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Photographic Documentation and Buildings: Relationships Past and Present
Photographic Documentation and Buildings: Relationships Past and Present by PHYLLIS LAMBERT Each generation has left a visible trail of its passage across the face of the earth - such as religious monuments, public or private - and it is through the study of these monuments that, today, we may form an exact idea of the various civilizations.' Photography is part of a long tradition of visually recording the built environ- ment. These images have been created, collected, reproduced and disseminated for various reasons, ranging from simply historical interest to complex con- temporary efforts to improve the urban environment. Although large numbers of randomly produced and acquired photographs have often served such pur- poses, the capacity of photography for large-scale systematic documentation is increasingly being recognized as an extremely important tool for architects, planners and historical researchers. One such project, documenting the grey stone buildings of Montreal, illustrates this application and will be discussed later. The second project, on the county court house in the United States, is described in the article following this one. The visual recording of buildings as expressions of society has a long Euro- pean traditi~n.~In France from early in the sixteenth century, carefully engrav- ed plates were bound in sumptuous volumes whose essence was secular and political, beginning with Les plus excellents bastiments de France (Paris, 1576-79) by Jacques Androuet du Cerceau, which publicized the sheer power of the king and his domain, and by evolution to the more subtle cultural im- perialism reflected in the superbly detailed works issued in 1878 by architect Charles Garnier showing his new Paris opera house.3 Photographic documen- 1 From an unpublished manuscript by Charles Ntgre, ca.1854, quoted in James Borcoman, Charles Negre, 1820-1880 (Ottawa, 1976), p. -
12039-Q-LIVRES ILLUSTRÉS OK+Volet.Indd
273 276 273 ROCHÉ, Henri Pierre EXEMPLAIRE DE TÊTE Jules et Jim [Paris], Gallimard, 1953 ÉDITION ORIGINALE TIRAGE à 55 exemplaires sur vélin pur fil Lafuma-Navarre (seul papier). Celui-ci numéroté 34. In-8 (190 x 120mm) Broché. Chemise et étui de Thérèse Treille. 1 000 / 1 500 € SANS PRIX DE RESERVE 274 IZIS Bidermanas, BON EXEMPLAIRE et John Pudney The Queen’s people ÉDITION ORIGINALE ILLUSTRATION : photographies d’Isis Londres, Harville Press, 1953 RELIURE DE L’ÉDITEUR. Cartonnage noir avec titre en blanc sur le premier plat, jaquette illustrée In-8 (185 x 132mm) de deux photographies. Chemise et étui de Thérèse Treille 200 / 300 € Légères usures en tête et en queue du dos de la jaquette ainsi qu’aux angles, décharge du rabat de la jaquette SANS PRIX DE RESERVE sur la première garde. 275 FOURNIER, Albert ÉDITION ORIGINALE Métiers curieux de Paris ILLUSTRATION : 8 photographies imprimées en héliogravure, dessin en couverture de Jacques Boullaire TIRAGE à 50 exemplaires sur papier Fleur d’alpha. Celui-ci numéroté 29 (seul tirage sur grand papier) Genève-Paris, Jéhébert, [1953] Broché, non coupé. Chemise et étui de Thérèse Treille. In-8 (193 x 132mm) 100 / 150 € SANS PRIX DE RESERVE 276 BLANC et Demilly JEU COMPLET DE TRÈS BELLES VUES DE LYON DANS LES ANNÉES 30 Les Aspects de Lyon Lyon, Société des amis de Guignol, ÉDITION ORIGINALE ILLUSTRATION : 10 chemises contenant chacune 12 photographies de Blanc et Demilly imprimées 1933 en héliogravure à pleine page In-folio (378 x 277mm) TIRAGE à 500 exemplaires. Celui-ci numéroté 252 1 500 / 1 -
"Five French Photographers"
