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ansel adams:was born on february 20th 1902 in san fran, cali he died in april 22 1984 in monterey,cali

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ansel adams:was born on february 20th 1902 in san fran, cali he died in april 22 1984 in monterey,cali

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Richard Avedon Born: May 15, 1923, New York City, NY Died: October 1, 2004, 

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Richard Avedon Born: May 15, 1923, New York City, NY Died: October 1, 2004, 

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Richard Avedon (May 15, 1923 - October 1, 2004) was an American fashion and portrait photographer. He worked for Harper's Bazaar, and specializing in capturing movement in still pictures of fashion, theater and dance. An obituary published in The New York Times said that "his fashion and portrait photographs helped define America's image of style, beauty and culture for the last half-century".

Avedon was born in New York City to a Jewish family. His father, Jacob Israel Avedon, was a Russian-born immigrant who advanced from menial work to starting his own successful retail dress business on Fifth Avenue called Avedon's Fifth Avenue. His mother, Anna, from a family that owned a dress-manufacturing business, encouraged Richard's love of fashion and art. Avedon's interest in photography emerged when, at age 12, he joined a Young Men's Hebrew Association (YMHA) Camera Club. He would use his family's Kodak Box Brownie not only to feed his curiosity about the world but also to retreat from his personal life. His father was a critical and remote disciplinarian, who insisted that physical strength, education, and money prepared one for life.

The photographer's first muse was his younger sister, Louise. During her teen years, she struggled through psychiatric treatment, eventually becoming increasingly withdrawn from reality and diagnosed with schizophrenia. These early influences of fashion and family would shape Avedon's life and career, often expressed in his desire to capture tragic beauty in photos.

Avedon attended DeWitt Clinton High School in Bedford Park, Bronx, where from 1937 until 1940 he worked on the school paper, The Magpie, with James Baldwin. As a teen, he also won a Scholastic Art and Writing Award. After graduating from DeWitt Clinton that year, he enrolled at Columbia University to study philosophy and poetry but dropped out after one year. He then started as a photographer for the Merchant Marines, taking ID shots of the crewmen with the Rolleiflex camera his father had given him. From 1944 to 1950, Avedon studied photography with Alexey Brodovitch at his Design Laboratory at The New School for Social Research.

In 1944, Avedon began working as an advertising photographer for a department store, but was quickly endorsed by Alexey Brodovitch, who was art director for the world-renowned American fashion magazine Harper's Bazaar. Lillian Bassman also promoted Avedon's career at Harper's. In 1945, his photographs began appearing in Junior Bazaar and, a year later, in Harper's Bazaar.

In 1946, Avedon had set up his own studio and began providing images for magazines including and . He became the chief photographer for Harper's Bazaar. From 1950, he also contributed photographs to and . In 1952, he became staff editor/photographer for Theatre Arts Magazine. However, towards the end of the 1950s, he became dissatisfied with daylight photography and open air locations and so turned to studio photography, using strobe lighting.

When Diana Vreeland left Harper's Bazaar for Vogue in 1962, Avedon joined her as a staff photographer. He proceeded to become the lead photographer at Vogue and photographed most of the covers from 1973 until Anna Wintour became editor in chief in late 1988.

Among his fashion advertisement series are the recurring assignments for Gianni Versace, beginning with the spring/summer campaign 1980. He also photographed the Calvin Klein Jeans campaign featuring a fifteen-year-old Brooke Shields, as well as directing her in the accompanying television commercials. Avedon first worked with Shields in 1974 for a Colgate toothpaste ad. He shot her for Versace, 12 American Vogue covers and Revlon's Most Unforgettable Women campaign.

In the February 9, 1981, issue of Newsweek, Avedon said that "Brooke is a lightning rod. She focuses the inarticulate rage people feel about the decline in contemporary morality and destruction of innocence in the world." On working with Avedon, Shields told magazine in May 1992, "When Dick walks into the room, a lot of people are intimidated. But when he works, he's so acutely creative, so sensitive. And he doesn't like it if anyone else is around or speaking. There is a mutual vulnerability, and a moment of fusion when he clicks the shutter. You either get it or you don't".

In addition to his continuing fashion work, by the 1960s Avedon was making studio portraits of civil rights workers, politicians, and cultural dissidents of various stripes in an America fissured by discord and violence. He branched out into photographing patients of mental hospitals, the Civil Rights Movement in 1963, protesters of the Vietnam War, and later the fall of the Berlin Wall.

A personal book called Nothing Personal with a text by his high school classmate James Baldwin, appeared in 1964. It includes photographs documenting the civil rights movement, cultural figures and an extended collection of pictures of people in a mental asylum; together with Baldwin's searing text, it makes a striking commentary on America in 1964.

During this period, Avedon also created two well known sets of portraits of The Beatles. The first, taken in mid to late 1967, consisted of five psychedelic portraits of the group - four heavily solarized individual color portraits, and a black-and-white group portrait taken with a Rolleiflex camera and a normal Planar lens. The next year, he photographed the much more restrained portraits that were included with The Beatles LP in 1968. Among the many other rock bands photographed by Avedon, in 1973, he shot Electric Light Orchestra with all the members exposing their bellybuttons for recording On the Third Day.

Avedon was always interested in how portraiture captures the personality and soul of its subject. As his reputation as a photographer became more well known, he photographed many public figures in his studio with a large-format 8×10 view camera. His subjects include Buster Keaton, Marian Anderson, Marilyn Monroe, Ezra Pound, Isak Dinesen, Dwight D. Eisenhower, Andy Warhol, and the Chicago Seven.

By eliminating the use of soft lights and props, Avedon was able to focus on the inner worlds of his subjects evoking emotions and reactions. He would at times evoke reactions from his portrait subjects by guiding them into uncomfortable areas of discussion or asking them psychologically probing questions. Through these means he would produce images revealing aspects of his subject's character and personality that were not typically captured by others.

Avedon's mural groupings featured emblematic figures: Andy Warhol with the players and stars of The Factory; The Chicago Seven, political radicals charged with conspiracy to incite riot at the 1968 Democratic National Convention; the Beat poet Allen Ginsberg and his extended family; and the Mission Council, a group of military and government officials who governed the United States' participation in the Vietnam War.

In 1982, Avedon produced a playfully inventive series of advertisements for fashion label Christian Dior, based on the idea of film stills. Featuring director Andre Gregory, photographer Vincent Vallarino and model/actress Kelly Le Brock, the color photographs purported to show the wild antics of a fictional "Dior family" living ménage à trois while wearing elegant fashions.

Avedon became the first staff photographer for The New Yorker in 1992, where his post-apocalyptic, wild fashion fable "In Memory of the Late Mr. and Mrs. Comfort," featuring model Nadja Auermann and a skeleton, was published in 1995. Other pictures for the magazine, ranging from the first publication, in 1994, of previously unpublished photos of Marilyn Monroe to a resonant rendering of Christopher Reeve in his wheelchair and nude photographs of Charlize Theron in 2004, were topics of wide discussion.

The cover of Avedon's book In the American West (1985)

Serious heart inflammations hindered Avedon's health in 1974. The troubling time inspired him to create a compelling collection from a new perspective. In 1979, he was commissioned by Mitchell A. Wilder (1913-1979), the director of the Amon Carter Museum in Fort Worth, Texas, to complete the "Western Project."

Wilder envisioned the project to portray Avedon's take on the American West. It became a turning point in Avedon's career when he focused on everyday working class subjects such as miners soiled in their work clothes, housewives, farmers and drifters on larger-than-life prints, instead of the more traditional options of focusing upon public figures or the openness and grandeur of the West. The project lasted five years concluding with an exhibition and a catalogue. It allowed Avedon and his crew to photograph 762 people and expose approximately 17,000 sheets of 8×10 Kodak Tri-X Pan film. The collection identified a story within his subjects of their innermost self, a connection Avedon admits would not have happened if his new sense of mortality through severe heart conditions and aging hadn't occurred. Avedon visited and traveled through state fair rodeos, carnivals, coal mines, oil fields, slaughter houses and prisons to find subjects.

In 1994, Avedon revisited his subjects who would later speak about In the American West aftermath and its direct effects. Billy Mudd, a trucker, spent long periods of time on his own away from his family. He was a depressed, disconnected and lonely man before Avedon offered him the chance to be photographed. When he saw his portrait for the first time, Mudd saw that Avedon revealed something about him that allowed him to recognize the need for change in his life. The portrait transformed Mudd, and led him to quit his job and return to his family.

Helen Whitney's 1996 American Masters documentary episode, Avedon: Darkness and Light, depicts an aging Avedon identifying In the American West as his best body of work.

During the production period Avedon encountered problems with size availability for quality printing paper. While he experimented with platinum printing he eventually settled on Portriga Rapid, a double-weight, fiber-based gelatin silver paper manufactured by Agfa-Gevaert. Each print required meticulous work, with an average of thirty to forty manipulations. Two exhibition sets of In the American West were printed as artist proofs, one set to remain at the Carter after the exhibition there, and the other, property of the artist, to travel to the subsequent six venues. Overall, the printing took nine months, consuming about 68,000 square feet (6,300 m 2) of paper.

While In the American West is one of the Avedon's most notable works, it has often been criticized for falsifying the West through voyeuristic themes and for exploiting his subjects. Avedon's book was actually controversial when it was first released. Some people found it unconventional and unexpected for a book about the West, but it ended up becoming an iconic image that challenged traditional perceptions of the region. Critics question why a photographer from the East who traditionally focuses on models or public figures would go out West to capture the working class members who represent hardship and suffering. They argue that Avedon's intentions are to influence and evoke condescending emotions from the viewer such as pity.

Avedon had very numerous museum exhibitions around the world, exhibitions in which he was a part of and became known for. His first major retrospective was at the Minneapolis Institute of Arts in 1970.

The Metropolitan Museum of Art (NYC) presented two solo exhibitions during his lifetime, in 1978 and 2002. In 1980, a retrospective was organized by the University Art Museum in Berkeley. Major retrospectives were mounted at the Whitney Museum of American Art, New York (1994), and at the Louisiana Museum of Modern Art, Humlebaek, Denmark (2007; which traveled to Milan, Paris, Berlin, Amsterdam and San Francisco, through 2009). Showing Avedon's work from his earliest, sun-splashed pictures in 1944 to portraits in 2000 that convey his fashion fatigue, the International Center of Photography in 2009 mounted the largest survey of his fashion work. Also in 2009, the Corcoran Gallery of Art showed Richard Avedon: Portraits of Power, bringing together his political portraits for the first time.

Avedon's work is held in the following permanent collections:

In 2010, a record price of £719,000 was achieved at Christie's for a unique seven-foot-high print of model Dovima, posing in a Christian Dior evening dress with elephants from the Cirque d'Hiver, Paris, in 1955. This particular print, the largest of this image, was made in 1978 for Avedon's fashion retrospective at the Metropolitan Museum of Art in New York, and was bought by Maison Christian Dior.

In 1944, Avedon married 19-year-old bank teller Dorcas Marie Nowell, who later became the model and actress Doe Avedon; they did not have children and divorced in 1949. The couple summered at the gay village of Cherry Grove, Fire Island, and Avedon's bisexuality has been attested to by colleagues and family. He was reportedly devastated when Nowell left him.

In 1951, he married Evelyn Franklin; she died on March 13, 2004. Their marriage produced one son, John Avedon, who has written extensively about Tibet. In 1970, Avedon purchased a former carriage house on the Upper East Side of Manhattan that would serve as both his studio and apartment. In the late 1970s, he purchased a four-bedroom house on a 7.5-acre (3.0 ha) estate in Montauk, New York, between the Atlantic Ocean and a nature preserve; he sold it for almost $9 million in 2000.

According to Norma Stevens, Avedon's longtime studio director, Avedon confided in her about his homosexual relationships, including a decade-long affair with director Mike Nichols.

On October 1, 2004, Avedon died in a San Antonio, Texas, hospital of complications from a cerebral hemorrhage. He was in San Antonio shooting an assignment for The New Yorker. At the time of his death, he was also working on a new project titled Democracy to focus on the run-up to the 2004 U.S. presidential election.

The Richard Avedon Foundation is a private operating foundation, structured by Avedon during his lifetime. It began its work shortly after his death in 2004. Based in New York, the foundation is the repository for Avedon's photographs, negatives, publications, papers, and archival materials. In 2006, Avedon's personal collection was shown at the Pace/MacGill Gallery, New York, and at the Fraenkel Gallery, San Francisco, and later sold to benefit the Avedon Foundation. The collection included photographs by Martin Munkacsi, Edward Steichen and Man Ray, among others. A slender volume, Eye of the Beholder: Photographs From the Collection of Richard Avedon (Fraenkel Gallery), assembles the majority of the collection in a boxed set of five booklets: " Diane Arbus," " Peter Hujar", " Irving Penn ", "The Countess de Castiglione" and "Etcetera," which includes 19th- and 20th-century photographers.

Hollywood presented a fictional account of Avedon's early career in the 1957 musical , starring Fred Astaire as the fashion photographer "Dick Avery." Avedon supplied some of the still photographs used in the production, including its most noted single image: an intentionally overexposed close-up of Audrey Hepburn's face in which only her noted features - her eyes, her eyebrows, and her mouth - are visible.

Hepburn was Avedon's muse in the 1950s and 1960s, and he went so far as to say: "I am, and forever will be, devastated by the gift of Audrey Hepburn before my camera. I cannot lift her to greater heights. She is already there. I can only record. I cannot interpret her. There is no going further than who she is. She has achieved in herself her ultimate portrait."

The 2005 film contains a recreation of Avedon photographing convicted murderers Perry Edward Smith and Richard Hickock in April 1960. Avedon is portrayed by the film's cinematographer, Adam Kimmel.

The 2015 video game Life is Strange references Avedon several times, with side character Victoria Chase calling him "one of my heroes" in response to being compared to him if the player chooses to be kind to her.

