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Thread: HCB in Colour

  1. #21
    cliveh's Avatar
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    Quote Originally Posted by MDR View Post
    Andreas my comment might sound harsh but compare his man jumping over a puddle to Lartigue's work, Lartigue was younger used a big camera and captured jumping persons in interesting ways.

    Furthermore I don't think that HCB's image bad just overhyped. The image is also one of my pet peeves as it is constantly used to show the advantages of 35mm over other formats, Lartigue's and other LF users work at that time prove that this is simply wrong you can capture movement in any format.
    You are missing the point here. The puddle jumper is not just about a jumping man to be compared to other jump pictures, by who or whatever. The puddle jumper shows various echoes of form and time within the frame. It is sometimes referred to as the defining image of the 20th century – the jump into the unknown.

    “The contemplation of things as they are, without error or confusion, without substitution or imposture, is in itself a nobler thing than a whole harvest of invention”

    Francis Bacon

  2. #22

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    What's with you people? I think his color photos are very, very fine. Much better then 99% of the stuff I see on flickr.

  3. #23
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    Quote Originally Posted by NB23 View Post
    What's with you people? I think his color photos are very, very fine. Much better then 99% of the stuff I see on flickr.
    Using Flickr as a yardstick as a measure of photo- technical quality is like measuring fine art using painting by numbers
    Ben

  4. #24

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    The yardstick measure here is HCB himself and i do see the HCB spirit in them. The one with the boat, for example, is Grand!

  5. #25
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    Colour wasn't H.C.B' s medium I.M.O., his extraordinary monochrome work was very ordinary in colour.
    Ben

  6. #26
    NJH
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    Quote Originally Posted by DREW WILEY View Post
    Just looks like what it is, run-of-the-mill commercial color shots for the era
    This. I don't understand why so much is being made of these shots either way, its confusing art with doing a job to take a picture of something to show what it looks like in a magazine.

  7. #27
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    Quote Originally Posted by NJH View Post
    This. I don't understand why so much is being made of these shots either way, its confusing art with doing a job to take a picture of something to show what it looks like in a magazine.
    I don't think much is being made of these shots.

    “The contemplation of things as they are, without error or confusion, without substitution or imposture, is in itself a nobler thing than a whole harvest of invention”

    Francis Bacon

  8. #28
    MDR
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    Clive it was so perfect that it had to be cropped etc... whic doesn't bother me what bothers me is that a mediocre yes mediocre image is made into something by pseudo intellectuals and some photo historians that it isn't (I have a degree in the latter as well as in Art BS). HCB was never that good he was extremely well marketed and produced good work but that's it. I also honestly like his work but I don't parrot everything someone like Szarkowski or the Newhalls said.

    Just to tell you a funny anecdote last year I went to a lecture about Atget the lecture was held by one of the more famous photo historians in the german speaking world. He showed a few photos and said something along the lines how great and really creative Atget was, amongst other things of course, because the included the arches of the corridor he was taking the photographs from. Well to make a short story long the room was not only full of photo historians but also full of LF photographers who prombtly pointed out that these arches are not arches at all but lens vignetting caused by using a Wide Angle lens that didn't cover the format with movement. That a large amount of the photo historians was surprised about this revelation is an understatement. But what it clearly showed was that in the academic world of european photo historians there are a lot of preconceived ideas and views, very little technical understanding and way too much philosophy. A process historian like Mark Ostermann who not only has the historicalbut also the technical knowledge would have seen the vignetting for what it is. One of the reasons of the shortsightness of a lot of photo historian is caused by overreliance on texts by amongst other things the above mentioned Newhalls and Szarkowski. Both the Newhalls and Szarkowski had an agenda and were everything but objective.

  9. #29
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    Quote Originally Posted by MDR View Post
    I have a degree in the latter as well as in Art BS
    I know there's a lot of Art BS around, but I didn't know they gave degrees in it! I assume your degree is in spotting it, not in spreading it...


    Just to tell you a funny anecdote last year I went to a lecture about Atget the lecture was held by one of the more famous photo historians in the german speaking world. He showed a few photos and said something along the lines how great and really creative Atget was, amongst other things of course, because the included the arches of the corridor he was taking the photographs from. Well to make a short story long the room was not only full of photo historians but also full of LF photographers who prombtly pointed out that these arches are not arches at all but lens vignetting caused by using a Wide Angle lens that didn't cover the format with movement. That a large amount of the photo historians was surprised about this revelation is an understatement. But what it clearly showed was that in the academic world of european photo historians there are a lot of preconceived ideas and views, very little technical understanding and way too much philosophy.
    Apparently there are degrees in spreading it...
    I do use a digital device in my photographic pursuits when necessary.
    When someone rags on me for using film, I use a middle digit, upraised.

  10. #30
    MDR
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    Both in BS spreading and spotting, you can't get a degree in an art school if you don't learn how to do the former

    The anecdote is unfortunately true and is really caused by too much talking and philosphizing and too little actual looking at the research object.

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