escriban los se concentra en un instante, y entonces el tiempo te favorece y no te prólogos de mis libros. Todo este trabajo posterior no da ni una olvidas de cargar la batería de tu equipo y, y, y... Y cuando todo esto milésima parte de la satisfacción que produce salir y provocar esas se condensa a la vez, en la misma fracción de segundo y alcanza el chispas mágicas. punto de ignición…, pues bien, la sensación de satisfacción es abru- No todo es un camino de rosas, por supuesto. Los fallos y los casi www.ggili.com.mx madora. Es–Lo–Mejor. logros eclipsan los éxitos y algunas de las cosas que he visto por el Pasa muy pocas veces, pero cuando ocurre siento que es un privi- camino han sido terribles y/o realmente horribles. Sin embargo, — legio poder hacer este trabajo. Milagroso. Como escribió Wordsworth, pienso que el motivo por el que sigo fotografiando y no me aburro “era una dicha estar vivo en aquel amanecer”. o me siento amargado por las cosas que he visto, o el motivo por Algunos fotógrafos se ven a sí mismos como cazadores, mero- el que no me he vuelto loco o he tirado la toalla o me he pasado a lo deando y disparando a hurtadillas por las calles; pero yo no soy así: que mi madre denomina “un trabajo de verdad”, es porque escucho yo soy un recolector.
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