Maynard Owen Williams

Maynard Owen Williams http://en.wikipedia.org/wiki/Maynard_Owen_Williams Maynard Owen Williams, born in Montour Falls, New York, grew up in Kalamazoo, Michigan. After receiving degrees simultaneously from Kalamazoo College and the University of Chicago, he spent a few years teaching at what later became the American University in Beirut, then worked as a Baptist Missionary teacher in Hangchow, China. He joined the National Geographic staff in 1919 after spending some years with the Kalamazoo Gazette and Christian Herald. During his career with the Society, Williams photographed and wrote about many areas of the world including Greece, the Middle East, China, Czechoslovakia, Afghanistan, Sinai, the Netherlands, and the East Indies, contributing over ninety magazine articles. He participated in the opening of King Tutakhamen's tomb in Egypt in 1923. National Geographic's MacMillan Arctic Expedition in 1925, and the French Citroen-Haardt Expedition crossing Asia by motor car in 1931- 1932. Williams spent thirty-four years with National Geographic, many of them as the chief foreign editor. He died in 1963. this man did a lot of very weird picture, you can tell they are Maynard Owen williams images because they are all in black and white and they are also quite creepy, i like how he has his own style and try's not to copy of anyone else, i like his own personal technique to taking pictures, and i like how he uses different things to make different photography objects to help out with his work, i like how he gets random people to pose and gets it to looks extra good. i think that he wanted to do more pictures like this because there was more photographers before him that did one or two pictures like this but i think he really liked them, i think the war and the different fashions in different places pushed him towards his work.

Luis Marden

National Geographic Icon Luis Marden Dies

He had seemed the very spirit of the National Geographic Society. Therefore when the word was received, it spread quickly, even to the most remote of offices. Luis Marden is dead.

Former chief of the National Geographic foreign editorial staff, photographer, writer, filmmaker, diver, sailor, navigator, pilot, linguist, raconteur, boon companion—and oh yes, explorer—Luis Marden died this morning of complications from Parkinson's disease, in Arlington, Virginia. He was only 90 years old.

He did not go to college, choosing freelance photography while working at a radio station instead. While he hosted a radio program, "Camera Club of the Air," the station owners felt Paragallo was too difficult a name for a radio audience. After casting around in a phonebook, they came up with Luis Marden instead.Marden was born on January 25, 1913 in Chelsea, Massachusetts, a suburb of Boston. His real name was Annibale Luigi Paragallo, though as he grew up in nearby Quincy he went by Louis Paragallo. While attending Quincy High School, he was introduced to photography through a chemistry class. Fascinated with watching images appear from seemingly nowhere, he quickly became hooked.

Marden so steeped himself in matters photographic that by the time he was 19 years old, he had written a book, Color Photography with the Miniature Camera,quite likely the first book ever published on 35mm color photography.

This expertise eventually brought him to the National Geographic Society, which prided itself on publishing quality color photography. When he first walked through the doors, a 35mm camera around his neck, no one could know that the slim young man with the dark moustache would become what one writer would call "the epitome of the Geographic man."

Uncanny Timing

If one thing characterized his career, it was being the right man at the right time in the right place.

To begin with, when Marden was hired on July 23, 1934, photographers for theNational Geographic magazine carried bulky cameras with tripods and glass plates into the field. But things were on the verge of change. Marden arrived at the right time, arguing that small 35mm cameras loaded with the new Kodachrome film would revolutionize color photography. His persistence soon paid off, and for decades the Geographic was noted for its dynamic color photography.

Because he could speak Spanish, during World War II he became the Society's "Latin America man," sent on long rambling assignments throughout Central and South America and the Caribbean. Diving off Antigua in 1941, he saw his first coral reef—and decided he had to photograph its riches.

Again he was the right man at the right time in the right place. Underwater color photography was in its infancy, but in the mid-1950s, working with Jacques Cousteau aboard the Calypso, Marden pioneered many of the techniques still used in underwater color photography to this day. Diving became one of his passions.

this man did mainly nature photography, but also liked to do the odd different type of images, he liked to go underwater and try images after they was made, but i cant not explain what type of images he did because he was such a good photographer he did lots of different type of photography.

i think because of the army, and the fashion made this man want to do more pictures like this, and i think that everyone killing different animals made him want to do more pictures like this.

herbert g ponting

Herbert G. Ponting:

Herbert G. Ponting (1870-1935) was one of the most renowned photographers of his day when he was recruited as ‘camera-artist’ to the British Antarctic (Terra Nova) Expedition, 1910-1913. 