THE MUSEUM OF MODERN ART 11 WEST 53 STREET, NEW YORK 19, N. Y. Tuesday 2-5 p.m. TUIPHONEi CIRCLI S-S900 511213-77 FOR WEDNESDAY RELEASE JOURNALIST PHOTOGRAPHY PROM FRANCE TO BE SHOWN IN "FIVE FRENCH PHOTOGRAPHERS" Outstanding reportorial photography by contemporary Frenchmen Brassai, Cartier-Bresson, Doisneau, Roni3 and Izis will be exhibited in the Auditorium Gallery of the Museum of Modern Art, 11 West 53 Street, from December 19 through February 2l+. About 200 works by these photographers have been selected by Edward Steichen, Director of the Museum1s Department of Photography. Henri Cartier-Bresson is represented entirely by his Asiatic photographs taken in China, Indonesia, Burma, India, Bali and Ceylon# Most of these are being exhibited for the first time anywhere, and only a very few have ever been published in this country. Brassai at 52 is the senior member of this group. Both he and Cartier-Bresson have exerted a considerable influence not only on French photography but on the best photography of all Europe. Work by both of these men has been published here in Harpers-Bazaar, and by Cartier-Bresson in Life magazine. Photographs by Robert Doisneau have appeared in Vogue. The work of Izis and Ronis is practically unknown in this country. Exoept for the Cartier-Bressons, all the photographs in the exhibition were taken in Paris or in the provinces of France. This exhibition is part of the Department of Photography^ plan to exhibit work by photographers of other countries and at a later date to include some of the new, younger photographers of France and other nations. -
9780240809984 Cs.Pdf
HISTORY AND EVOLUTION OF PHOTOGRAPHY MARK OSTERMAN George Eastman House International Museum of Photography and Film GRANT B. ROMER George Eastman House International Museum of Photography and Film CCH01-K80998.inddH01-K80998.indd 1 66/20/07/20/07 44:55:07:55:07 PPMM CCH01-K80998.inddH01-K80998.indd 2 66/20/07/20/07 44:55:15:55:15 PPMM ContemporaryA Different Thoughts Set on ofthe Questions History of for Photography a New Age 3 Contemporary Thoughts on the History of Photography GRANT B. ROMER George Eastman House and International Museum of Photography and Film All photographers work today with historical perspective. Th ey know that the technology they use has an origin in the distant past. Th ey know photography has progressed and transformed over time, and they believe the current system of photography must be superior to that of the past. Th ey are sure they will witness further progress in pho- tography. Th ese are the lessons of history understood by all, and none need inquire any further in order to photograph. Yet photography has a very rich and complex history, which has hidden within it the answers to the fundamentally difficult questions: “What is photography?” and “What is a photograph?” All true photogra- phers should be able to answer these ques- tions for themselves and for others. To do so, they must make deep inquiry into the history of photography. Recognition of the importance of his- tory to the understanding of photography is evidenced in the title and content of the very first manual of photography published FIG. -
Mindful Photographer
Operating Manual for the Mindful Photographer Ed Heckerman Copyright © 2017 Cerritos College and Ed Heckerman 11110 Alondra Blvd., Norwalk, CA 90650 Second Edition, 2018 This interactive PDF was made in partial fulfillment for a sabbatical during the academic year 2016 - 2017. No part of the text of this book may be reporduced without permission from Cerritos College. All photographs were taken by Ed Heckerman and produced independently from sabbat- ical contract. Ed Heckerman maintains the copyright for all the photographs and edition changes. No images may be copied from this manual for any use without his consent. Contents Part 1 — Insights and Aspirations 1 contents page Introduction 1 What is Photography? 2 What is a Photograph? Motivations — Why Make Photographs? Photography and Mindfulness 6 Thoughts On Tradition ��������������������������������������������������������������������������12 Part 2 — Navigating Choices ������������������������������������������������������������� 14 Cameras Loading Your Camera Unloading Your Camera Manual Focus Autofocus Sensitivity and Resolution — ISO Controlling Exposure — Setting the Aperture and Shutter Speed Shutter Speed Coordinating Apertures and Shutter Speeds Exposure Metering Systems ��������������������������������������������������������������� 25 Full-frame Average Metering Center Weighted Metering Spot Metering Multi-Zone Metering Incident Metering -