Observations. New York: Simon & Schuster, 1959. Photographs by Avedon, commentary by Truman Capote. Portraits of noted people.

Nothing Personal. New York: Atheneum: 1964. A collaborative book with James Baldwin.

Alice in Wonderland: The Forming of a Company and the Making of a Play. Merlin: 1973. By Avedon and Doon Arbus. ISBN 978-0-88306-500-6.

Portraits. Noonday: 1976. Introduction by Harold Rosenberg. ISBN 978-0-374-51412-9.

Portraits 1947-1977. Farrar, Straus and Giroux, 1978. ISBN 978-0-374-23200-9.

In the American West.

An Autobiography. 1993. Photographs arranged to tell Avedon's life story.

Evidence. 1994. Essays and text about Avedon with photographs by Avedon.

The Sixties. 1999. By Avedon and Doon Arbus. Photographs of noted people.

Made in France, 2001. A retrospective of Avedon's fashion portraiture from the 1950s.

Richard Avedon Portraits' 2002. Celebrities and subjects from In The American West. Published in conjunction with an exhibition at the Metropolitan Museum of Art.

Woman in the Mirror. 2005. With an essay by Anne Hollander.

Performance. 2008. With an essay by John Lahr.

Portraits of Power. 2008. Edited by Paul Roth. With an essay by Renata Adler. Published in conjunction with an exhibition at the Corcoran Gallery of Art in Washington, D.C.

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Richard Avedon (May 15, 1923 - October 1, 2004) was an American fashion and portrait photographer. He worked for Harper's Bazaar , and specializing in capturing movement in still pictures of fashion, theater and dance. An obituary published in The New York Times said that "his fashion and portrait photographs helped define America's image of style, beauty and culture for the last half-century".

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name- frida kahlo
born- july,6,1907
died-july,19,54
what i like about frida is she talented and pretty

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Born: October 16, 1960 (age 56 years),

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Renee Cox (born October 16, 1960) is a Jamaican-American artist, photographer, lecturer, political activist and curator. Her work is considered part of the feminist art movement in the United States. Some of the best known of her provocative works are Queen Nanny of the Maroons, Raje and Yo Mama's Last Supper, which exemplify her Black Feminist politic.

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André KertészPhotographer                             Born: July 2, 1894                    Died: September 28, 1985

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André KertészPhotographer                             Born: July 2, 1894                    Died: September 28, 1985

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André Kertész, born Kertész Andor, was a Hungarian-born photographer known for his groundbreaking contributions to photographic composition and the photo essay.

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I like this photographer because her photos tell a deep story. Shaden's photos are creative, she has an amazing eye for art. I love her photos

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I like this photographer because he is a random picture taker ..he takes pictures of whatever he wants.

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Joel Meyerowitz (born March 6, 1938) is an American street, portrait and landscape photographer. He began photographing in color in 1962 and was an early advocate of the use of color during a time when there was significant resistance to the idea of color photography as serious art. In the early 1970s he taught photography at the Cooper Union in New York City.

His work is in the collections of the International Center of Photography, Museum of Modern Art, and New York Public Library, all in New York, and the Museum of Contemporary Photography in Chicago.

In 1962, inspired by seeing Robert Frank at work, Meyerowitz quit his job as an art director at an advertising agency and took to the streets of New York City with a 35 mm camera and color film. As well as Frank, Meyerowitz was inspired by Henri Cartier-Bresson and Eugène Atget -he has said "In the pantheon of greats there is Robert Frank and there is Atget."

After alternating between black and white and color, Meyerowitz "permanently adopted color" in 1972, well before John Szarkowski's promotion in 1976 of color photography in an exhibition of work by the then little-known William Eggleston. Meyerowitz also switched at this time to large format, often using an 8×10 camera to produce photographs of places and people.

Meyerowitz appears extensively in the 2006 BBC Four documentary series The Genius of Photography and in the 2013 documentary film Finding Vivian Maier. In 2014 the documentary Sense of Time by German filmmaker Ralph Goertz was published.

He is the author of 26 books including Cape Light, considered a classic work of color photography. Meyerowitz photographed the aftermath of the September 11, 2001 attack on the World Trade Center, and was the only photographer allowed unrestricted access to its Ground Zero immediately following the attack. This resulted in the book Aftermath: World Trade Center Archive (2006), which Parr and Badger include in the third volume of their photobook history.

On January 18, 2017 Meyerowitz was honored for his lifelong work with a place at the Leica Hall of Fame and was described as a "magician using colour" and being able to "both capture and framing the decisive moment".

Meyerowitz was born in the Bronx, to working class Jewish immigrant parents from Hungary and Russia. He studied art, art history, and medical illustration at Ohio State University, graduating in 1959. He is married to English novelist Maggie Barrett. In addition to their home in New York City, they maintain a residence outside of Siena, Tuscany, Italy.

Photo books and monographs

Cape Light: Color Photographs by Joel Meyerowitz. With a transcript of an interview between Meyerowitz and Bruce K. MacDonald. Boston: Museum of Fine Arts, Boston, 1979. ISBN 0-87846-132-9.

Wild Flowers. Boston: Bulfinch, 1983. ISBN 0-82121-528-0.

Creating a Sense of Place. Washington, DC: Smithsonian Institution Press, 1990. ISBN 1-56098-004-4.

Redheads. New York, NY: Rizzoli, 1991. ISBN 0-84781-419-X.

Joel Meyerowitz. Text by Colin Westerbeck. 55. London: Phaidon, 2001. ISBN 0-7148-4021-1.

Tuscany: Inside the Light. New York: Barnes & Noble, 2003. ISBN 1-40274-321-1.

Aftermath. London: Phaidon, 2006. ISBN 0-71484-655-4.

Joel Meyerowitz - Retrospective. Cologne / New York: Koenig Books / D.A.P., 2014. ISBN 978-3-86335-588-3.

Where I Find Myself: A Lifetime Retrospective. London: Laurence King, 2018. ISBN 978-1-78627-186-0. With a text by Colin Westerbeck.

Further publications

Bystander: A History of Street Photography. With Colin Westerbeck. Boston: Bulfinch, 1994. ISBN 0-82121-755-0. Hardback.

UK edition: London: Thames & Hudson 1994. ISBN 0-500-54190-6 (2nd ed.: Norton Co 1999).

Paperback edition with a new afterword on street photography since the 1970s: Boston: Bulfinch/Little Brown, 2001. ISBN 0-8212-2726-2.

New revised and expanded edition: London: Laurence King, 2017. ISBN 978-1-78627-066-5.

Paul Strand: The Gardens of Orgeval. Selection and text by Meyerowitz. New York: Aperture 2012. ISBN 978-1-59711-124-9.

Pictures from Moving Cars. Photographs by Meyerowitz, Daido Moriyama und John Divola, Abad, 2013.

Colin Westerbeck: Vivian Maier: The Color Work. Foreword by Joel Meyerowitz. New York: Harper Collins 2014. ISBN 978-0-06-279557-1.

Seeing Things. A Kid's Guide to Looking at Photographs. New York: Aperture 2016. ISBN 978-1-59711-315-1.

Joel Meyerowitz: How I Make Photographs. Masters of Photography. London: Laurence King 2020. ISBN 978-1-78627-580-6.

The Pleasure of Seeing. Conversations with Joel Meyerowitz on Sixty Years in the Life of Photography. Bologna: Damiani 2023. ISBN 978-88-6208-793-3.

1968: My European Trip: Photographs from the Car by Joel Meyerowitz, MOMA, August 3-September 29, 1968

2006: Joel Meyerowitz: Modern Color, Vintage Prints, Edwynn Houk Gallery, April 27 - June 17, 2006

2012: Joel Meyerowitz - 50 Years of Photographs Part I: 1962 - 1977, November-December 2012; and Joel Meyerowitz - 50 Years of Photographs Part II: 1976 - 2012, December 2012 - January 2013, Howard Greenberg Gallery, New York.

2014: Joel Meyerowitz Retrospektive, NRW-Forum Düsseldorf, (curated by Ralph Goertz),

2017: Joel Meyerowitz - Transition, Howard Greenberg Gallery, September 7 - October 21, 2017

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Joel Meyerowitz (born March 6, 1938) is an American street, portrait and landscape photographer. He began photographing in color in 1962 and was an early advocate of the use of color during a time when there was significant resistance to the idea of color photography as serious art.

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Born September 13, 1956
I like this photographer because she take a cute pictures of babies and she make them real.

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Born: June 11, 1815,
Died: January 26, 1879

Julia Margaret Cameron was a British photographer. She became known for her portraits of celebrities of the time, and for photographs with Arthurian and other legendary or heroic themes.

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He takes great photos and his picture are clear.

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Randy Walter Films Presents Model "Cat" [Trapp Tha General - what you need]

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Video & Production By Randy Walter Films (405)921-8292 Photography by Jay Harris w/ Justdimez Llc Model "Cat" sditattoo.com Sponsored by OKENTV, Mike Hall Photography, SC Productions, Cat, & Randy Walter Films

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I like this man photos because he takes beautiful photos and makes them real

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i like her style and her outta the box different way of taking pictures.

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November 9, 1924 (age 92)
I like that he was a documentary film maker and he made comparisons to the modern days. i love fact that his pictures catch my eyes

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Born:January 14, 1928
Died:March 19, 1984
I like that he took a good photo of two people having drinks and enjoying the time that they can spend together.

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Nicki Minaj shot by terry richardson for the cover of Rolling Stone

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(February 24, 1950 - present)
I like this photographer because he has amazing portraits and landscapes from the whole world.

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Edward Henry Weston (March 24, 1886 – January 1, 1958) 

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Edward Henry Weston (March 24, 1886 – January 1, 1958) 

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I like the work that he has done with produce and shapes

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Edward Weston - 250 Artworks, Bio & Shows on Artsy

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Find the latest shows, biography, and artworks for sale by Edward Weston. One of the most influential American photographers of the 20th century, Edward West...

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1954 - 2017

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Boy meets evil

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1965
i like this photograph because she is dealing with kids also her editing eye is really good.

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Lisa Kristine: Photos that bear witness to modern slavery

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Photographer Lisa Kristine travels the world documenting the unbearably harsh realities of modern-day slavery. She shares hauntingly beautiful images -- miners in the Congo, bricklayers in Nepal -- that illuminate the plight of the 27 million souls enslaved worldwide.

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I like her photos because she makes them look old.

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Brooke Shaden (Born on March 1987. Age 29)

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Brooke Shaden (Born on March 1987. Age 29)

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I like this photographer because her photos tell a deep story. Shaden's photos are creative, she has an amazing eye for art. I love her photos.

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Andy Rouse 1947 age 69
I like him because he takes pic of animals

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I LIke This PhotoGrapher Because He Did A lot Of Marilyn Monroe

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In the summer of 1962 Bert Stern, who has died aged 83, took more than 2,500 photographs of Marilyn Monroe over three sessions held in a Los Angeles hotel. The images captured Monroe in a sometimes pensive but mostly playful mood as she posed nude, variously covered by bedsheets, a chinchilla coat, a stripy Vera Neumann scarf and a pair of chiffon roses. Despite their air of carefree humour, the portraits are inescapably wistful because - along with George Barris's subsequent pictures of Monroe at Santa Monica beach - they are among the last photographs taken of the star. She was found dead at her home several weeks later.

The shoot was for Vogue, which had Stern on a contract that required him to fill 100 fashion pages a year and afforded him an additional 10 pages for personal projects. Stern proposed Monroe as a subject, she and the magazine agreed, and he set up an impromptu studio at the Hotel Bel-Air, expecting to receive only a few minutes with her. Over the years, Stern gave various accounts of what happened that day. In one, he claimed that Monroe arrived several hours late, at 7pm, but stayed with him until 7am. When she realised he wanted to shoot nudes, she was cautious about revealing a scar from recent surgery to remove her gall bladder; the mark is clearly visible in many of the pictures.

Once Stern had shown that evening's photos to Vogue, he was asked to take further black-and-white shots of her in outfits including a black dress over two more sessions. It was these images, not the nudes, that the magazine picked for the edition, which was about to be printed when news broke of Monroe's death. They were published, as planned, in the September issue.

Perhaps the most striking of the pictures taken in the second and third sessions were the close-ups of Monroe surrounded by strings of pearls, shot from above by Stern as he teetered on top of a makeshift pile of furniture. With these images, he hoped to achieve a definitive portrait of her to match Edward Steichen's famous pictures of Greta Garbo.

At Monroe's request, Stern had sent her the contact sheets and transparencies of the first day's shots for her approval; she returned them to him with X marks and hairpin scratches on the images she disliked. Twenty years after her death, he published these, alongside other images from the three days, in a book entitled The Last Sitting.

Although his sitters included many male film stars, including a cool Gary Cooper gripping a Colt 45, Stern became famous for his candid shots of women throughout the 1960s: Sophia Loren shrouded by her feather boa and cigarette smoke; Elizabeth Taylor as Cleopatra ("she took four hours to do her eye make-up"); a more tender Taylor relaxing in Italy with Richard Burton; Twiggy, wide-eyed in front of a Bridget Riley painting; and a double portrait of Veruschka and David Bailey, with Bailey lying beneath the model, camera in hand - mimicking one of Stern's own preferred photoshoot techniques.

Like Bailey's, Stern's 60s portraits feel direct and natural, and their effervescence is representative of the youthful explosion taking place across the creative industries in that decade.

The breezy spontaneity of Stern's photographs was reflected in his film Jazz on a Summer's Day, a documentary made at the 1958 Newport Jazz festival. In the opening sequence, rippling water is used as a visual parallel to the sound of Jimmy Giuffre's saxophone, Bob Brookmeyer's trombone and Jim Hall's guitar. This impressionistic approach distinguishes the documentary from conventional concert films.