Born into a wealthy Victorian family from Salisbury, Ponting worked briefly as a banker before moving to California and turning his attention to photography. During the first years of the 20th century, a number of assignments took him to the Far East. In 1904-1905, he photographed the Russo-Japanese war in Manchuria, before continuing his travels in Japan, Burma, Java, China and India, selling his work to London's foremost magazines. In 1910, he expanded his photographs of Japan into a book, In Lotus-Land Japan, which was published just before his departure for the Antarctic, and remains much sought after.

As a member of the Terra Nova Expedition, Ponting helped set up the Antarctic winter hut at Cape Evans on Ross Island, and was entitled to a tiny photographic darkroom in which he also slept. Working mostly with glass plate negatives, he set to work photographing all aspects of the expedition and of the environment around Cape Evans. During the winter of 1911, he took many photographs of Scott and the other members of the expedition in their hut, producing images that speak to us both within and beyond their historical context. 

With the start of the 1911-12 sledging season, Ponting's field work began to come to an end. As a middle-aged man, he was not able to take part on the inland trek to the South Pole and, after 14 months at Cape Evans, he boarded Terra Nova in February 1912.

Ponting returned to London, where he set to work shaping a visual narrative of the expedition for Captain Scott to show during his lectures upon his return. This was not to be, however, as Scott and four of his men perished on their return from the Pole.

The tragic outcome of the Terra Nova expedition would affect Ponting’s later life and career. Although they were much used, a prior contractual agreement with Scott did not guarantee Ponting any exclusivity in exploiting the photographs, and his own lectures earned him very little. Then, with the advent of World War I, the world suddenly had more pressing concerns than expeditions to the Antarctic. Paradoxically, Ponting’s most profitable venture was his book, The Great White South, a written account of his participation in the expedition.

Ponting virtually gave up photography, turning to business instead, but he was no businessman. He invested money in a number of ventures, only one of which was in his own field – a film printing company. They all failed. When he died in 1935, the net value of his estate was insufficient to pay off his debts. 



this man always did them im black and white, he was very olden so don't think he had a chose, this man i have noticed does quite a lot of outdoor type or photography, and does a lot of boat and nature with also a bit of landscape photography, i like how he made them look new and different, and how even though it was an old camera he put a lot of meaning and a lot of thought into his prints. 
this is the website as it wont let me get any images.




http://www.ponting-portfolio.com/prints.html 

Karina Taira

Japanese American photographer and film director, Karina Taira was born in San Francisco. She picked up a camera when she was 6 years old shooting the things she loved around her, her friends, family, horses, everything. At 15 she was shooting documentary and conceptual art projects and portraits as personal work. Not surprisingly, she started her professional career at the young age of 19, while still attending Art Center College of Design in Pasadena, California, and traveled between Tokyo and Los Angeles. After moving to New York, she was awarded the Diesel perfume campaign which then brought her to Europe. This in turn led to major editorial and advertising work in Paris, Milan, Tokyo, and London. She specialized in beauty, luxury and skin with an organic touch, keeping a sensual feminine approach to her work. She loves to show beautiful women with a feminine and strong mood. Her images have led her to having a contract with Life Magazine shooting all of the celebrities for their covers. Karina has also been busy shooting commercials from perfume to car commercials all over the world. At the present time Karina divides her time between Paris and the rest of the world, traveling from project to project and dancing tango in Buenos Aires in the moments between. Her next big dream is to move intofeatures as she is currently writing her first script.

there are some images on this website where there are lots of different images, her main type of photography is modeling and close up, taking peoples of peoples bodies and clothing, i really like her photographs because they are quite old but also show a little bit of new to them, i really like how she is mainly into fashion and models. i like how she doesnt really edit any of her images, and how she was looking for other things to do as well as photography.

i think fashion might have pushed her more towards doing this, and the different types of war and everything going on would have made him want to do more images like this.

here is the link as it wont let me take any pictures off her website on to this website.

