I have decided to research and write about him as I got attracted with his white and black pictures, which I found to be fancier than the colored ones. As I was looking for his limelight to success, I learned…
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He was given the name Weegee in the photography world because he was constantly the first person to be present on the scene to capture the moments. His photographic career started when he and his family migrated to New York in 1910, where he began to work as a tintype operator and itinerant photographer. Weegee also worked as a busboy, dishwasher, and candy mixer before reaching popularity in the photography world by having a steady job in Acme News Pictures (United Press International Photos). Aside from his crime shots, Weegee also loves to portray the beauty and worst among places and people as reflected on his book The Village (Fodiman and Burnside, 211). His love and passion for photography is truly remarkable and he chose to live with the films of the camera rather than starting his own family until his death in 1968.
Style is something that makes a person, an art, or a creation different from one another (Warren, 184). Like Weegee, majority of the photographers may have stories to tell but they might differ on their personal way of incorporating materials, techniques, and visual designs in their chosen photographs. Often, the colored photographs reflect more realistic dimension or representation of the subject rather than the black-and-white photographs. However, Weegee has broken the theoretical notion of photography as his black-and-white photographs of crime scenes also reflect a reality of action and emotion.
Weegee’s crime shots, based on purpose, is a documentary photograph in nature. As we have learned, Weegee captured moments of accident or fire incidents. Photographs did not only relay the nature of the incidents but also gave information of the incidents even in black-and-white. These have enriched Weegee’s pictures with stories, meaning, and personal dimension.
After critiquing the purpose, let us move on to the technical or artistic dimension of Weegee’s photographs. As we have learned, Weegee
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Self portraits are usually either fair or flattering to the painter. But Schiele takes a non-reverential look at himself in projecting an emaciated and disfigured state. For the viewer unaware of this background, the painting
This paper aims to analyze Andre Kertesz, Oskar Schlemmer, Herbert Bayer and their photos. Despite the fact that Bayer's picture seems playful at a glance, reflecting both Surrealist dream states and reflecting both Dada humor, the horror on Bayer’s face ideally could reflect anything darker, say the psychological and physical traumas.
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