Photographies - Salle Favart, Mardi 19 Mai 2015
Photographies - Salle Favart, mardi 19 mai 2015 2 Mardi 19 mai 2015 à 14 heures Vente aux enchères publiques SALLE DES VENTES FAVART 3, rue Favart - 75002 Paris PHOTOGRAPHIES ANCIENNES MODERNES ET CONTEMPORAINES Expert : Antoine ROMAND Assisté de François CAM-DROUHIN 3, rue Crespin du Gast - 75011 Paris Tél. : +33 (0)6 07 14 40 49 [email protected] Responsable de la vente : Camille DALIBARD-BACCINO [email protected] Expositions publiques à la Salle des Ventes Favart Vendredi 15 mai 2015 de 10h à 18h Lundi 18 mai 2015 de 10 h à 18 h Mardi 19 mai de 10 h à 12 h Téléphone pendant l’exposition : 01 53 40 77 10 Catalogue visible sur www.ader-paris.fr Enchérissez en direct sur www.drouotlive.com En 1re de couverture, est reproduit le lot 286 En 4e de couverture, est reproduit le lot 237 ADER, Société de Ventes Volontaires - Agrément 2002-448 - Sarl au capital de 7 500 euros 3, rue Favart 75002 Paris - Tél. : 01 53 40 77 10 - Fax : 01 53 40 77 20 - [email protected] N° siret : 450 500 707 000 28 - TVA Intracom. : FR 66 450 500 707 - www.ader-paris.fr INDEX DES AUTEURS Abdullah Frères 33 Davis, Lynn 357 Jonvelle, Jean-François 381, Puiseux, Pierre 271B Afong, Lai 95 de Dienes, André 227 382, 383 Putland, Michael 230, 231, Agence Pierluigi 237-238 de Sazo, Serge 365 Kertesz, André 154, 173, 232 Alary, Jean-Baptiste 70 Demilly, Antoine 162, 163 201, 377 Ralemson, E. 153 Albin Guillot, Laure 165 Depardon, Raymond 338 Kesting, Edmund 150 Raota, Pedro Luis 197-200 Almasy, Paul 215 Destrez, Rénald 233 Kimbei, Kusakabe 103 Rehbinder, -
![Ehbwq [Free and Download] Paris Des Rêves Online](https://docslib.b-cdn.net/cover/1972/ehbwq-free-and-download-paris-des-r%C3%AAves-online-1551972.webp)
Ehbwq [Free and Download] Paris Des Rêves Online
ehbwq [Free and download] Paris des rêves Online [ehbwq.ebook] Paris des rêves Pdf Free Par Izis Bidermanas, Armelle Canitrot ePub | *DOC | audiobook | ebooks | Download PDF Download Now Free Download Here Download eBook Détails sur le produit Rang parmi les ventes : #460539 dans LivresPublié le: 2009-10-21Sorti le: 2009-10- 21Langue d'origine:Français 9.57 x .71l x 12.20L, Reliure: Broché197 pages | File size: 67.Mb Par Izis Bidermanas, Armelle Canitrot : Paris des rêves before purchasing it in order to gage whether or not it would be worth my time, and all praised Paris des rêves: Commentaires clientsCommentaires clients les plus utiles0 internautes sur 0 ont trouvé ce commentaire utile. ParisPar Ingrid TrindadeLes photos d'Izis sont merveilleux ! Ses photos des résistants sont très prenants et celles de Paris et de Londres racontent une époque0 internautes sur 1 ont trouvé ce commentaire utile. Izis, the poetPar Dt65A great man, who suffered for the crazy Nazist era, and a great photographer. This is a great tribute to him Présentation de l'éditeurMembre éminent du mouvement " humaniste ", Izis est en 1951 l'un des " Five French Photographers " exposés au Museum of Modern Art de New York avec Brassaï, Henri Cartier-Bresson, Robert Doisneau et Willy Ronis. Izis, Paris des rêves présente toute la palette de celui qui fut à la fois artiste et reporter, grand portraitiste et flâneur aux aguets. De la série fondatrice des Maquisards à ses rencontres avec Colette ou Chagall, de son oeuvre parisienne, qui fait l'éloge du rêve et de la lenteur au coeur de sa ville d'adoption à ses voyages à Londres ou en Israël, cet ouvrage révèle la diversité, l'originalité et la modernité de son travail.Biographie de l'auteurManuel Bidermanas est le fils d'Izis et d'Anna Rabkine. -
La Fotografia Umanista in Francia