http://www.karinataira.com/bio

William Henry Jackson, 1843-1942,

About the Collection

William Henry Jackson, 1843-1942, was one of the most renowned 19th Century landscape photographers of the American West. He was a man of great energy and love for the outdoors and especially the breadth and heights of the mountain west. His life spanned the first century of the new visual art of photography and the great era of westward expansion. He began his photography career in 1858 in New York as a photographic retouching artist in the burgeoning photography industry and ended it in New York City with his death in 1942. In between these years he became increasingly proficient in his chosen field through his studio and field work in Omaha, NE, his nine year odyssey as the official photographer with Ferdinand Vandeveer Hayden’s United States Geological Survey of the Territories, his 15 years in Denver, CO, 17 months of Asian and Pacific travel with the World Transportation Commission, his 27 years in Detroit associated with the Detroit Photographic Company and its successor the Detroit Publishing Company, and finally his highly productive “so-called” retirement years from 1924-1942.

The photographs and art work, which comprise the bulk of the William Henry Jackson collection in the L. Tom Perry Special Collections, include 1,082 individual items, of which 1,079 can be found in this digital collection. There is an astonishing range of subjects and media, and a significant number of images from every phase of his long and prolific career. Approximately 1,000 of the photographs are attributed to Jackson, with three photographs clearly those of his son, Clarence S. Jackson.

Geographically the collection is dominated by scenery of the western United States and Mexico, but also includes 231 images from all of the Asian and Pacific countries, except Korea, visited from 1894-1896, as a part of the World Transportation Commission travels. Because of his lengthy stay in Colorado, the over 190 Colorado images form the largest single group of western photographs. The over 90 images of Mexico form the next largest group of photographs. Native American portraiture, with approximately 60 images, Yellowstone, 56 images, and Utah, 21 images, also form important portions of the collection. The approximately 30 pieces of art, in various media, are western in their focus.

This collection is rich in original, contemporary photographic prints, and original watercolors, oil paintings, and sketches. There are approximately 400 albumen prints and over 450 gelatin prints, along with about 50 stereocards, and almost 40 photochrom process prints. There is a tintype, an ambrotype, and 4 gelatin panorama prints of Russia, along with two albums (Yellowstone, and Mexico & Colorado).

Although the collection is small, it spans his long career, and clearly demonstrates his growing proficiency and sophistication in photographic artistry. It is offered here as a unique collection which can stand on its own and as a complement to other major collections, some of which are also available on the Internet.

 i have seen by William Henry Jackson's images that he liked to take pictures of mountains and landscapes but also have a bit of the traditional people in some of the images, and showing the meaning of where he is taking the image, i really like these images because they look like they have a lot of meaning, and are very good images even with a really really old camera.

leanine work.

                                                                Creator 
                                                Madame Yevonde (1893–1975)

                                                    Mrs. Meyer as Medusa

                                                from The Goddesses Series

Madame Yevonde, born Yevonde Cumbers and later becoming Yevonde Middleton, was a well-known society portrait photographer. She is best remembered for her experimental work with early colour, and, in particular, her use of the Vivex process. Her distinctive and highly creative portrait style earned her much praise and she quickly gained advertising commissions and other commercial work.
In 1914 Yevonde set up her first portrait studio, although she did not begin her work with colour until the early 1930s. Her move into colour was bold, as colour photography was still generally regarded as unnatural and brash by the majority of the general public at the time. Her theatrical, stylised approach won much acclaim and by the mid 1930s she was able to secure contracts from large and established companies.

In 1935 she began work on The Goddesses series, from which this image is drawn. The Goddesses is a collection of portraits of society ladies dressed as figures from classical mythology, which not only became her tour-de-force, but changed the fortunes of colour photography by popularising its use. This glamorous, exciting and original series for which she organised the costumes, sitters, poses and props was an instant success when exhibited in the summer of 1935, in Berkeley Square, London.