The festival lineup included Louis Armstrong, Chuck Berry, Gerry Mulligan and Thelonious Monk, and Stern's still photographs of some of the musicians are a delight. However, in his film he seems more interested in the spectators than the performers, and lingers on a woman with a choc-ice, children enjoying a playground and the handsome yachts prepared for that year's America's Cup race in Newport. In 1999 the National Film Registry included Jazz on a Summer's Day alongside A Streetcar Named Desire (1951) and The Wild Bunch (1969) in its annual selection of "culturally, historically or aesthetically significant" films. In 1967 Stern made a documentary for ABC TV about Twiggy and it is a shame that he did not direct a greater number of films.

He was born into what he described as a "medium-poor" family in Brooklyn, New York. An Irving Penn picture in a magazine turned him on to photography and, from the start, he loved portraits of women. "With my first camera - a little 35mm Contax - I took pictures of my mother and sister," he recalled.

Stern dropped out of school and got a job in the postroom at Look magazine, befriending Stanley Kubrick, who worked for the publication as a photographer. When Kubrick later made his film adaptation of Vladimir Nabokov's Lolita, Stern's shot of the film's young star, Sue Lyon, sporting red heart-shaped glasses and sucking a lollipop, was used for the poster.

During the Korean war, Stern served in the US army as a cameraman and photographer. He established himself as a commercial photographer in his mid-20s. "I took audacious pictures that got people to want things," he wrote in The Last Sitting. He was proud of his 1955 photograph for a Smirnoff vodka campaign labelled "the driest of the dry".

Stern, then in his mid-20s, hit upon the plan of travelling to Egypt and photographing a full cocktail glass in front of the Great Pyramid of Giza, with the pyramid reflected in the martini. It was undeniably audacious but brilliantly simple at the same time, a well-executed idea displaying aptly dry humour. As such, it represented the changes afoot on Madison Avenue.

Stern never bettered the pyramid campaign for Smirnoff, which had previously used illustrations rather than photographs for its advertising. His subsequent shots for the company - including Buster Keaton as a gunslinger with a cocktail - made him rich.

In 1959 Stern married the ballerina Allegra Kent, who was celebrated for creating roles for George Balanchine. They started a family and Stern set up a studio for his high-concept advertising and fashion shoots, but the work took its toll. He eventually became addicted to amphetamines and moved to Spain to recover in the 1970s.

After he returned to the US he had a bestseller with The Pill Book (1979), co-devised with the journalist Lawrence Chilnick. This A-Z guide to the most prescribed drugs in the US, strikingly accompanied by Stern's colour photographs of the pills, has since gone through more than a dozen editions.

Based in New York, Stern continued to shoot the most famous models, musicians and actors throughout the 80s and 90s, including Madonna and Kate Moss. He repeatedly returned to the Last Sitting photographs, which have been reprinted in many books including a Taschen publication that pairs Stern's photos with Norman Mailer's controversial 1973 biography of Monroe.

In 2002 Stern snapped Sophie Dahl for Vogue in a homage to Monroe's poses with the chiffon roses. In 2008, he took the curious decision to more directly replicate the Last Sitting sessions, this time with Lindsay Lohan. The results were neither as fun nor as fragile as the originals.

Stern appeared in a 2011 documentary profile, Bert Stern: Original Madman, in which he expressed his discomfort at having the camera turned on himself. The film was directed by Shannah Laumeister, whom he married in 2009. She survives him, along with his children, Trista, Susannah and Bret, from his marriage to Kent, which ended in divorce.

* Bert Stern, photographer and film-maker, born 3 October 1929; died 26 June 2013
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In the summer of 1962 Bert Stern, who has died aged 83, took more than 2,500 photographs of Marilyn Monroe over three sessions held in a Los Angeles hotel. The images captured Monroe in a sometimes pensive but mostly playful mood as she posed nude, variously covered by bedsheets, a chinchilla coat, a stripy Vera Neumann scarf and a pair of chiffon roses.

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I like her photography because she took a lot of photos in black and white.

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Born:March 6,1938 (age 78)
I like Joel because of the way he angles his pictures.

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Ansel Easton Adams (February 20, 1902 – April 22, 1984)

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Ansel Easton Adams (February 20, 1902 - April 22, 1984) was an American landscape photographer and environmentalist known for his black-and-white images of the American West. He helped found Group f/64, an association of photographers advocating "pure" photography which favored sharp focus and the use of the full tonal range of a photograph. He and Fred Archer developed an exacting system of image-making called the Zone System, a method of achieving a desired final print through a deeply technical understanding of how tonal range is recorded and developed in exposure, negative development, and printing. The resulting clarity and depth of such images characterized his photography.

Adams was a life-long advocate for environmental conservation, and his photographic practice was deeply entwined with this advocacy. At age 12, he was given his first camera during his first visit to Yosemite National Park. He developed his early photographic work as a member of the Sierra Club. He was later contracted with the United States Department of the Interior to make photographs of national parks. For his work and his persistent advocacy, which helped expand the National Park system, he was awarded the Presidential Medal of Freedom in 1980.

Adams was a key advisor in establishing the photography department at the Museum of Modern Art in New York, an important landmark in securing photography's institutional legitimacy. He helped to stage that department's first photography exhibition, helped found the photography magazine Aperture, and co-founded the Center for Creative Photography at the University of Arizona.

Adams was born in the Fillmore District of San Francisco, the only child of Charles Hitchcock Adams and Olive Bray. He was named after his uncle, Ansel Easton. His mother's family came from Baltimore, where his maternal grandfather had a successful freight-hauling business but lost his wealth investing in failed mining and real estate ventures in Nevada. The Adams family came from New England, having migrated from Northern Ireland during the early 18th century. His paternal grandfather founded a prosperous lumber business which his father later managed. Later in life, Adams condemned the industry his grandfather worked in for cutting down many of the great redwood forests.

In 1907, his family moved 2 miles (3 km) west to a new home near the Seacliff neighborhood of San Francisco, just south of the Presidio Army Base. The home had a "splendid view" of the Golden Gate and the Marin Headlands.

Adams was a hyperactive child and prone to frequent sickness and hypochondria. He had few friends, but his family home and surroundings on the heights facing the Golden Gate provided ample childhood activities. He had little patience for games or sports; but he enjoyed the beauty of nature from an early age, collecting bugs and exploring Lobos Creek all the way to Baker Beach and the sea cliffs leading to Lands End, "San Francisco's wildest and rockiest coast, a place strewn with shipwrecks and rife with landslides."

Adams's father had a three-inch telescope; and they enthusiastically shared the hobby of amateur astronomy, visiting the Lick Observatory on Mount Hamilton together. His father later served as the paid secretary-treasurer of the Astronomical Society of the Pacific, from 1925 to 1950.

Charles Adams's business suffered significant financial losses after the death of his father in the aftermath of the Panic of 1907. Some of the loss was due to his uncle Ansel Easton and Cedric Wright's father George secretly having sold their shares of the company, "knowingly providing the controlling interest", to the Hawaiian Sugar Trust for a large amount of money. By 1912, the family's standard of living had dropped sharply.

Adams was dismissed from several private schools for being restless and inattentive, so when he was 12, his father decided to remove him from school. For the next two years he was educated by private tutors, his aunt Mary, and his father. Mary was a devotee of Robert G. Ingersoll, a 19th-century agnostic and women's suffrage advocate, so Ingersoll's teachings were important to his upbringing. During the Panama-Pacific International Exposition in 1915, his father insisted that he spend part of each day studying the exhibits as part of his education. He eventually resumed, and completed, his formal education by attending the Mrs. Kate M. Wilkins Private School, graduating from the eighth grade on June 8, 1917. During his later years, he displayed his diploma in the guest bathroom of his home.

His father raised him to follow the ideas of Ralph Waldo Emerson: to live a modest, moral life guided by a social responsibility to man and nature. Adams had a loving relationship with his father, but he had a distant relationship with his mother, who did not approve of his interest in photography. The day after her death in 1950, Ansel had a dispute with the undertaker when choosing the casket in which to bury her. He chose the cheapest in the room, a $260 coffin that seemed the least he could purchase without doing the job himself. The undertaker remarked, "Have you no respect for the dead?" Adams replied, "One more crack like that and I will take Mama elsewhere."

Adams became interested in playing the piano at age 12 after hearing his 16-year-old neighbor Henry Cowell play on the Adamses' piano, and he taught himself to play and read music. Cowell, who later became a well-known avante-garde composer, gave Adams some lessons. Over the next decade, three music teachers pushed him to develop technique and discipline, and he became determined to pursue a career as a classical pianist.

Adams first visited Yosemite National Park in 1916 with his family. He wrote of his first view of the valley: "the splendor of Yosemite burst upon us and it was glorious.... One wonder after another descended upon us.... There was light everywhere.... A new era began for me." His father gave him his first camera during that stay, an Eastman Kodak Brownie box camera, and he took his first photographs with his "usual hyperactive enthusiasm". He returned to Yosemite on his own the next year with better cameras and a tripod. During the winters of 1917 and 1918, he learned basic darkroom technique while working part-time for a San Francisco photograph finisher.

Adams contracted the Spanish Flu during the 1918 flu pandemic, from which he needed several weeks to recuperate. He read a book about lepers and became obsessed with cleanliness; he was afraid to touch anything without immediately washing his hands afterwards. Over the objections of his doctor, he prevailed on his parents to take him back to Yosemite, and the visit cured him of his disease and compulsions.

Adams avidly read photography magazines, attended camera club meetings, and went to photography and art exhibits. He explored the High Sierra during summer and winter with retired geologist and amateur ornithologist Francis Holman, whom he called "Uncle Frank". Holman taught him camping and climbing; however, their shared ignorance of safe climbing techniques such as belaying almost led to disaster on more than one occasion.

At age 17, Adams joined the Sierra Club, a group dedicated to protecting the wild places of the earth, and he was hired as the summer caretaker of the Sierra Club visitor facility in Yosemite Valley, the LeConte Memorial Lodge, from 1920 to 1923. He remained a member throughout his lifetime and served as a director, as did his wife. He was first elected to the Sierra Club's board of directors in 1934 and served on the board for 37 years. Adams participated in the club's annual High Trips, later becoming assistant manager and official photographer for the trips. He is credited with several first ascents in the Sierra Nevada.

During his twenties, most of his friends had musical associations, particularly violinist and amateur photographer Cedric Wright, who became his best friend as well as his philosophical and cultural mentor. Their shared philosophy was from Edward Carpenter's Towards Democracy, a literary work which endorsed the pursuit of beauty in life and art. For several years, Adams carried a pocket edition with him while at Yosemite; and it became his personal philosophy as well. He later stated, "I believe in beauty. I believe in stones and water, air and soil, people and their future and their fate."

During summer, Adams would enjoy a life of hiking, camping, and photographing; and the rest of the year he worked to improve his piano playing, perfecting his piano technique and musical expression. He also gave piano lessons for extra income that allowed him to purchase a grand piano suitable to his musical ambitions. Adams was still planning a career in music. He felt that his small hands limited his repertoire, but qualified judges considered him a gifted pianist. However, when he formed the Milanvi Trio with a violinist and a dancer, he proved a poor accompanist. It took seven more years for him to conclude that, at best, he might only become a concert pianist of limited range, an accompanist, or a piano teacher.

Adams's first photographs were published in 1921, and Best's Studio began selling his Yosemite prints the next year. His early photos already showed careful composition and sensitivity to tonal balance. In letters and cards to family, he wrote of having dared to climb to the best viewpoints and to brave the worst elements.

During the mid-1920s, the fashion in photography was pictorialism, which strove to imitate paintings with soft focus, diffused light, and other techniques. Adams experimented with such techniques, as well as the bromoil process, which involved brushing an oily ink onto the paper. An example is Lodgepole Pines, Lyell Fork of the Merced River, Yosemite National Park (originally named Tamarack Pine), taken in 1921. Adams used a soft-focus lens, "capturing a glowing luminosity that captured the mood of a magical summer afternoon".

For a short time Adams used hand-coloring, but declared in 1923 that he would do this no longer. By 1925 he had rejected pictorialism altogether for a more realistic approach that relied on sharp focus, heightened contrast, precise exposure, and darkroom craftsmanship.

In 1927, Adams began working with Albert M. Bender, a San Francisco insurance magnate and arts patron. Bender helped Adams produce his first portfolio in his new style, Parmelian Prints of the High Sierras, which included his famous image Monolith, the Face of Half Dome, which was taken with his Korona view camera, using glass plates and a dark red filter (to heighten the tonal contrasts). On that excursion, he had only one plate left, and he "visualized" the effect of the blackened sky before risking the last image. He later said, "I had been able to realize a desired image: not the way the subject appeared in reality but how it felt to me and how it must appear in the finished print." One biographer calls Monolith Adams's most significant photograph because the "extreme manipulation of tonal values" was a departure from all previous photography. Adams's concept of visualization, which he first defined in print in 1934, became a core principle in his photography.

Adams's first portfolio was a success, earning nearly $3,900 with the sponsorship and promotion of Bender. Soon he received commercial assignments to photograph the wealthy patrons who bought his portfolio. He also began to understand how important it was that his carefully crafted photos were reproduced to best effect. At Bender's invitation, he joined the Roxburghe Club, an association devoted to fine printing and high standards in book arts. He learned much about printing techniques, inks, design, and layout, which he later applied to other projects.

Adams married Virginia Best in 1928, after a pause from 1925 to 1926 during which he had brief relationships with various women. The newlyweds moved in with his parents to save expenses. The following year, they had a home built next door and connected it to the older house by a hallway.

Between 1929 and 1942, Adams's work matured, and he became more established. The 1930s were a particularly experimental and productive time for him. He expanded the technical range of his works, emphasizing detailed close-ups as well as large forms, from mountains to factories.