Corso di Laurea Magistrale in Economia e Gestione delle Arti e delle attività culturali ordinamento ex D.M. 270/2004 Tesi di Laurea La fotografia umanista in Francia Relatore Ch. Prof. Riccardo Zipoli Correlatore Ch. Prof. Marco Dalla Gassa Laureanda Valentina Prete Matricola 860809 Anno Accademico 2017 / 2018 1 2 Indice del testo INTRODUZIONE ______________________________________________________________ 5 1. LA FOTOGRAFIA UMANISTA FRANCESE 1.1 Il concetto di Umanista e l’origine del termine ______________________________________ 7 1.2 La fotografia negli anni ’30 e nel secondo dopoguerra ________________________________ 8 1.3 Gli esordi della fotografia Umanista ______________________________________________ 9 1.4 L’immagine della Francia post guerra ____________________________________________ 11 1.5 I protagonisti della fotografia umanista ___________________________________________ 13 1.6 Groupe des XV _____________________________________________________________ 16 1.7 Gli strumenti del mestiere _____________________________________________________ 17 2. LA FRANCIA DEGLI ANNI ’30 E IL PERIODO POST-BELLICO 2.1 Dall’ inizio degli anni ’30 al Governo di Vichy ____________________________________ 19 2.2 Secondo dopoguerra in Francia _________________________________________________ 21 2.3 La decolonizzazione __________________________________________________________ 22 2.4 Le Trente Glorieuses _________________________________________________________ 25 2.5 Mai 68 ____________________________________________________________________ -
The History of Photography: the Research Library of the Mack Lee
THE HISTORY OF PHOTOGRAPHY The Research Library of the Mack Lee Gallery 2,633 titles in circa 3,140 volumes Lee Gallery Photography Research Library Comprising over 3,100 volumes of monographs, exhibition catalogues and periodicals, the Lee Gallery Photography Research Library provides an overview of the history of photography, with a focus on the nineteenth century, in particular on the first three decades after the invention photography. Strengths of the Lee Library include American, British, and French photography and photographers. The publications on French 19th- century material (numbering well over 100), include many uncommon specialized catalogues from French regional museums and galleries, on the major photographers of the time, such as Eugène Atget, Daguerre, Gustave Le Gray, Charles Marville, Félix Nadar, Charles Nègre, and others. In addition, it is noteworthy that the library includes many small exhibition catalogues, which are often the only publication on specific photographers’ work, providing invaluable research material. The major developments and evolutions in the history of photography are covered, including numerous titles on the pioneers of photography and photographic processes such as daguerreotypes, calotypes, and the invention of negative-positive photography. The Lee Gallery Library has great depth in the Pictorialist Photography aesthetic movement, the Photo- Secession and the circle of Alfred Stieglitz, as evidenced by the numerous titles on American photography of the early 20th-century. This is supplemented by concentrations of books on the photography of the American Civil War and the exploration of the American West. Photojournalism is also well represented, from war documentary to Farm Security Administration and LIFE photography. -
Il Direttore Paris: Capital of Photography. the Inseparable And
Il Direttore Paris: Capital of Photography. The inseparable and fruitful relationship between the “Ville Lumière” and photography is historically known. Cradle of photographic invention, Paris cultivated, for over a century and a half, the visual imagery of citizens around the world, offering himself as the perfect backdrop for the first trials of photographic views. Its architectural structures have been, since the beginning of photography, an ideal subject for shooting, both for their majestic beauty, and because they responded to the requirement, initially essential, from the immobility required by the long shutter speed. Among the very first results of Louis Daguerre there is the photograph taken at the Boulevard du Temple Paris, a daguerreotype of 1838, also remembered as the first urban view capable of stopping on the sensitive plate a human figure - the customer of a shoeshiner - halted on the trottoir for several minutes. A few years later, William Fox Talbot, published a series of calotypes that depicting architecture and views of the Parisian boulevards (in his 'The Pencil of Nature', 1844). With a view of