*human figure + surreal and strange.*

why: i picked this picture because i haves lots of emotion and she looks quite evil. i like this because she looks spooky and deadly and has a snake around her neck, and i think that i would of been able to recreate this image well. 

 i wanted to recreate this image but to take away the makeup and make her look a bit happier so that it shows my models emotions as well as looking like the image that i am trying to copy.

i think the viewer would see the original image as creepy and spooky and old, i think they would also see it as a mean goddess, if a view would to see my image i think they would see my image as happy but scared, and up to date.
the similarities between my image and the original image is that they are both close up, and they are both probably in the studio, they are both instead, they are both a close up image of a girl, they are both looking straight into the camera.
we have used similar approaches by having them in the studio, and also that they are both images of women, there is lighting that we have both used which is similar.
i think my image is effective because it gives off emotion and tells you what it is about, and i think mine is effective because it shows the viewers the picture of a women with a smile.

Creator
Roger Fenton (1819–1869)

The Valley of the Shadow of Death

1855/6

Roger Fenton was one of Britain's most important and accomplished photographers. He is remembered for a large number of remarkably diverse works, ranging from photographs of the Crimea War, to portraits of the Royal Family, landscapes and architectural studies and a series of sumptuous still life compositions.
Born into a wealthy family, Fenton studied both law and painting before taking up photography. He was amongst the first Victorians to regard photography as a commercial venture and photographed landscapes, beauty spots and stately homes with a view to print sales. He was also keen to promote photography's status as an art form and in 1853 was a founder member of The Photographic Society, which later became The Royal Photographic Society.
In 1855 Fenton travelled to Balaclava to photograph the Crimean War, at the direct request of Queen Victoria. The photographs which he brought back are some of the earliest photographs of war ever taken. They do not, however, portray the brutality of war and for the most part are officer portraits and views of the encampments.

This photograph, of a desolate valley strewn with cannon balls, takes its title from a line in Tennyson's famous poem The Charge of the Light Brigade. Fenton's photograph communicates the dismal aftermath, in which the emptiness acts as a symbol of the tragedy of war.

*Environments*

i picked this picture because it reminds me of a lonely path, and looks really quiet and upsetting.

and looks like there is a reason why it is empty. instead of making it the exact same i changed it a little. instead of a lone dirt road, i changed it to a river where the was fencing in front so i thought i would have quite a similar but different feeling to it, i blurred out the back of my image to give an even more lonely feeling to it. i think the viewers would think that this road is empty because i looks like there is been a war near it, and looks like it is a death road. there are similarities between my image and the original, there is i long steam and road doing the same thing, they are both outside, they both are empty or people and both look cut off. the similar approaches that we have used are that they are both outside, we haven't used any studio lighting, and it is in day light.

i think my image is effective because it looks lonely, and people will no that it is off bounds, and it looks like the original picture is as well so they are matching in a way.

Creator
Anna Fox (1961-present)

From Friendly Fire

1989-94

Anna Fox came to prominence during the 1980s when she began producing colour photographs in a style which became known as subjective documentary. Influenced by the new colour work that had begun to be produced in the US in the 1970s and in Britain in the 1980s, Fox's first projectWorkstations: Office Life in London from 1988, chronicled office culture during the time that Margaret Thatcher was Prime Minister. Characterised by harsh flash, and accompanied by satirical captions, this project was a critical look at the aggressive and competitive work politics of the 1980s and was produced in the context of other important documentarists from the period, including Paul Graham, Tom Hunter and Martin Parr.

Friendly Fire, a subsequent project, was undertaken from 1989 – 1994 and documented paint-balling and other weekend war games. The photographs feature a variety of locations, some in and some outdoors and again, are characterised by brash flashlight which heightens the sense of irony in the work. In role herself as war photographer, Fox satirises the motives of the participants as they attempt to foster team spirit through mock battle.

                                

human figure, and Events - personal and communal.

i picked this image because it reminds me of a man having fun, and looks like it has been randomly taken without the man knowing, i also like this image because you think he is in the war when he is actually not, he is paint-balling, so i picked this image because it is off putting and shows something else, i think the image looks like the man is having fun, but is also in war, it has a same looks but different meaning.

there are similarities in this image and mine, they are both wearing masks, with different background but is the same, i drew trees in the background to match a little bit more of the main image.

i used similar approaches by, adding the mask, and adding colour, they are both digital images, mine is inside and this is outside, there are some similar but some not.

i think they are both effective for seconding the images meaning, so you look at one thing on the image but see another. that is why. and people will wonder that the man is doing in my image, also like they do with the other image.