Bender took Adams on visits to Taos, New Mexico, where Adams met and made friends with the poet Robinson Jeffers, artists John Marin and Georgia O'Keeffe, and photographer Paul Strand. His talkative, high-spirited nature combined with his excellent piano playing made him popular among his artist friends. His first book, Taos Pueblo, was published in 1930 with text by writer Mary Hunter Austin.

Strand proved especially influential. Adams was impressed by the simplicity and detail of Strand's negatives, which showed a style that ran counter to the soft-focus, impressionistic pictorialism still popular at the time. Strand shared secrets of his technique with Adams and convinced him to pursue photography fully. One of Strand's suggestions that Adams adopted was to use glossy paper to intensify tonal values.

Adams put on his first solo museum exhibition, Pictorial Photographs of the Sierra Nevada Mountains by Ansel Adams, at the Smithsonian Institution in 1931; it featured 60 prints taken in the High Sierra and the Canadian Rockies. He received a favorable review from the Washington Post: "His photographs are like portraits of the giant peaks, which seem to be inhabited by mythical gods."

Despite his success, Adams felt that he was not yet up to the standards of Strand. He decided to broaden his subject matter to include still life and close-up photos and to achieve higher quality by "visualizing" each image before taking it. He emphasized the use of small apertures and long exposures in natural light, which created sharp details with a wide range of distances in focus, as demonstrated in Rose and Driftwood (1933), one of his finest still-life photographs.

In 1932, Adams had a group show at the M. H. de Young Museum with Imogen Cunningham and Edward Weston, and they soon formed Group f/64 which espoused "pure or straight photography" over pictorialism ( being a very small aperture setting that gives great depth of field). The group's manifesto stated: "Pure photography is defined as possessing no qualities of technique, composition or idea, derivative of any other art form."

Imitating the example of photographer Alfred Stieglitz, Adams opened his own art and photography gallery in San Francisco in 1933. He also began to publish essays in photography magazines and wrote his first instructional book, Making a Photograph, in 1935.

During the summers, Adams often participated in Sierra Club High Trips outings, as a paid photographer for the group; and the rest of the year a core group of Club members socialized regularly in San Francisco and Berkeley. In 1933, his first child Michael was born, followed by Anne two years later.

During the 1930s, Adams began to deploy his photographs in the cause of wilderness preservation. He was inspired partly by the increasing incursion into Yosemite Valley of commercial development, including a pool hall, bowling alley, golf course, shops, and automobile traffic. He created the limited-edition book Sierra Nevada: The John Muir Trail in 1938, as part of the Sierra Club's efforts to secure the designation of Kings Canyon as a national park. This book and his testimony before Congress played a vital role in the success of that effort, and Congress designated Kings Canyon as a national park in 1940.

In 1935, Adams created many new photographs of the Sierra Nevada; and one of his most famous, Clearing Winter Storm, depicted the entire Yosemite Valley, just as a winter storm abated, leaving a fresh coat of snow. He gathered his recent work and had a solo show at Stieglitz's "An American Place" gallery in New York in 1936. The exhibition proved successful with both the critics and the buying public, and earned Adams strong praise from the revered Stieglitz. The following year, the negative for Clearing Winter Storm was almost destroyed when the darkroom in Yosemite caught fire. With the help of Edward Weston and Charis Wilson (Weston's future wife), Adams put out the fire, but thousands of negatives, including hundreds that had never been printed, were lost.

In 1937, Adams, O'Keeffe, and friends organized a month-long camping trip in Arizona, with Orville Cox, the head wrangler at Ghost Ranch, as their guide. Both artists created new work during this trip. Adams made a candid portrait of O'Keeffe with Cox on the rim of Canyon de Chelly. Adams once remarked, "Some of my best photographs have been made in and on the rim of [that] canyon." Their works set in the desert Southwest are often published and exhibited together.

During the rest of the 1930s, Adams took on many commercial assignments to supplement the income from the struggling Best's Studio. He depended on such assignments financially until the 1970s. Some of his clients included Kodak, Fortune magazine, Pacific Gas and Electric Company, AT&T, and the American Trust Company. He photographed Timothy L. Pflueger's new Patent Leather Bar for the St. Francis Hotel in 1939. The same year, he was named an editor of U.S. Camera & Travel, the most popular photography magazine at that time.

In 1940, Adams created A Pageant of Photography, the largest and most important photography show in the West to date, attended by millions of visitors. With his wife, Adams completed a children's book and the very successful Illustrated Guide to Yosemite Valley during 1940 and 1941. He also taught photography by giving workshops in Detroit. Adams also began his first serious stint of teaching, which included the training of military photographers, in 1941 at the Art Center School of Los Angeles, now known as the Art Center College of Design.

While in New Mexico for the project, Adams photographed a scene of the Moon rising above a modest village with snow-covered mountains in the background, under a dominating black sky. The photograph is one of his most famous and is named Moonrise, Hernandez, New Mexico. Adams's description in his later books of how it was made probably enhanced the photograph's fame: the light on the crosses in the foreground was rapidly fading, and he could not find his exposure meter; however, he remembered the luminance of the Moon and used it to calculate the proper exposure. Adams's earlier account was less dramatic, stating simply that the photograph was made after sunset, with exposure determined using his Weston Master meter.

However the exposure was actually determined, the foreground was underexposed, the highlights in the clouds were quite dense, and the negative proved difficult to print. The initial publication of Moonrise was in U.S. Camera 1943 annual, after being selected by the "photo judge" for U.S. Camera, Edward Steichen. This gave Moonrise an audience before its first formal exhibition at the Museum of Modern Art in 1944.

Over nearly 40 years, Adams re-interpreted the image, his most popular by far, using the latest darkroom equipment at his disposal, making over 1,369 unique prints, mostly in 16" by 20" format. Many of the prints were made during the 1970s, with their sale finally giving Adams financial independence from commercial projects. The total value of these original prints exceeds $25,000,000; the highest price paid for a single print of Moonrise reached $609,600 at a 2006 Sotheby's auction in New York.

The Mural Project ended on June 30, 1942; and because of the World War, the murals were never created. Adams sent a total of 225 small prints to the DOI, but held on to the 229 negatives. These include many famous images such as The Tetons and the Snake River. Although they were legally the property of the U.S. Government, he knew that the National Archives did not take proper care of photographic material, and used various subterfuges to evade queries.

The ownership of one image in particular has attracted interest: Moonrise. Although Adams kept meticulous records of his travel and expenses, he was less disciplined about recording the dates of his images, and he neglected to note the date of Moonrise. But the position of the Moon allowed the image to be eventually dated from astronomical calculations, and in 1991 Dennis di Cicco of Sky & Telescope determined that Moonrise was made on November 1, 1941. Since this was a day for which he had not billed the department, the image belonged to Adams.

When Edward Steichen formed his Naval Aviation Photographic Unit in early 1942, he wanted Adams to be a member, to build and direct a state-of-the-art darkroom and laboratory in Washington, D.C. Around February 1942, Steichen asked Adams to join him in the navy. Adams agreed, but with two conditions: He wanted to be commissioned as an officer, and he would not be available until July 1. Steichen, who wanted the team assembled as quickly as possible, passed on Adams and had his other photographers ready by early April.

Adams was distressed by the Japanese American internment that occurred after the Pearl Harbor attack. He requested permission to visit the Manzanar War Relocation Center in the Owens Valley, at the base of Mount Williamson. The resulting photo-essay first appeared in a Museum of Modern Art exhibit, and later was published as Born Free and Equal: The Story of Loyal Japanese-Americans. Upon its release, "[the book] was met with some distressing resistance and was rejected by many as disloyal." This work was a significant departure, stylistically and philosophically, from the work for which Adams is generally known. He also contributed to the war effort by doing many photographic assignments for the military, including making prints of secret Japanese installations in the Aleutians.

In 1943, Adams had a camera platform mounted on his station wagon, to afford him a better vantage point over the immediate foreground and a better angle for expansive backgrounds. Most of his landscapes from that time forward were made from the roof of his car rather than from summits reached by rugged hiking, as in his earlier days.

Adams was the recipient of three Guggenheim fellowships during his career, the first being awarded in 1946 to photograph every national park. At that time, there were 28 national parks, and Adams photographed 27 of them, missing only Everglades National Park in Florida. This series of photographs produced memorable images of Old Faithful Geyser, Grand Teton, and Mount McKinley.

In 1945, Adams was asked to form the first fine art photography department at the San Francisco Art Institute. Adams invited Dorothea Lange, Imogen Cunningham, and Edward Weston to be guest lecturers, and Minor White to be the principal instructor. The photography department produced numerous notable photographers, including Philip Hyde, Benjamen Chinn, and Bill Heick.

In 1952 Adams was one of the founders of the magazine Aperture, which was intended as a serious journal of photography, displaying its best practitioners and newest innovations. He was also a contributor to Arizona Highways, a photo-rich travel magazine. His article on Mission San Xavier del Bac, with text by longtime friend Nancy Newhall, was enlarged into a book published in 1954. This was the first of many collaborations with her.

In June 1955, Adams began his annual workshops at Yosemite. They continued to 1981, attracting thousands of students. He continued with commercial assignments for another twenty years, and became a consultant, with a monthly retainer, for Polaroid Corporation, which was founded by good friend Edwin Land. He made thousands of photographs with Polaroid products, El Capitan, Winter, Sunrise (1968) being the one he considered most memorable. During the final twenty years of his life, the 6x6 cm medium format Hasselblad was his camera of choice, with Moon and Half Dome (1960) being his favorite photograph made with that brand of camera.

Adams published his fourth portfolio, What Majestic Word, in 1963, and dedicated it to the memory of his Sierra Club friend Russell Varian, who was a co-inventor of the klystron and who had died in 1959. The title was taken from the poem "Sand Dunes", by John Varian, Russell's father, and the fifteen photographs were accompanied by the writings of both John and Russell Varian. Russell's widow, Dorothy, wrote the preface, and explained that the photographs were selected to serve as interpretations of the character of Russell Varian.

By the 1960s, Adams was suffering from gout and arthritis, and hoped that moving to a new home would make him feel better. He and his wife considered Sante Fe, but they both had commitments in California (Virginia was managing the Yosemite studio of her father). A friend offered to sell them a home in Carmel Highlands, on the Big Sur coastline. With architect Eldridge Spencer, they began planning the new home in 1961 and moved there in 1965. Adams began to devote much of his time to printing the backlog of negatives that had accumulated over forty years.

In the 1960s, a few mainstream art galleries that had considered photos unworthy of exhibit alongside fine paintings, decided to show Adams's images, particularly the former Kenmore Gallery in Philadelphia. In March 1963, Ansel Adams and Nancy Newhall accepted a commission from Clark Kerr, the president of the University of California, to produce a series of photographs of the university's campuses to commemorate its centennial celebration. The collection, titled Fiat Lux after the university's motto, was published in 1967 and now resides in the Museum of Photography at the University of California, Riverside.

During the 1970s, Adams reprinted negatives from his vault, in part to satisfy the great demand of art museums which had finally created departments of photography and desired his works.

In 1972, Adams contributed images to help publicize Proposition 20, which authorized the state to regulate development along portions of the California coast.

In 1974, he exhibited at the Rencontres d'Arles (formerly known as the Rencontres Internationales de la Photographie d'Arles), an annual summer photography festival in France. He also had a major retrospective exhibition at the Metropolitan Museum of Art.

In 1975, he cofounded the Center for Creative Photography at the University of Arizona, which handles some of his estate matters.

Adams died from cardiovascular disease on April 22, 1984, in the intensive-care unit at the Community Hospital of the Monterey Peninsula in Monterey, California, at age 82. He was surrounded by his wife, children Michael and Anne, and five grandchildren.

Publishing rights for most of Adams's photographs are handled by the trustees of The Ansel Adams Publishing Rights Trust. An archive of Adams's work is located at the Center for Creative Photography at the University of Arizona in Tucson. Numerous works by the artist have been sold at auction, including a mural-sized print of Clearing Winter Storm, Yosemite National Park, which sold at Sotheby's New York in 2010 for $722,500, the highest price ever paid for an original Ansel Adams photograph.

John Szarkowski states in the introduction to Ansel Adams: Classic Images (1985, p. 5), "The love that Americans poured out for the work and person of Ansel Adams during his old age, and that they have continued to express with undiminished enthusiasm since his death, is an extraordinary phenomenon, perhaps even unparalleled in our country's response to a visual artist."

Romantic landscape artists Albert Bierstadt and Thomas Moran portrayed the Grand Canyon and Yosemite during the 19th century, followed by photographers Carleton Watkins, Eadweard Muybridge, and George Fiske. Adams's work is distinguished from theirs by his interest in the transient and ephemeral. He photographed at varying times of the day and of the year, capturing the landscape's changing light and atmosphere. His grand, highly detailed images originated in his interest in the natural environment. His black-and-white photographs were not pure documents, but reflected a sublime experience of nature as a spiritual place. With increasing environmental degradation in the West during the 20th century, his photos show a commitment to conservation.

Art critic John Szarkowski wrote, "Ansel Adams attuned himself more precisely than any photographer before him to a visual understanding of the specific quality of the light that fell on a specific place at a specific moment. For Adams the natural landscape is not a fixed and solid sculpture but an insubstantial image, as transient as the light that continually redefines it. This sensibility to the specificity of light was the motive that forced Adams to develop his legendary photographic technique."

In 1955, Edward Steichen selected Adams's Mount Williamson for the world-touring Museum of Modern Art exhibition The Family of Man, which was seen by nine million visitors. At 10 by 12 feet (3.0 by 3.7 m), his was the largest print in the exhibition, presented floor-to-ceiling in a prominent position as the backdrop to the section "Relationships", as a reminder of the essential reliance of humanity on the soil. However, despite its striking and prominent display, Adams expressed displeasure at the "gross" enlargement and "poor" quality of the print.

