It is the nature of the camera to deal with what is – we urge those who use the camera to retire from what might. and the works of man." – Dorothea Lange and Daniel Dixon, 1952 The remote Oceanic.

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My mentor was (the photojournalist) Dorothea Lange. She changed the course of my life. I had always been focused on social responsibility and change – I was a conscientious objector during the Korean.

It is the nature of the camera to deal with what is – we urge those who use the camera to retire from what might. and the works of man." – Dorothea Lange and Daniel Dixon, 1952 The remote Oceanic.

Just open the book and learn something from or about the likes of Dorothea Lange, Irving Penn and Lisette Model. This isn’t a back in my day the music was better (it wasn’t always) kind of.

When Henri Cartier- Bresson ventured onto the streets of Paris or Dorothea Lange toured the Depression-ravaged South. with ones that he took in 2008 using the same Instamatic camera — kind of.

The camera gave you a license to go out in the. I was looking at people like [Edward] Weston and Dorothea Lange and [Edward] Steichen, and even [Alfred] Stieglitz, who did their work over a long.

They feature children in every shape and form with images ranging from historical to modern, in every kind of. prevails." Lange included There’s a section centering on the Great Depression, which.

A friend had asked for yet another one of them to use in the promotion of a hotel in Chatham, so he was up early and perched at the edge of the water with his old-fashioned wooden view camera.

(which appeared in Evans’s collaboration with James Agee, “Let Us Now Praise Famous Men”), Arthur Rothstein’s “Fleeing a dust storm” and the most famous photograph of all, Dorothea Lange’s. If.

This is the area where, in the 1930s, John Steinbeck set The Grapes of Wrath and Dorothea Lange took her famous. from The Nine © Katy Grannan, courtesy Fraenkel Gallery, San Francisco While Grannan.

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I really wanted to use the camera and all. films all end up being kind of the same. This sense of portraiture — I’m very, very influenced by photography obviously. When you look at a Walker Evans.

Arthur Ransome, a 47-year-old black and white photographer, said the answer is: “Join a camera club. Seriously.” Ransome, who moved to Baltimore in 2005 from Puerto Rico, said the first thing he did.

Most photographers tend to go for that type of stuff, so what made you want to shoot the subject matter that you did? Gene: I was interested in. I had seen the work of Dorothea Lange,

I was very much influenced by the work of documentary photographer Dorothea Lange and the intrinsic connection she. I have a point and shoot digital camera that I use as a sketchbook. I feel that.

Just last week, I posted an article about things I wish I knew when I started photography. Yeah, if you picked up a camera for the first time two months ago, comparing your portraits to Dorothea.

Arthur Ransome, a 47-year-old black and white photographer, said the answer is: “Join a camera club. Seriously.” Ransome, who moved to Baltimore in 2005 from Puerto Rico, said the first thing he did.

Someone would smile for the camera, thinking he was the entire frame. who closed the old museum with a spellbinding retrospective of Dorothea Lange, will open the new photography gallery with.

"In his later years", Schama says, "he became a kind of patriarch of environmentalism and every so often he would put down his camera and even leave his. who took pictures of interned such as.