Faces and Facades

Колектив

За особеностите на екземпляра

Състояние:: Много добро
Забележка:: Леко захабен външен вид.
Език:: Английски
Наличност:: 1 бр.

За изданието

Издателство:: Polaroid Corporation
Град на издаване:: Minnetonka, Minnesota, Unated States
Година:: 1977 г.
Език:: Английски
Страници:: 70
Корици:: Твърди
Категория:: Хоби
Тегло (гр.):: 1018
Ширина (мм):: 300
Височина (мм):: 300
Дебелина (мм):: 17

A collection of large-format instant images by Ray Belcher, James Bones, Elisabetta Catalano, Marie Cosindas, Alma Davenport Dailey, Carl Fischer, Paul Huf, Peter Jones, Yousuf Karsh, Ulrich Mack, Arnold Newman, Inge Reethof, Gunter Sachs, Stephen Shore, Christian Vogt, Reinhart Wolf. Foreword by L. Fritz Gruber Introduction by Peter C. Bunnell * Faces and Facades is a book designed for the viewer's contemplative joy. Its delight and inspiration lie in the series of diverse visions created by a group of artists, who were themselves stimulated by a contemporary development of photographic technology. Each artist who contributed words or images to this book is, in his or her way, celebrating the vitality of large-format color photography; the unrestricted capabilities of the 8 x 10 camera and film that, as Professor L. Fritz Gruber comments in his foreword, proclaims the maturity of the photographic artists using it, and their association with the early masters of photography. The book also is a celebration of modem printing technologies, a tribute to craftsmen whose use of contemporary processes permits a faithful rendering of artistic vision that was denied the pioneers of photography in their lifetimes. Look not, therefore, for a central theme among the images of the sixteen artists whose work is reproduced here, save for the “deliberateness” that Peter C. Bunnell, McAlpin Professor of the History of Photography at Princeton University, identifies as the crucial element in the creation of singular, beautiful images. ** Foreword Thроugh the meaning of Art remains open to doubt and questioning, the long-standing argument whether photography can produce art finally seems settled. There is a general concensus of opinions about human oeuvres that transcend the average—especially in the visual field. Works which move, influence or inspire can justly be called Art. During the last two decades there has been a fundamental change in the status of photography as an art form — a change that has been indelibly marked by the appearance of collectors, exhibitions, books and the substan¬tial values placed on photographic images in auctions and sales rooms. The initial stigma that established second-class status for photographic imagery— "pictures out of a machine"—based on a comparative evaluation of photog¬raphy by rules enshrined through centuries of traditional painted or drawn artistry, has been scythed down. It has fallen in the face of displays of visual imagination, albeit derived through modern technologies, that evoke all the compulsion, outrage, disgust, compassion, emotion, and inspiration that history tells us marked the first presentations of the classical paintings and sketches that are now accorded the status of masterpieces. It is my belief that the large-format camera has played a significant role in this contemporary acceptance of photographic art. The image from such a camera carries the subtle imprimatur of careful study and the convincing strength of conscious creativity. In such images are not found the haste, waste and often insignificance of small, one-eyed camera shots—none of the restrictions that force an artist into a confined style. As this book testifies, large-format photography is alive and well, the world over. Its innate strength—the immaculate detail and control it offers a master photographer over the image he seeks to present by using both eyes when scrutinizing the motif—has withstood the technological challenge of several decades, of the smaller, lighter, less obvious cameras. The modem 8x10 cam¬era in a photographer's studio, despite its substantial improvements of recent years, proclaims its user's maturity, and association with the early masters of photography. In photography's infancy, it was with large-format cameras that pioneering artist-visionaries strenuously experienced their hopeful formulas, one by one on subjects of great beauty or on the eternal human face. A failure in the primitive technologies of that period was a time-consuming frustration that might have required days to surmount. Now, though it may take but a few seconds instead of hours, that same magical sense of exploration lives on, sparked by the first sight of a chosen motif through the big camera. As my friend Reinhart Wolf described it, "At the instant I crouch beneath the black focusing cloth to see my first glimpse on the ground glass of the build¬ing I want to photograph, I get a tremendous feeling of involvement with my subject. It seems to have such an overwhelming presence, that is at once more serene, yet more direct than any I experience through the one-eyed viewfinder of a smaller camera. This generates for me a completely different, much more meditative approach to the picture I am composing." It must have added to his satisfaction, in experimenting with a new instant emulsion, to know that neither time, nor distance, nor extraneous interference stood between him and the unique images he created for "Faces and Facades". The variety presented in this book proves that photographers can imprint individualism upon their works, whether they be realistic or romantic, whether they show landscapes, buildings, still-lifes, portraits or nudes. Such images benefit from a meditative approach to their viewing, as well as to their creating. Professor L. Fritz Gruber Director of Photokina Cultural Exhibitions, Vice President of the Photographic Society of Germany *** All forty-three plates in this book were directly reproduced from original prints photographed with the Polaroid 8 x 10 system. The system, which renders a finished color image within seconds of exposure and processing, comprises Polacolor 2 8 x 10 Land film, a filmholder and an electricallypowered film processor. Images engraved by a Hell DC-300 laser electronic scanner and printed on Cameo gloss text paper, 90 grams using a Miehle Roland 6-color 40 Press. Text typeset in Palatino, headlines in Helvetica bold. Printed by the Acme Printing Company, Medford, Massachusetts Binding by Robert Burlen & Son Incorporated, Hingham, Massachusetts. Design and Art Direction: William Field Editor: Eelco Wolf Production: Robert L. Roden Publisher: Polaroid Corporation Photographs :copyright: copyright by Polaroid Corporation, 1977 Introduction :copyright: copyright by Peter C. Bunnell, 1977

Ключови думи: книги на английски език, фотография, портретна фотография