In 1932, Adams helped form the anti‐pictorialist Group f/64, a loose and relatively short-lived association of like-minded "straight" or "pure" photographers on the West Coast whose members included Edward Weston and Imogen Cunningham. The modernist group favored sharp focus-f/64 being a very small aperture setting that gives great depth of field on large-format view cameras-contact printing, precisely exposed images of natural forms and found objects, and the use of the entire tonal range of a photograph.

Adams wrote the group's manifesto for their exhibition at the De Young Museum:

Group f/64 limits its members and invitational names to those workers who are striving to define photography as an art-form by a simple and direct presentation through purely photographic methods. The Group will show no work at any time that does not conform to its standards of pure photography. Pure photography is defined as possessing no qualities of [technique], composition or ideas, derivative of any other art-form. The production of the "Pictorialist," on the other hand, indicates a devotion to principles of art, which are directly related to painting and the graphic arts. The members of Group f/64 believe that Photography, as an art-form, must develop along lines defined by the actualities and limitations of the photographic medium, and must always remain independent of ideological conventions of art and aesthetics that are reminiscent of a period of culture antedating the growth of the medium itself.

The f/64 school met with opposition from the pictorialists, particularly William Mortensen, who called their work "hard and brittle". Adams disliked the work of Mortensen and disliked him personally, referring to him as the "Anti-Christ". The purists were friends with prominent historians, and their influence led to the exclusion of Mortensen from histories of photography.

Adams later developed this purist approach into the Zone System.

While Adams and portrait photographer Fred Archer were teaching at the Art Center School in Los Angeles, around 1939-1940, they developed the Zone System, for managing the photographic process, which was based on sensitometry, the study of the light-sensitivity of photographic materials and the relationship between exposure time and the resulting density on a negative. The Zone System provides a calibrated scale of brightness, from Zone 0 (black) through shades of gray to Zone X (white). The photographer can take light readings of key elements in a scene and use the Zone System to determine how the film must be exposed and developed to achieve the desired brightness or darkness. Although it originated for black-and-white sheet film, the Zone System is also applicable to roll film, both black-and-white and color, negative and reversal, and to digital photography.

Photography department at MoMA

In 1940, with trustee David H. McAlpin and curator Beaumont Newhall, Adams helped establish the photography department at the Museum of Modern Art (MoMA) in New York. MoMA was the first major American art museum to establish a photography department. Adams acted as McAlpin and Newhall's primary advisor; and Peter Galassi, the chief curator of the department in later years, said "Adams's dedication and boundless energy were vital to the creation of the department and to its programs in its early years." For those who had sought institutional recognition for photography, the founding of the department was an important moment, marking the medium's recognition as a subject equal to painting and sculpture.

On December 31, 1940, the department opened its first exhibition, Sixty Photographs: A Survey of Camera Esthetics, which resembled large survey exhibitions that Adams and Newhall had previously mounted independently. The exhibition took aesthetic quality as a guiding principle, a philosophy that ran counter to that of many writers and critics, who argued that the medium's more vernacular use as a means of communication should be more fully represented. Photographer Ralph Steiner, writing for , remarked "on the whole it [MoMA] seems to regard photography as soft music at high tea rather than as a jazz at a beefsteak supper." Tom Maloney, publisher of U.S. Camera, wrote that the exhibition was "very choice, very pristine, very small, very ultra." According to Newhall, the exhibition was meant to showcase artistic excellence and "not to define but to suggest the possibilities of photographic vision."

In his autobiography, Adams expressed his concern about Americans' loss of connection to nature in the course of industrialization and the exploitation of the land's natural resources. He stated, "We all know the tragedy of the dustbowls, the cruel unforgivable erosions of the soil, the depletion of fish or game, and the shrinking of the noble forests. And we know that such catastrophes shrivel the spirit of the people... The wilderness is pushed back, man is everywhere. Solitude, so vital to the individual man, is almost nowhere."

Adams received a number of awards during his lifetime and posthumously, and several awards and places have been named in his honor.

For his photography, Adams received an Honorary Fellowship of the Royal Photographic Society in 1976, the Hasselblad Award in 1981. Two of his photographs, The Tetons and the Snake River and a view of the Golden Gate Bridge from Baker Beach, were among the 115 images recorded on the Voyager Golden Record aboard the Voyager spacecraft. These images were selected to convey information about humans, plants and animals, and geological features of the Earth to a possibly alien civilization.

For his conservation efforts, Adams received the Sierra Club John Muir Award in 1963. In 1968, he was awarded the Conservation Service Award, the highest award of the Department of the Interior. In 1980, President Jimmy Carter awarded him the Presidential Medal of Freedom, the nation's highest civilian honor, for "his efforts to preserve this country's wild and scenic areas, both on film and on earth. Drawn to the beauty of nature's monuments, he is regarded by environmentalists as a national institution."

Adams received an honorary artium doctor degree from Harvard University and an honorary Doctor of Fine Arts degree from Yale University. He was elected a Fellow of the American Academy of Arts and Sciences in 1966. In 2007, he was inducted into the California Hall of Fame by California Governor Arnold Schwarzenegger and First Lady Maria Shriver.

The Sierra Club's Ansel Adams Award for Conservation Photography was established in 1971, and the Ansel Adams Award for Conservation was established in 1980 by The Wilderness Society, which also has a large permanent gallery of his work on display at its Washington, D.C. headquarters. The Minarets Wilderness in the Inyo National Forest and a 11,760-foot (3,580 m) peak therein were renamed the Ansel Adams Wilderness and Mount Ansel Adams, respectively, in 1985.

Adams was known mostly for his boldly printed, large-format black-and-white images, but he also worked extensively with color. However, he preferred black-and-white photography, which he believed could be manipulated to produce a wide range of bold, expressive tones, and he felt constricted by the rigidity of the color process. Most of his color work was done on assignments, and he did not consider his color work to be important or expressive, even explicitly forbidding any posthumous exploitation of his color work.

Monolith, The Face of Half Dome, Yosemite National Park, 1927

Rose and Driftwood, San Francisco, California, 1932

Georgia O'Keeffe and Orville Cox, Canyon de Chelly National Monument, 1937

Clearing Winter Storm, Yosemite National Park, 1940

Moon and Half Dome, Yosemite National Park, California, 1960

Moonrise, Hernandez, New Mexico, 1941

The Tetons and the Snake River, Grand Teton National Park, 1942

Winter Sunrise, Sierra Nevada, from Lone Pine, California, 1944

Aspens, Northern New Mexico, 1958

El Capitan, Winter Sunrise, 1968

Adams, Ansel (1948). Basic photo. New York: Morgan and Lester.

Adams, Ansel (1948). The negative: exposure and development. New York; London: Morgan and Lester; The Fountain Press.

Adams, Ansel (1950). The print: contact printing and enlarging. Boston: New York Graphic Society. ISBN 978-0-8212-0718-5.

Adams, Ansel (1970). Camera and lens: the creative approach : studio, laboratory, and operation. ISBN 978-0-87100-056-9.

Adams, Ansel (1977). Natural Light Photography. Little, Brown & Co., for New York Graphic Society. ISBN 978-0-8212-0719-2.

Adams, Ansel; Baker, Robert (1978). Polaroid Land photography. Boston: New York Graphic Society. ISBN 978-0-8212-0729-1.

^ In 2010, Rick Norsegian bought some glass negatives at a garage sale and claimed they were some of the lost negatives, estimating their value at $200 million. The Ansel Adams Foundation contested this claim and sued. A settlement was reached in 2011 where Norsegian could sell prints without any reference to Adams.

^ Alinder 1996, p. 192, states that the image caption for Moonrise in U.S. Camera 1943 was inaccurate, citing several discrepancies among technical details.

David Elmore of the High Altitude Observatory in Boulder, Colorado, had determined that ^ Moonrise was taken on October 31, 1941, at 4:03 pm. Di Cicco noticed that the Moon's position at the time Elmore made his determination did not match the Moon's position in the image, and after an independent analysis, determined the time to be 4:49:20 pm on November 1, 1941. He reviewed his results with Elmore, who agreed with di Cicco's conclusions.

Adams, Ansel; Szarkowski, John; Hill, Tim (1977). The portfolios of Ansel Adams. ISBN 978-0-8212-0723-9.

Armor, John; Wright, Peter; Hersey, John; Adams, Ansel; Hersey, John; Mazal Holocaust Collection (1988). . New York, N.Y.: Times Books. ISBN 978-0-8129-1727-7.

Adams, Ansel; Callahan, Harry M; Schaefer, John Paul; Stillman, Andrea Gray (1993). . Boston: Little, Brown. ISBN 978-0-8212-1980-5.

Castleberry, May; Sandweiss, Martha A; Chávez, John; Whitney Museum of American Art (1996). Perpetual mirage: photographic narratives of the desert West. ISBN 978-0-87427-100-3.

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Ansel Easton Adams (February 20, 1902 - April 22, 1984) was an American landscape photographer and environmentalist known for his black-and-white images of the American West. He helped found Group f/64, an association of photographers advocating "pure" photography which favored sharp focus and the use of the full tonal range of a photograph.

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I like her photography because it has a statement.

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i like how her pictures are different from everybody elses < abd she trys to be different

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Dorothea Lange was a documentary photographer who worked for the FSA during the Great Depression. Her most recognizable image is "Migrant Mother."

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Marian "Clover" Hooper Adams (September 13, 1843 – December 6, 1885) 

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Marian "Clover" Hooper Adams (September 13, 1843 – December 6, 1885) 

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I like Marian's photography because she is an amatuer photographer

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Diane Arbus (/diːˈæn ˈɑːrbəs/; March 14, 1923 – July 26, 1971

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Diane Arbus (/diːˈæn ˈɑːrbəs/; March 14, 1923 – July 26, 1971

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I Like Diane Arbus Because she Does Good Photography.

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Diane Arbus (; ; March 14, 1923 - July 26, 1971) was an American photographer. She photographed a wide range of subjects including strippers, carnival performers, nudists, people with dwarfism, children, mothers, couples, elderly people, and middle-class families. She photographed her subjects in familiar settings: their homes, on the street, in the workplace, in the park. "She is noted for expanding notions of acceptable subject matter and violates canons of the appropriate distance between photographer and subject. By befriending, not objectifying her subjects, she was able to capture in her work a rare psychological intensity." In his 2003 New York Times Magazine article, "Arbus Reconsidered", Arthur Lubow states, "She was fascinated by people who were visibly creating their own identities-cross-dressers, nudists, sideshow performers, tattooed men, the nouveaux riches, the movie-star fans-and by those who were trapped in a uniform that no longer provided any security or comfort." Michael Kimmelman writes in his review of the exhibition Diane Arbus Revelations, that her work "transformed the art of photography (Arbus is everywhere, for better and worse, in the work of artists today who make photographs)". Arbus's imagery helped to normalize marginalized groups and highlight the importance of proper representation of all people.[citation needed ]

In her lifetime she achieved some recognition and renown with the publication, beginning in 1960, of photographs in such magazines as , Harper's Bazaar, London's Sunday Times Magazine, and . In 1963 the Guggenheim Foundation awarded Arbus a fellowship for her proposal entitled, "American Rites, Manners and Customs". She was awarded a renewal of her fellowship in 1966. John Szarkowski, the director of photography at the Museum of Modern Art (MoMA) in New York City from 1962 to 1991, championed her work and included it in his 1967 exhibit New Documents along with the work of Lee Friedlander and Garry Winogrand. Her photographs were also included in a number of other major group shows.

In 1972, a year after her suicide, Arbus became the first photographer to be included in the Venice Biennale where her photographs were "the overwhelming sensation of the American Pavilion" and "extremely powerful and very strange".

The first major retrospective of Arbus' work was held in 1972 at MoMA, organized by Szarkowski. The retrospective garnered the highest attendance of any exhibition in MoMA's history to date. Millions viewed traveling exhibitions of her work from 1972 to 1979. The book accompanying the exhibition, Diane Arbus: An Aperture Monograph, edited by Doon Arbus and Marvin Israel and first published in 1972, has never been out of print.

Arbus was born Diane Nemerov to David Nemerov and Gertrude Russek Nemerov, a Jewish couple - immigrants from Soviet Russia - who lived in New York City and owned Russeks, a Fifth Avenue department store, co-founded by Arbus' grandfather Frank Russek. Because of her family's wealth, Arbus was insulated from the effects of the Great Depression while growing up in the 1930s. Her father became a painter after retiring from Russeks. Her younger sister became a sculptor and designer, and her older brother, the poet Howard Nemerov, taught English at Washington University in St. Louis and was appointed United States Poet Laureate. Howard's son is the Americanist art historian Alexander Nemerov.

Arbus's parents were not deeply involved in raising their children, who were overseen by maids and governesses. Her mother had a busy social life and underwent a period of clinical depression for approximately a year, then recovered, and her father was busy with work. Diane separated herself from her family and her lavish childhood.

Arbus attended the Ethical Culture Fieldston School, a college-preparatory school. In 1941, at the age of 18, she married her childhood sweetheart, Allan Arbus, whom she had dated since age 14. Their daughter Doon, who would become a writer, was born in 1945; their daughter Amy, who would become a photographer, was born in 1954. Arbus and her husband worked together in commercial photography from 1946 to 1956, but Allan remained very supportive of her work even after she left the business and began an independent relationship to photography.

Arbus and her husband separated in 1959, although they maintained a close friendship. The couple also continued to share a darkroom, where Allan's studio assistants processed her negatives, and she printed her work. The couple divorced in 1969 when he moved to California to pursue acting. He was popularly known for his role as Dr. Sidney Freedman on the television show . Before his move to California, Allan set up her darkroom, and they thereafter maintained a long correspondence.