the French architectural heritage documentation was born, in the years Fifty of the nineteenth century, the first major photographic campaign of public customers; the Administration des Beaux-Arts-Commission des Monument Historiques instructed Édouard Baldus, Gustave Le Gray, Hippolyte Bayard, J.L.Henri Secq and Auguste Mestral to resume on Specific agreed routes, a list of Parisian monuments to highlight the status of conservation in order of their possible restoration. But it is in the second half of the nineteenth century, with plan urban renewal of historic centers of major European cities, the capital French becomes the subject of extensive photographic surveys, carried out with the aim of preserving the Memory of the vieille ville. -
Nineteenth-Century French Photographs from the National Gallery of Canada
Randy Innes exhibition review of Nineteenth-Century French Photographs from the National Gallery of Canada Nineteenth-Century Art Worldwide 9, no. 2 (Autumn 2010) Citation: Randy Innes, exhibition review of “Nineteenth-Century French Photographs from the National Gallery of Canada,” Nineteenth-Century Art Worldwide 9, no. 2 (Autumn 2010), http://www.19thc-artworldwide.org/autumn10/nineteenth-century-french-photographs-from- the-national-gallery-of-canada. Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. Innes: Nineteenth-Century French Photographs from the National Gallery of Canada Nineteenth-Century Art Worldwide 9, no. 2 (Autumn 2010) Nineteenth-Century French Photographs from the National Gallery of Canada National Gallery of Canada, Ottawa 5 February – 16 May 2010 Art Gallery of Alberta, Edmonton 24 June – 10 October 2011 Catalogue James Borcoman, Nineteenth-Century French Photographs from the National Gallery of Canada. Ottawa: National Gallery of Canada, 2010. Issued in French as Photographies françaises du XIX siècle du Musée des beaux-arts du Canada. 168 pp., essay, catalogue and notes 250 illustrations, 100 in color $49.00 Can. / $55.00 U.S. ISBN: 9780888848734 Reflecting on his encounter with one of Auguste Salzmann's photographs of Jerusalem taken in 1854, Roland Barthes recalls an experience with time that differed from his experience with the temporality of lived experience. Salzmann's photograph of a road in Jerusalem is only a picture of a dusty place, Barthes says, "nothing but stony ground, olive trees." And yet this picture is the basis for a highly affective experience that leads Barthes to question how the photograph influences our understanding of lived and historical time. -
Zibeline N°23 En
du 15/10/09 au 19/11/09 | un gratuit qui se lit 23 Culture en Méditerranée Politique culturelle Richard Martin, les Rencontres d’Averroès 5 Saison de la Turquie en France 6 à 8 La Seyne, les agences régionales des arts du spectacle 9 La paix en Méditerranée, Aflam 10, 11 Portrait Entretien avec Olivier Pauls 12 Théâtre ActOral 14 La Criée, Les Informelles 15 Le Gymnase, le Gyptis, les Bancs publics 16 Le Lenche, la Minoterie, le Merlan 17 Le Maquis, le Toursky, les Ateliers 18 Le Jeu de Paume, le Vitez, 19 Ouest Provence, Martigues, Nîmes, Arles, Port-de-Bouc 20, 21 Draguignan, Aubagne, Sainte-Maxime 22 Gap, Briançon, Cavaillon 23 Salon, Avignon 24, 25 Danse Au programme 26 Il pleut il fait soleil Drôles de hip hop (Vaucluse), Dansem, La Parenthèse 27 La rentrée est triste ! la Criée est restée close, Richard Martin Cirque/Arts de la rue Sirènes et midi net, Arles, le Merlan 28 ne mange plus, nombre de manifestations ont été annulées ou Small is beautiful 29 réduites, plusieurs galeries ont fermé, et les saisons ont com- Performance mencé bien tard, et terne ! Seules les manifestations différentes, Désordre urbain, 3bisf, Consolat 30 Arts visuels reposant par principe sur des propositions ténues -Actoral, Small Art-O-Rama, Ateliers d’artistes 32 is Beautiful- tiennent le choc économique et restent inventives. CCI, Musée Cantini 33 Mais la création peut-elle désormais se résumer à ces formes Museon Arlaten, Galerie la Non-Maison 34 Nîmes, Avignon 36 intimes? Ou à des festivals animés par des bénévoles ? Doit-on Miramas, Châteauneuf-le-Rouge