Photographer/Place Connection

oriecat

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Just as Atget and Paris go hand in hand, are there any other photogs who are so closely connected with a specific place?
 

Hertz van Rental

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Here are a few pre-1900 British photographers.

Peter H. Emerson - East Anglia
William Henry Fox Talbot - Lacock Abbey
Hill & Adamson - Scotland
Frank Meadow Sutcliffe - Whitby, Yorkshire

Photographers became a lot more mobile after the 1890's and so few have worked in one particular place. But some have been linked with one place or area because of certain pictures - Brassai and Paris is an example.

If you want more give me a bit of time.
 

Hertz van Rental

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Tim Page - Vietnam
Weegee - New York
Bruce Davidson - East 100th Street, New York
Robert Capa - Spain (during the civil war)

That's all I can remember at the moment without going through some books. How many do you want - or was it an academic question?
 

ksmattfish

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Eggleston and the US south
Berenice Abbot and New York city
Matt Needham and Kansas ;)
 
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oriecat

oriecat

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Hertz van Rental said:
How many do you want - or was it an academic question?

Oh no, I'm long out of school. :wink: :mrgreen: Yeah, just a curiosity really. I was reading my little Atget book last night, and just wondered who else out there...

Thanks :)
 

KevinR

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I think that I look at styles associated to photographers more than location and photographers. Of course there are the group such as Adams, but I realize connection to style more often, such as Arbus, Newton, Lebowitz, etc. At least, thats how I would like to be known for, rather than a location. It seems kind of limiting to me.
 

ksmattfish

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It's sort of like niche marketing. I didn't set out to be a Kansas only landscape photographer, I just don't get to go on a lot of vacations to cool places (I'm going to make the next TPF trip though! ). On the other hand, I just sold a bunch of high res files to a big dental insurance plan for publishing in their annual stockholders' report. They were looking for "Kansas landscape photography", and they found me. :)
 

Hertz van Rental

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KevinR said:
I think that I look at styles associated to photographers more than location and photographers. Of course there are the group such as Adams, but I realize connection to style more often, such as Arbus, Newton, Lebowitz, etc. At least, thats how I would like to be known for, rather than a location. It seems kind of limiting to me.

You would be amazed at how much you can find in a small area. It's just a matter of thinking and looking.
Style is far more limiting - if a photographer maintains the same style all his pictures start to look the same. Helmut Newton is a good example. Style tends to limit your subject matter considerably more than location.
And look how much Monet found to paint in his garden.
 

terri

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On the other hand, I just sold a bunch of high res files to a big dental insurance plan for publishing in their annual stockholders' report. They were looking for "Kansas landscape photography", and they found me.
Now, that is worthy of congrats, my friend. :thumbup: :D

Style is far more limiting - if a photographer maintains the same style all his pictures start to look the same. Helmut Newton is a good example. Style tends to limit your subject matter considerably more than location.
And look how much Monet found to paint in his garden.
I couldn't agree more. I like to try different things, different processes - and that's more time consuming for me than being able to get out and hunt for new places to shoot. So I find myself using the same negatives or slides several times over to achieve different looks. The image is fundamentally the same, but hopefully I am conveying a different mood or feel each time. :)
 

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I would like to throw in the studios of Vogue and Conde´Nast during the 40's (and more than likely to this day). The golden era of open page design and the reaffirmation that PHOTOGRAPHY IS ART!!!!

Photographers/Art directors like Irving Penn and Alexi Brodovitch changed what we believed to be still life, fashion and portraiture. "each photographer was given his own studio, a salary, plus all technical means and assistance. In exchange he was always on call and would execute any assignment he was given"- Alexander Liberman "An American Modern" for Irving Penn's book Passage. Tell me that would not be an exciting position!
 

ksmattfish

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Hertz van Rental said:
And look how much Monet found to paint in his garden.

One of my favorite photographers is Charles Jones. He lived in England in the later half of the 19th century, but wasn't "discovered" until the 1980s. He considered himself first and foremost a gardener, and even wrote a book on it and may have tended gardens of royalty. But he was also a photographer, although as far as I know he only photographed the fruits, vegetables, and plants from his gardens. He was doing amazing things with cabbage and cauliflower 30 or 40 years before Weston's famous green pepper. Unfortunately there isn't much about him on the web. There is a great book though

[ame]http://www.amazon.com/exec/obidos/ASIN/1556709242/102-8100066-3810518[/ame]
 

Hertz van Rental

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craig said:
I would like to throw in the studios of Vogue and Conde´Nast during the 40's (and more than likely to this day). The golden era of open page design and the reaffirmation that PHOTOGRAPHY IS ART!!!!

Photographers/Art directors like Irving Penn and Alexi Brodovitch changed what we believed to be still life, fashion and portraiture. "each photographer was given his own studio, a salary, plus all technical means and assistance. In exchange he was always on call and would execute any assignment he was given"- Alexander Liberman "An American Modern" for Irving Penn's book Passage. Tell me that would not be an exciting position!
Vogue/Conde Nast stopped doing that sort of thing quite soon after they started. It was far too expensive and they didn't always like what they got.
In the 60's they used Guy Bordin (check him out - he did a catalogue shoot in the 70's and within 2 days it had become a collectors item!) and they would look at what he had produced, tell him it was wonderful and then get another photographer to reshoot it. This is how David Bailley got his big break.
There is also a difference between French, English and American Vogue.
English Vogue in the 70's and 80's used to pay £25 per photo regardless of who you were (Dahling! You're being published in Vogue. You want paying as well? You should pay us!).
They still got good photographers, though.
Check out Nick Knight and Karena Peronnet-Miller, two of the best in recent times.
 

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