In late 1959, Arbus began a relationship with the art director and painter Marvin Israel that would last until her death. All the while, he remained married to Margaret Ponce Israel, an accomplished mixed-media artist. Marvin Israel both spurred Arbus creatively and championed her work, encouraging her to create her first portfolio. Among other photographers and artists she befriended, Arbus was close to photographer Richard Avedon; he was approximately the same age, his family had also run a Fifth Avenue department store, and many of his photographs were also characterized by detailed frontal poses.

Arbus received her first camera, a Graflex, from Allan shortly after they married. Shortly thereafter, she enrolled in classes with photographer Berenice Abbott. The Arbuses' interests in photography led them, in 1941, to visit the gallery of Alfred Stieglitz, and learn about the photographers Mathew Brady, Timothy O'Sullivan, Paul Strand, Bill Brandt, and Eugène Atget. In the early 1940s, Diane's father employed Diane and Allan to take photographs for the department store's advertisements. Allan was a photographer for the U.S. Army Signal Corps in World War II.

In 1946, after the war, the Arbuses began a commercial photography business called "Diane & Allan Arbus", with Diane as art director and Allan as the photographer. She would come up with the concepts for their shoots and then take care of the models. She grew dissatisfied with this role, a role even her husband thought was "demeaning". They contributed to , , , and other magazines even though "they both hated the fashion world". Despite over 200 pages of their fashion editorial in Glamour, and over 80 pages in Vogue, the Arbuses' fashion photography has been described as of "middling quality". Edward Steichen's noted 1955 photography exhibition, The Family of Man, did include a photograph by the Arbuses of a father and son reading a newspaper.

She studied briefly with Alexey Brodovich in 1954. However, it was her studies with Lisette Model, which began in 1956, that encouraged Arbus to focus exclusively on her own work. That year Arbus quit the commercial photography business and began numbering her negatives. (Her last known negative was labeled #7459.) Based on Model's advice, Arbus avoided loading film in the camera as an exercise in truly seeing. Arbus also credits Model with making it clear to her that "the more specific you are, the more general it'll be."

By 1956 she worked with a 35mm Nikon, wandering the streets of New York City and meeting her subjects largely, though not always, by chance. The idea of personal identity as socially constructed is one that Arbus came back to, whether it be performers, women and men wearing makeup, or a literal mask obstructing one's face. Critics have speculated that the choices in her subjects reflected her own identity issues, for she said that the only thing she suffered from as a child was never having felt adversity. This evolved into a longing for things that money couldn't buy such as experiences in the underground social world. She is often praised for her sympathy for these subjects, a quality which is not immediately understood through the images themselves, but through her writing and the testimonies of the men and women she portrayed. A few years later, in 1958 she began making lists of who and what she was interested in photographing. She began photographing on assignment for magazines such as , Harper's Bazaar, and The Sunday Times Magazine in 1959.

Around 1962, Arbus switched from a 35 mm Nikon camera which produced the grainy rectangular images characteristic of her post-studio work to a twin-lens reflex Rolleiflex camera which produced more detailed square images. She explained this transition saying "In the beginning of photographing I used to make very grainy things. I'd be fascinated by what the grain did because it would make a kind of tapestry of all these little dots ... But when I'd been working for a while with all these dots, I suddenly wanted terribly to get through there. I wanted to see the real differences between things ... I began to get terribly hyped on clarity." In 1964, Arbus began using a 2-1/4 Mamiyaflex camera with flash in addition to the Rolleiflex.

Arbus's style is described as "direct and unadorned, a frontal portrait centered in a square format. Her pioneering use of flash in daylight isolated the subjects from the background, which contributed to the photos' surreal quality." Her methods included establishing a strong personal relationship with her subjects and re-photographing some of them over many years.

In spite of being widely published and achieving some artistic recognition, Arbus struggled to support herself through her work. "During her lifetime, there was no market for collecting photographs as works of art, and her prints usually sold for $100 or less." It is evident from her correspondence that lack of money was a persistent concern.

In 1963, Arbus was awarded a Guggenheim Fellowship for a project on "American rites, manners, and customs"; the fellowship was renewed in 1966.

Throughout the 1960s, Arbus supported herself largely by taking magazine assignments and commissions. For example, in 1968 she shot documentary photographs of poor sharecroppers in rural South Carolina (for Esquire magazine). In 1969 a rich and prominent actor and theater owner, Konrad Matthaei, and his wife, Gay, commissioned Arbus to photograph a family Christmas gathering. During her career, Arbus photographed Mae West, Ozzie Nelson and Harriet Nelson, Bennett Cerf, atheist Madalyn Murray O'Hair, Norman Mailer, Jayne Mansfield, Eugene McCarthy, billionaire H. L. Hunt, Gloria Vanderbilt's baby, Anderson Cooper, Coretta Scott King, and Marguerite Oswald ( Lee Harvey Oswald's mother). In general, her magazine assignments decreased as her fame as an artist increased. Szarkowski hired Arbus in 1970 to research an exhibition on photojournalism called "From the Picture Press"; it included many photographs by Weegee whose work Arbus admired. She also taught photography at the Parsons School of Design and the Cooper Union in New York City, and the Rhode Island School of Design in Providence, Rhode Island.

Late in her career, the Metropolitan Museum of Art indicated to her that they would buy three of her photographs for $75 each, but citing a lack of funds, purchased only two. As she wrote to Allan Arbus, "So I guess being poor is no disgrace."

Beginning in 1969 Arbus undertook a series of photographs of people at New Jersey residences for developmentally and intellectually disabled people, posthumously named Untitled. Arbus returned to several facilities repeatedly for Halloween parties, picnics, and dances. In a letter to Allan Arbus dated November 28, 1969, she described these photographs as "lyric and tender and pretty".

published six photographs, including a cover image, from Arbus's portfolio, A box of ten photographs, in May 1971. After his encounter with Arbus and the portfolio, Philip Leider, then editor in chief of Artforum and a photography skeptic, admitted, "With Diane Arbus, one could find oneself interested in photography or not, but one could no longer . . . deny its status as art." She was the first photographer to be featured in Artforum and "Leider's admission of Arbus into this critical bastion of late modernism was instrumental in shifting the perception of photography and ushering its acceptance into the realm of 'serious' art."

The first major exhibition of her photographs occurred at the Museum of Modern Art in the influential New Documents (1967) alongside the work of Garry Winogrand and Lee Friedlander, curated by John Szarkowski. New Documents, which drew almost 250,000 visitors demonstrated Arbus's interest in what Szarkowski referred to as society's "frailties" and presented what he described as "a new generation of documentary photographers...whose aim has been not to reform life but to know it", described elsewhere as "photography that emphasized the pathos and conflicts of modern life presented without editorializing or sentimentalizing but with a critical, observant eye". The show was polarizing, receiving both praise and criticism, with some identifying Arbus as a disinterested voyeur and others praising her for her evident empathy with her subjects.

In 2018, The New York Times published a belated obituary of Arbus as part of the Overlooked history project. The Smithsonian American Art Museum housed an exclusive exhibit from April 6, 2018, to January 27, 2019, that featured one of Arbus' portfolios, A box of ten photographs. The SAAM is the only museum currently displaying the work. The collection is "one of just four complete editions that Arbus printed and annotated. The three other editions-the artist never executed her plan to make 50-are held privately". The Smithsonian edition was made for Bea Feitler, an art director who both employed and befriended Arbus. After Feitler's death, Baltimore collector G. H. Dalsheimer bought her portfolio from Sotheby's in 1982 for $42,900. The SAAM then bought it from Dalsheimer in 1986. The portfolio was put away in the museum's collection, until 2018.

Arbus experienced " depressive episodes" during her life, similar to those experienced by her mother; the episodes may have been made worse by symptoms of hepatitis. In 1968, Arbus wrote a letter to a friend, Carlotta Marshall, that says: "I go up and down a lot. Maybe I've always been like that. Partly what happens though is I get filled with energy and joy and I begin lots of things or think about what I want to do and get all breathless with excitement and then quite suddenly either through tiredness or a disappointment or something more mysterious the energy vanishes, leaving me harassed, swamped, distraught, frightened by the very things I thought I was so eager for! I'm sure this is quite classic." Her ex-husband once noted that she had "violent changes of mood".

On July 26, 1971, while living at Westbeth Artists Community in New York City, Arbus died by suicide by ingesting barbiturates and cutting her wrists with a razor. She wrote the words "Last Supper" in her diary and placed her appointment book on the stairs leading up to the bathroom. Marvin Israel found her body in the bathtub two days later; she was 48 years old. Photographer Joel Meyerowitz told journalist Arthur Lubow, "If she was doing the kind of work she was doing and photography wasn't enough to keep her alive, what hope did we have?"

"[Arbus's] work has had such an influence on other photographers that it is already hard to remember how original it was", wrote the art critic Robert Hughes in a November 1972 issue of Time magazine. She has been called "a seminal figure in modern-day photography and an influence on three generations of photographers" and is widely considered to be among the most influential artists of the last century.

When the film The Shining, directed by Stanley Kubrick, was released to cinemas worldwide in 1980 and became hugely successful, millions of moviegoers experienced Diane Arbus' legacy without realizing it. The movie's recurring characters of identical twin girls who are wearing identical dresses appear on-screen as a result of a suggestion Kubrick received from crew member Leon Vitali. He is described by film historian Nick Chen as "Kubrick's right-hand man from the mid-70s onwards". Chen goes on to reveal, "Not only did Vitali videotape and interview 5,000 kids to find [the right child actor to portray] Jack Nicholson's [character's] son, Danny, he was also responsible for discovering the creepy twin sisters on the final day of auditions. The pair, in fact, weren't twins in Kubrick's script, and it was Vitali who immediately suggested Diane Arbus' infamous photo of two identical twin sisters as a point of reference."

Since Arbus died without a will, the responsibility for overseeing her work fell to her daughter, Doon. She forbade examination of Arbus' correspondence and often denied permission for exhibition or reproduction of Arbus' photographs without prior vetting, to the ire of many critics and scholars. The editors of an academic journal published a two-page complaint in 1993 about the estate's control over Arbus' images and its attempt to censor characterizations of subjects and the photographer's motives in article about Arbus. A 2005 article called the estate's allowing the British press to reproduce only fifteen photographs an attempt to "control criticism and debate". On the other hand, it is common institutional practice in the U.S. to include only a handful of images for media use in an exhibition press kit. The estate was also criticized in 2008 for minimizing Arbus' early commercial work, although those photographs were taken by Allan Arbus and credited to the Diane and Allan Arbus Studio.

In 2011, a review in The Guardian of An Emergency in Slow Motion: The Inner Life of Diane Arbus by William Todd Schultz references "...the famously controlling Arbus estate who, as Schultz put it recently, 'seem to have this idea, which I disagree with, that any attempt to interpret the art diminishes the art.' "

In 1972, Arbus was the first photographer to be included in the Venice Biennale; her photographs were described as "the overwhelming sensation of the American Pavilion" and "an extraordinary achievement".

The Museum of Modern Art held a retrospective curated by John Szarkowski of Arbus's work in late 1972 that subsequently traveled around the United States and Canada through 1975; it was estimated that over seven million people saw the exhibition. A different retrospective curated by Marvin Israel and Doon Arbus traveled around the world between 1973 and 1979.

Doon Arbus and Marvin Israel edited and designed a 1972 book, Diane Arbus: An Aperture Monograph, published by Aperture and accompanying the Museum of Modern Art's exhibition. It contained eighty of Arbus' photographs, as well as texts from classes that she gave in 1971, some of her writings, and interviews,

Neil Selkirk, a former student, began printing for the 1972 MOMA retrospective and Aperture Monograph. He remains the only person who is authorized to make posthumous prints of Arbus' work.

A half-hour documentary film about Arbus' life and work known as Masters of Photography: Diane Arbus or Going Where I've Never Been: The Photography of Diane Arbus was produced in 1972 and released on video in 1989. The voiceover was drawn from recordings made of Arbus' photography class by Ikkō Narahara and voiced by Mariclare Costello, who was Arbus' friend and the wife of her ex-husband Allan.

Patricia Bosworth wrote an unauthorized biography of Arbus published in 1984. Bosworth reportedly "received no help from Arbus's daughters, or from their father, or from two of her closest and most prescient friends, Avedon and ... Marvin Israel". The book was also criticized for insufficiently considering Arbus's own words, for speculating about missing information, and for focusing on "sex, depression and famous people", instead of Arbus' art.

In 1986, Arbus was inducted into the International Photography Hall of Fame and Museum.

Between 2003 and 2006, Arbus and her work were the subject of another major traveling exhibition, Diane Arbus Revelations, which was organized by the San Francisco Museum of Modern Art. Accompanied by a book of the same name, the exhibition included artifacts such as correspondence, books, and cameras as well as 180 photographs by Arbus. By "making substantial public excerpts from Arbus's letters, diaries and notebooks" the exhibition and book "undertook to claim the center-ground on the basic facts relating to the artist's life and death". Because Arbus's estate approved the exhibition and book, the chronology in the book is "effectively the first authorized biography of the photographer".

In 2006, the fictional film Fur: An Imaginary Portrait of Diane Arbus was released, starring Nicole Kidman as Arbus; it used Patricia Bosworth's unauthorized biography Diane Arbus: A Biography as a source of inspiration. Critics generally took issue with the film's "fairytale" portrayal of Arbus.

The Metropolitan Museum of Art purchased twenty of Arbus' photographs (valued at millions of dollars) and received Arbus' archives, which included hundreds of early and unique photographs, and negatives and contact prints of 7,500 rolls of film, as a gift from her estate in 2007.

In 2018, The New York Times published a belated obituary of Arbus as part of the Overlooked history project.

In a 1967 review of MoMA's New Documents exhibition, which featured the work of Diane Arbus, Lee Friedlander, and Garry Winogrand, Max Kozloff wrote, "What these photographers have in common is a complete loss of faith in the mass media as vehicle, or even market for their work. Newsiness, from the journalistic point of view, and 'stories', from the literary one, in any event, do not interest them....Arbus' refusal to be compassionate, her revulsion against moral judgment, lends her work an extraordinary ethical conviction."

