Me too. But there was a nice review of the big Cameron show a few years ago by Janet Malcolm (NYRB Feb.4, 1999), in which she pointed out that there are no known paintings of the BVM-and-child in which the infant Jesus glares at the viewer with undisguised loathing.
Originally Posted by SuzanneR
I've always like Lady Hawarden's photographs among the early women pioneers. Not quite as melodramatic as Cameron, but with an engagement that rewards contemplation. The V+A has a fair bit online.
Nell Dorr's Mothers and Daughters is one of the works inspired after the death of one of her daughters. Her work if full of feeling - the magic I try to place into my own work.
Laura Gilpin, is another who photographed her entire life, it seems, and it was her passion for the people of the Southwest, that inspired her. That passion shows in much of her work.
Carlotta Corpron - well, she is one of those that has taught me, that sometimes it is light and form that can be the subject. Her work, is more abstract in many ways. She shows that much earlier than some of us think, there were photographers reaching for new ways of expression.
Although not as prolific as Imogen Cunningham, her friend and colleague Alma Lavenson deserves mention. She was invited to exhibit at the inagural f:64 exhibition in 1932 (with four prints). Her major work spanned the period from the late 1920's to the late 1940's.
Olive Cotton, her "Tea Cup Ballet" inspired me to think just what could be done with everyday stuff.
Vaughn Sills - studied with her at Simmons - her book One Family changed the way I think about photographing people. Intimacy and openness always, and don't forget the Polaroid!
Eudora Welty's photographs are also deeply personal and excellent. She developed in her kitchen. She's also a favorite writer of mine.
Hulleah Tsinhnahjinnie - her photographs are fierce and fine.
Sally Mann's Immediate Family is one of my favorite books. Beautiful work.
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I would have to say that the photographer that has most influenced my life is my mother.
She was the 3rd generation of photographer in the family growing up in a small and rural Utah town. Grandpa owned the general store and was president of the bank there. It allowed mom to afford film and development of same.
She photographed her friends as she really picked up the camera as a means of expression in her teenage years. We have several albums of life in the small town. As she grew in what would be a life long love of photography, she began to experiment figure studies. Her first was of a good friend of hers that asked to be photographed like Marylyn Monroe. They went to an old stone cabin and posed her friend in one of the windows that was only left now as the frame. She posed her with her back facing the camera and in her long blonde hair, held her fingers as they would run through the tresses with a well placed diamond ring on her hand.
She photographed the scene with an old 620 sized film, Zeiss Ikon. It had to be focused via distance on the rail. It had a very sharp lens, but with only a good estimation on distance, the images always came out a little soft. Razor sharpness was never really an issue with my mother anyway. She told me it was what wasn't in the photo that led the mind to ponder on the photograph.
She continued to photograph her friends in various states of undress for several years. The first at 14 years of age, the last was in her 60's, a fair body of work that was only shown locally at her request. Although modesty was never something that was even thought of in the house, she kept me from hanging out at most of the shoots, in retrospect, perhaps a good thing for a teenage boy. One point of interest on the story is that since she was in a small conservative post war town, she could not show the work that started in the mid 40's until the mid 60's and still made the papers cry out with prudish cat calls.
I picked up on photography at the age of 5 and while I have shot a fare share of figures, I find that my lust is for iconic landscapes, strong, single subject images that have been criticized as lonely. I can pick up many of my mothers prints and see the same. I suppose she has had more of an influence than I may suspect.
Thanks for sharing. I could not help but be overcome by emotion while reading. Heartfelt.
Candida H÷fer and Hilla Becher that Helen mentioned have influenced my work. It would be too difficult (and long, and boring) to describe or try to explain how.
Francesca Woodman has haunted me as an artist ever since I saw her work and read about her... my work is quite different, since my personality is different (I guess) and so I cannot really be influenced (at least, I cannot be so directly influenced) by her work. She's my favourite photographer, though.
Who knows, maybe FW's work influences me more that I think, only it does so unconsciously...
Helen Bach just on board
Anna Schudel Halm
Katharina Krauss - Vonow
I was inspired by Toto Frima to do some self nude work in the early 90is Jaschi Klein comes from movie and I find here scenes very specialy and I was looking to get similar scenes for a short while.
Now work on my on style, Armin
Great story Robert!
I commend you for sharring it here in such a public forum.
In some way, my mother is an artistic influence on me, but in a different way.
She plays the violin.