This essay describes the term of the straight photography and approaches to it by different photographs. While there was a time when taking a photograph itself involved many delicate and carefully taken steps, the photography of today is not the same as before…
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This essay «Comparison of Stieglitz and Jacob Riis photography style» outlines and compares the works and heritage of this two talented photographs. Dubbed as the “Patron Saint of Straight Photography”, Alfred Stieglitz (January 1, 1864 – July 13, 1946) began earnest photography in 1883 and from the very beginning was against the idea of manipulation of any sort in the photographs that, to him, meant capturing life completely as it is. He is most famously noted for his promotion of photography as a complete art form in itself. Through 1892 and onwards, Stieglitz became considerable famous for his photographs of the every day life of New York and Paris. He was one of those people who were able to see the transformation of New York City from one of considerable poverty to one that rose as a symbol of the modern world. His photographs have captured the essence of both eras and follow the transformation of the larva into the butterfly.
His one famous photograph is “The Terminal” which he took from the 4x5, which was, unlike the 8x10 camera not considered for professional purposes. However, due to his greater freedom of carrying the camera and talking photographs without a tripod, he was able to take as many photographs as he wanted through much greater ease. Using all natural elements such as the smoke and the ice, he softens the fame and presents his sober mood through the medium. All the faceless subjects of the photograph present what came to be recognized as his pioneering faculties in the field of straight photography.
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The paper analyzes photographer's work and his role in the 20-th century. The appearance of modernism became a new milestone in the progressing of artistic consciousness. Alfred Stieglitz is one of the most renowned foremen of piktorializm, “the editor of Camera Notes and the journal of the Camera Club of New York.
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