Writing for Arts Magazine, Marion Magid stated, "Because of its emphasis on the hidden and the eccentric, this exhibit has, first of all, the perpetual, if criminal, allure of a sideshow. One begins by simply craving to look at the forbidden things one has been told all one's life not to stare at... One does not look at such subjects with impunity, as anyone knows who has ever stared at the sleeping face of a familiar person, and discovered its strangeness. Once having looked and not looked away, we are implicated. When we have met the gaze of a midget or a female impersonator, a transaction takes place between the photograph and the viewer; in a kind of healing process, we are cured of our criminal urgency by having dared to look. The picture forgives us, as it were, for looking. In the end, the great humanity of Diane Arbus' art is to sanctify that privacy which she seems at first to have violated."

Robert Hughes in a magazine review of the 1972 Diane Arbus retrospective at MoMA wrote, "Arbus did what hardly seemed possible for a still photographer. She altered our experience of the face."

In his review of the 1972 retrospective, Hilton Kramer stated that Arbus was "one of those figures-as rare in the annals of photography as in the history of any other medium-who suddenly, by a daring leap into a territory formerly regarded as forbidden, altered the terms of the art she practiced....she completely wins us over, not only to her pictures but to her people, because she has clearly come to feel something like love for them herself. "

Susan Sontag wrote an essay in 1973 entitled "Freak Show" that was critical of Arbus' work; it was reprinted in her 1977 book On Photography as "America, Seen Through Photographs, Darkly". Among other criticisms, Sontag opposed the lack of beauty in Arbus' work and its failure to make the viewer feel compassionate about Arbus's subjects. Sontag's essay itself has been criticized as "an exercise in aesthetic insensibility" and "exemplary for its shallowness". Sontag has also stated that "the subjects of Arbus's photographs are all members of the same family, inhabitants of a single village. Only, as it happens, the idiot village is America. Instead of showing identity between things which are different (Whitman's democratic vista), everybody is the same." A 2009 article noted that Arbus had photographed Sontag and her son in 1965, causing one to "wonder if Sontag felt this was an unfair portrait". Philip Charrier argues in a 2012 article that despite its narrowness and widely discussed faults, Sontag's critique continues to inform much of the scholarship and criticism of Arbus's oeuvre. The article proposes overcoming this tradition by asking new questions, and by shifting the focus away from matters of biography, ethics, and Arbus's suicide.

In Susan Sontag's essay "Freak Show", she writes, "The authority of Arbus's photographs comes from the contrast between their lacerating subject matter and their calm, matteroffact attentiveness. This quality of attention-the attention paid by the photographer, the attention paid by the subject to the act of being photographed-creates the moral theater of Arbus's straight on, contemplative portraits. Far from spying on freaks and pariahs, catching them unawares, the photographer has gotten to know them, reassured them-so that they pose for her as calmly and stiffly as any Victorian notable sat for a studio portrait by Nadar or Julia Margaret Cameron. A large part of the mystery of Arbus's photographs lies in what they suggest about how her subjects felt after consenting to be photographed. Do they see themselves, the viewer wonders, like that? Do they know how grotesque they are? It seems as if they don't."

Judith Goldman in 1974 posited that, "Arbus' camera reflected her own desperateness in the same way that the observer looks at the picture and then back at himself."

David Pagel's 1992 review of the Untitled series states, "These rarely seen photographs are some of the most hauntingly compassionate images made with a camera....The range of expressions Arbus has captured is remarkable in its startling shifts from carefree glee to utter trepidation, ecstatic self-abandonment to shy withdrawal, and simple boredom to neighborly love. Perhaps the most intriguing aspect of her photographs is the way they combine sentiments we all share with experiences we can imagine but never know."

In reviewing Diane Arbus: Untitled for , Nan Goldin said, "She was able to let things be, as they are, rather than seeking to transform them. The quality that defines her work, and separates it from almost all other photography, is her ability to empathize, on a level far beyond language. Arbus could travel, in the mythic sense. Perhaps out of the desire not to be herself, she tried on the skins of others and took us along for the trip. Arbus was obsessed with people who manifested trauma, maybe because her own crisis was so internalized. She was able to look full in the faces we normally avert our eyes from, and to show beauty there as well as pain. Her work is often difficult but it isn't cruel. She undertook that greatest act of courage-to face the terror of darkness and remain articulate."

Hilton Als reviewed Untitled in 1995 for The New Yorker, saying, "The extraordinary power of Untitled confirms our earliest impression of Arbus's work; namely, that it is as iconographic as it gets in any medium."

Peter Schjeldahl, in a 2005 review of the exhibition Diane Arbus Revelations for The New Yorker stated, "She turned picture-making inside out. She didn't gaze at her subjects; she induced them to gaze at her. Selected for their powers of strangeness and confidence, they burst through the camera lens with a presence so intense that whatever attitude she or you or anyone might take toward them disintegrates....You may feel, crazily, that you have never really seen a photograph before. Nor is this impression of novelty evanescent. Over the years, Arbuses that I once found devastating have seemed to wait for me to change just a little, then to devastate me all over again. No other photographer has been more controversial. Her greatness, a fact of experience, remains imperfectly understood."

Michael Kimmelman wrote in 2005, "If the proper word isn't spirituality then it's grace. Arbus touches her favorite subjects with grace. It's in the spread-arm pose of the sword swallower, in the tattooed human pincushion, like St. Sebastian, and in the virginal waitress at the nudist camp, with her apron and order pad and her nicked shin. And it's famously in the naked couple in the woods, like Adam and Eve after the Fall."

Ken Johnson, reviewing a show of Arbus's lesser-known works in 2005, wrote, "Arbus's perfectly composed, usually centered images have a way of arousing an almost painfully urgent curiosity. Who is the boy in the suit and tie and fedora who looks up from the magazine in a neighborhood store and fixes us with a gaze of unfathomable seriousness? What is the story with the funny, birdlike lady with the odd, floppy knit hat perched on her head? What is the bulky dark man in the suit and hat saying to the thin, well-dressed older woman with the pinched, masklike face as he jabs the air with a finger while they walk in Central Park? Arbus was a wonderful formalist and just as wonderful a storyteller-the Flannery O'Connor of photography.

Leo Rubinfien wrote in 2005, "No photographer makes viewers feel more strongly that they are being directly addressed....When her work is at its most august, Arbus sees through her subject's pretensions, her subject sees that she sees, and an intricate parley occurs around what the subject wants to show and wants to conceal....She loved conundrum, contradiction, riddle, and this, as much as the pain in her work, puts it near Kafka's and Beckett's....I doubt anyone in the modern arts, not Kafka, not Beckett, has strung such a long, delicate thread between laughter and tears."

In Stephanie Zacharek's 2006 review of the movie Fur: An Imaginary Portrait of Diane Arbus, she writes, "When I look at her pictures, I see not a gift for capturing whatever life is there, but a desire to confirm her suspicions about humanity's dullness, stupidity, and ugliness."

Wayne Koestenbaum asked in 2007 whether Arbus's photographs humiliate the subjects or the viewers. In a 2013 interview for the Los Angeles Review of Books he also said, "She's finding little pockets of jubilation that are framed within each photograph. The obvious meaning of the photograph is abjection, but the obtuse meaning is jubilation, beauty, staunchness, pattern."

Mark Feeney's 2016 The Boston Globe review of in the beginning at the Met Breuer states, "It's not so much that Arbus changed how we see the world as how we allow ourselves to see it. Underbelly and id are no less part of society for being less visible. Outcasts and outsiders become their own norm - and with Arbus as ambassador, ours, too. She witnesses without ever judging."

In a 2018 review for The New York Times on Diane Arbus's Untitled series, Arthur Lubow writes, "The 'Untitled' photographs evoke paintings by Ensor, Bruegel and especially the covens and rituals conjured up by Goya...In the almost half century that has elapsed since Arbus made the 'Untitled' pictures, photographers have increasingly adopted a practice of constructing the scenes they shoot and altering the pictures with digital technology in an effort to bring to light the visions in their heads. The 'Untitled' series, one of the towering achievements of American art, reminds us that nothing can surpass the strange beauty of reality if a photographer knows where to look. And how to look."

Adam Lehrer wrote, in his review of Untitled, Arbus calls attention to vibrant expressions of joy while never letting us forget life's eternal anguish. Some critics have suggested that Arbus sees herself in her subjects. But perhaps that's only partially true. It's probably a more factual assertion to claim that Arbus sees all of us in her subjects....Arbus's only delusion was believing, or hoping, that others would share her peculiar fixations. But to say that her work is merely about human imperfection is both accurate and laughably dismissive. Arbus surely was focused on human imperfection, but within imperfection, she found unvarnished, perfect humanity. And humanity, to Arbus, was beautiful."

Some of Arbus's subjects and their relatives have commented on their experience being photographed by Diane Arbus:

The father of the twins pictured in "Identical Twins, Roselle, N.J. 1967" said, "We thought it was the worst likeness of the twins we'd ever seen. I mean it resembles them, but we've always been baffled that she made them look ghostly. None of the other pictures we have of them looks anything like this."[100]

Writer Germaine Greer, who was the subject of an Arbus photograph in 1971, criticized it as an "undeniably bad picture" and Arbus's work in general as unoriginal and focusing on "mere human imperfection and self-delusion."[101]

Norman Mailer said, in 1971, "Giving a camera to Diane Arbus is like putting a live grenade in the hands of a child."[29][102] Mailer was reportedly displeased with the well-known "spread-legged" New York Times Book Review photo. Arbus photographed him in 1963.[102][103]

Diane Arbus: An Aperture Monograph. Edited by Doon Arbus and Marvin Israel. Accompanied an exhibition at Museum of Modern Art, New York.

Diane Arbus: Magazine Work. Edited by Doon Arbus and Marvin Israel. With texts by Diane Arbus and an essay by Thomas W. Southall.

Untitled. Edited by Doon Arbus and Yolanda Cuomo.

Diane Arbus: Revelations. New York: Random House, 2003. ISBN 9780375506208. Includes essays by Sandra S. Phillips ("The question of belief") and Neil Selkirk ("In the darkroom"); a chronology by Elisabeth Sussman and Doon Arbus including text by Diane Arbus; afterword by Doon Arbus; and biographies of fifty five of Arbus's friends and colleagues by Jeff L. Rosenheim. Accompanied an exhibition that premièred at San Francisco Museum of Modern Art.

Diane Arbus: A Chronology, 1923-1971. New York: Aperture, 2011. ISBN 978-1-59711-179-9. By Elisabeth Sussman and Doon Arbus. Contains the chronology and biographies from Diane Arbus: Revelations.

Diane Arbus: A box of ten photographs. New York: Aperture, 2018. ISBN 978-1597114394. By John P. Jacob. Accompanied an exhibition that premiered at the Smithsonian American Art Museum.

Child with Toy Hand Grenade in Central Park, N.Y.C. 1962 (1962)

Identical Twins, Roselle, New Jersey, 1967

Eddie Carmel, Jewish Giant, taken at Home with His Parents in the Bronx, New York, 1970

Arbus's most well-known photographs include:

Child with Toy Hand Grenade in Central Park, N.Y.C. 1962 - Colin Wood, with the left strap of his jumper awkwardly hanging off his shoulder, tensely holds his long, thin arms by his side. Clenching a toy grenade in his right hand and holding his left hand in a claw-like gesture, his facial expression is one of consternation. The contact sheet demonstrates that Arbus made an editorial choice in selecting which image to print. A print of this photograph was sold in 2015 at auction for $785,000, an auction record for Arbus.

Identical Twins, Roselle, N.J. 1967 - Young twin sisters Cathleen and Colleen Wade stand side by side in dark dresses. The uniformity of their clothing and haircut characterize them as being twins while the facial expressions strongly accentuate their individuality. This photograph is echoed in Stanley Kubrick's film The Shining, which features twins in an identical pose as ghosts. A print was sold at auction for $732,500 in 2018.

A Family on Their Lawn One Sunday in Westchester, N.Y. 1968 - A woman and a man sunbathe while a boy bends over a small plastic wading pool behind them. In 1972, Neil Selkirk was put in charge of producing an exhibition print of this image when Marvin Israel advised him to make the background trees appear "like a theatrical backdrop that might at any moment roll forward across the lawn.". This anecdote illustrates vividly just how fundamental dialectics between appearance and substance are for the understanding of Arbus's art. A print was sold at auction in 2008 for $553,000.

A Naked Man Being a Woman, N.Y.C. 1968 - The subject has been described as in a "Venus-on-the-half-shell pose" (referring to The Birth of Venus by Sandro Botticelli) or as "a Madonna turned in contrapposto... with his penis hidden between his legs" (referring to a Madonna in contrapposto). The parted curtain behind the man adds to the theatrical quality of the photograph.

A Very Young Baby, N.Y.C. 1968 - A photograph for Harper's Bazaar depicts Gloria Vanderbilt's then-infant son, the future CNN anchorman Anderson Cooper.

A Jewish Giant at Home with His Parents in The Bronx, N.Y. 1970 - Eddie Carmel, the "Jewish Giant", stands in his family's apartment with his much shorter mother and father. Arbus reportedly said to a friend about this picture: "You know how every mother has nightmares when she's pregnant that her baby will be born a monster?... I think I got that in the mother's face...." The photograph motivated Carmel's cousin to narrate a 1999 audio documentary about him. A print was sold at auction for $583,500 in 2017.

In addition, Arbus's A box of ten photographs was a portfolio of selected 1963-1970 photographs in a clear Plexiglas box/frame that was designed by Marvin Israel and was to have been issued in a limited edition of 50. However, Arbus completed only eight boxes and sold only four (two to Richard Avedon, one to Jasper Johns, and one to Bea Feitler). After Arbus's death, under the auspices of the Estate of Diane Arbus, Neil Selkirk began printing to complete Arbus's intended edition of 50. In 2017, one of these posthumous editions sold for $792,500 in 2017.

1967: New Documents. Museum of Modern Art, New York.

1972-1975: Diane Arbus (125 photographs, curated by John Szarkowski). Museum of Modern Art, New York; Baltimore; Worcester Art Museum, Massachusetts; Museum of Contemporary Art, Chicago; Walker Art Center, Minneapolis; National Gallery of Canada, Ottawa; Detroit Institute of Arts; Witte Memorial Museum, San Antonio, Texas; New Orleans Museum of Art; Berkeley Art Museum and Pacific Film Archive, California; Museum of Fine Arts, Houston; Florida Center for the Arts, University of South Florida, Tampa; and Krannert Art Museum, University of Illinois, Champaign.

1973-79: Diane Arbus: Retrospective (118 photographs, curated by Doon Arbus and Marvin Israel). Seibu Museum, Tokyo; Hayward Gallery, London; Ikon Gallery, Birmingham, England; Scottish Arts Council, Edinburgh, Scotland; Van Abbe Museum, Eindhoven, The Netherlands; Van Gogh Museum, Amsterdam; Lenbachhaus Städtische Galerie, Munich, Germany; Von der Heydt Museum, Wuppertal, Germany; Frankfurter Kunstverein; 14 galleries and museums in Australia; and 7 galleries and museums in New Zealand.

1984-1987: Diane Arbus: Magazine Work 1960-1971. Spencer Museum of Art, Lawrence, Kansas; Minneapolis Institute of Art, Minneapolis; University of Kentucky Art Museum, Lexington; University Art Museum, California State University, Long Beach; Neuberger Museum, State University of New York at Purchase; Wellesley College Museum, Massachusetts; and Philadelphia Museum of Art.

1992: Diane Arbus: The Untitled Series, 1970-1971. Jan Kesner Gallery, Los Angeles.

2003-2006: Diane Arbus: Revelations. San Francisco Museum of Modern Art; Los Angeles County Museum of Art; Museum of Fine Arts, Houston; Metropolitan Museum of Art, New York; Museum Folkwang, Essen, Germany; Victoria and Albert Museum, London; CaixaForum, Barcelona; and Walker Art Center, Minneapolis.

2004-2005: Diane Arbus: Family Albums. Mount Holyoke College Art Museum, South Hadley, Massachusetts; Grey Art Gallery, New York; Portland Museum of Art, Maine; Spencer Museum of Art, Lawrence, Kansas; and Portland Art Museum, Oregon.

2009-2018: Artist Rooms: Diane Arbus. National Museum Cardiff, Wales; and Dean Gallery, Edinburgh, Scotland; Scottish National Gallery of Modern Art, Edinburgh; Nottingham Contemporary; Aberdeen Art Gallery; Tate Modern, London; Kirkcaldy Galleries; The Burton at Bideford.

2011-2013: Diane Arbus. Galerie nationale du Jeu de Paume, Paris; Fotomuseum, Winterthur; Martin-Gropius-Bau, Berlin; and Foam Fotografiemuseum Amsterdam.

2016-2017: diane arbus: in the beginning. Metropolitan Museum of Art, New York; San Francisco Museum of Modern Art, San Francisco; Malba, Buenos Aires, Argentina.

2017: Diane Arbus: In the Park, Lévy Gorvy, New York.[citation needed ]

Arbus's work is held in the following permanent collections:

^ Arthur, Lubow (June 7, 2016). Diane Arbus : Portrait of a Photographer (1st ed.). New York City. ISBN 978-0-06-223432-2. OCLC 950881745.

^ Somers-Davis, Lynne M. (2006). Encyclopedia of Twentieth-Century Photography. New York: Routledge. pp. 51-56. ISBN 978-1-135-20543-0.

^ Bosworth, Patricia. Diane Arbus: a Biography. New York: W. W. Norton, 2005. p. 250. ISBN 0-393-32661-6.

^ Gaines, Steven. The Sky's the Limit: Passion and Property in Manhattan. New York: Little, Brown, 2005. p. 143. ISBN 0-316-60851-3.

^ Arbus, Diane (1984). Diane Arbus: Magazine Work. New York: Aperture Foundation. ISBN 978-0-89381-233-1.

Jacob, John P. (2018). A box of ten photographs. New York: Aperture Foundation. ISBN 978-1-59711-439-4.

Bosworth, Patricia (2005). Diane Arbus : A Biography. New York: W. W. Norton. ISBN 0393326616. OCLC 57592149.

Rubinfien, Leo. "Where Diane Arbus Went". Art in America, vol. 93, no. 9, pp. 65-71, 73, 75, 77, October 2005.

^ Bosworth, Patricia (May 13, 1984). "Diane Arbus". The New York Times Magazine. pp. 42-59.

^ Hinckley, David (April 23, 2013). "M.A.S.H. actor Allan Arbus dead at 95". New York Daily News.

^ Pogrebin, Robin (July 10, 2016). "Diane Arbus: The Early Years". The New York Times.

^ Arbus, Diane (May 1971). "Five Photographs by Diane Arbus". Artforum. 9 (9).

"No. 21" (PDF). Museum of Modern Art.

^ Warren, Lynne (2006). Encyclopedia of Twentieth-Century Photography, 3-Volume Set. London: Routledge. ISBN 978-1-57958-393-4.

^ Estrin, James (March 8, 2018). "Diane Arbus Called Her Portraits 'A Secret About a Secret'". The New York Times.

Bunnell, Peter C. (January-February 1973). "Diane Arbus". The Print Collector's Newsletter. 3 (6): 128-130. JSTOR 44129496.

^ "Diane Arbus's Carnival of Cruelty".[permanent dead link ] Evening Standard (London), October 14, 2005. Retrieved February 14, 2010.

^

Caslin, Jean, and D. Clarke Evans. ^ Building a Photographic Library. San Antonio: Texas Photographic Society, 2001. ISBN 1-931427-00-3.

Roth, Andrew, editor. ^ The Book of 101 Books: Seminal Photographic Books of the 20th Century. New York: PPP Editions in association with Roth Horowitz LLC, 2001. ISBN 0-9670774-4-3.

^ Going Where I've Never Been: The Photography of Diane Arbus (1972) at IMDb

Charrier, Philip (September 12, 2012). "On Diane Arbus: Establishing a Revisionist Framework of Analysis". History of Photography. 36 (4): 422-438. doi:10.1080/03087298.2012.703401. S2CID 191518565.

^

^ Kozloff, Max. "Photography". The Nation, vol. 204, pp. 571-573, May 1, 1967.

^ Feeney, Mark (July 21, 2016). "Met Breuer exhibit shows Diane Arbus emerging". The Boston Globe.

^ Lehrer, Adam (November 6, 2018). "Diane Arbus 'Untitled' Works Inaugurate David Zwirner's Status as Co-Reps of Artist's Estate". Forbes.

^ Feeney, Mark. "She Opened Our Eyes Photographer Diane Arbus Presented a New Way of Seeing." Boston Globe. November 2, 2003, ProQuest. March 2, 2017

Published in ^ Diane Arbus: Revelations, 2003, p. 164, and online in the article Paris Photo 6 : Diane Arbus à la galerie Robert Miller Archived May 12, 2016, at the Wayback Machine, 2006.

^ ""A young Brooklyn family going for a Sunday outing, N.Y.C., 1966" ~ Diane Arbus " Adrianna Mena". Archived from the original on August 22, 2011.

Sotheby's. ^ "A Family on the Lawn One Sunday in Westchester, N.Y."[permanent dead link ] April 8, 2008. Retrieved February 7, 2010.

^ "The Jewish Giant". Archived June 10, 2010, at the Wayback Machine Sound Portraits Productions, October 6, 1999. Retrieved February 5, 2010.

Thornton, Gene. "Narrative Works - and Arbus". ^ The New York Times, August 31, 1980.

Dault, Gary Michael. ^ "Diane Arbus. Ydessa Hendeles Art Foundation, Toronto". C Magazine, no. 29, Spring 1991. Retrieved February 10, 2010.

Decoteau, Randall. ^ "Diane Arbus's Noah's Ark of Humanity". Archived August 15, 2010, at the Wayback Machine New England Antiques Journal, March 2005. Retrieved February 10, 2010.

^

Arbus, Doon, and Diane Arbus. Diane Arbus: the Libraries. San Francisco: Fraenkel Gallery, 2004. ISBN 1-881337-19-7.

Bosworth, Patricia. Diane Arbus: a Biography. New York: Knopf, 1984. ISBN 0-394-50404-6. (Reprinted by Heinemann in 1985, ISBN 0-434-08150-7. Reprinted by W. W. Norton in 1995, ISBN 0-393-31207-0. Reprinted by W. W. Norton in 2005 with a new afterword, ISBN 0-393-32661-6. Reprinted by Vintage in 2005 with a new foreword, ISBN 0-09-947036-5.)

Lubow, Arthur. Diane Arbus: Portrait of a Photographer. New York: Ecco Press, 2016. ISBN 978-0-06-223432-2.

Roegiers, Patrick. Diane Arbus, ou, le Rêve du Naufrage. Paris: Chêne, 1985. ISBN 2-85108-374-0.

Schultz, William Todd. "An Emergency in Slow Motion: The Inner Life of Diane Arbus". New York: Bloomsbury, 2011. ISBN 1-60819-519-8.

Book chapters

Bissell, Gerhard. "Arbus, Diane". In: Allgemeines Künstlerlexikon (Artists of the World), Supplement I, Saur, Munich 2005, p. 413 (in German). Online edition (subscription required).

Coleman, A.D. "Diane Arbus, Lee Friedlander, and Garry Winogrand at Century's End". In: The Social Scene: the Ralph M. Parsons Foundation Photography Collection at the Museum of Contemporary Art, Los Angeles, edited by Max Kozloff. Los Angeles: Museum of Contemporary Art, 2000. ISBN 0-914357-74-3.

Davies, David. "Susan Sontag, Diane Arbus and the Ethical Dimensions of Photography". In: Art and Ethical Criticism edited by Garry Hagberg. Oxford: Blackwell, 2008. ISBN 978-1-4051-3483-5.

Gefter, Philip, Photography After Frank. New York: Aperture Foundation, 2009. ISBN 978-1-59711-095-2

Shloss, Carol. "Off the (W)rack : Fashion and Pain in the Work of Diane Arbus". In: On Fashion edited by Shari Benstock and Suzanne Ferriss. New Brunswick, New Jersey: Rutgers University Press, 1994. ISBN 0-8135-2032-0.

Alexander, M. Darsie. "Diane Arbus: a Theatre of Ambiguity". History of Photography, vol. 19, no. 2, pp. 120-123, Summer 1995.

Bedient, Calvin. "The Hostile Camera: Diane Arbus". Art in America, vol. 73, no. 1, pp. 11-12, January 1985.

Budick, Ariella. "Diane Arbus: Gender and Politics". History of Photography, vol. 19, no. 2, pp. 123-126, Summer 1995.

Budick, Ariella. "Factory Seconds: Diane Arbus and the Imperfections in Mass Culture". Art Criticism, vol. 12, no. 2, pp. 50-70, 1997.

Charrier, Philip. "On Diane Arbus: Establishing a Revisionist Framework of Analysis". History of Photography, vol. 36, no. 4, pp. 422-438, September 2012.

Estrin, James. "Diane Arbus, 1923-1971", The New York Times, March 8, 2018.

Hulick, Diana Emery. "Diane Arbus's Women and Transvestites: Separate Selves". History of Photography, vol. 16, no. 1, pp. 34-39, Spring 1992.

Hulick, Diana Emery. "Diane Arbus's Expressive Methods". History of Photography, vol. 19, no. 2, pp. 107-116, Summer 1995.

Jeffrey, Ian. "Diane Arbus and the American Grotesque". Photographic Journal, vol. 114, no. 5, pp. 224-229, May 1974.

Jeffrey, Ian. "Diane Arbus and the Past: when She Was Good". History of Photography, vol. 19, no. 2, pp. 95-99, Summer 1995.

Kozloff, Max. "The Uncanny Portrait: Sander, Arbus, Samaras". Artforum, vol. 11, no. 10, pp. 58-66, June 1973.

Lubow, Arthur. "Arbus, Untitled and Unearthly". The New York Times, November 15, 2018.

McPherson, Heather. "Diane Arbus's Grotesque 'Human Comedy'". History of Photography, vol. 19, no. 2, pp. 117-120, Summer 1995.

Pierpont, Claudia Roth. "Full Exposure", The New Yorker, vol. 92, no. 15 (May 23, 2016), pp. 56-67.

Rice, Shelley. "Essential Differences: A Comparison of the Portraits of Lisette Model and Diane Arbus". Artforum, vol. 18, no. 9, pp. 66-71, May 1980.

Warburton, Nigel. "Diane Arbus and Erving Goffman: the Presentation of Self". History of Photography, vol. 16, no. 4, pp. 401-404, Winter 1992.

Quotations related to Diane Arbus at Wikiquote

"The Odyssey of Diane Arbus" panel discussion, John Jacob with Jeffrey Fraenkel, John Gossage, Karan Rinaldo, Jeff Rosenheim, Neil Selkirk, and Jasper Johns, Smithsonian American Art Museum, April 6, 2018.

Diane Arbus on The Red List

Austin, Hillary Mac. "Diane Arbus", Jewish Women: A Comprehensive Historical Encyclopedia, March 1, 2009.

Bissell, Gerhard. Diane Arbus.

Davies, Christie. "Art as Freak Show: Diane Arbus, Revelations at the V&A". London: Social Affairs Unit, December 16, 2005.

Lubow, Arthur. "How Diane Arbus Became 'Arbus'" ". The New York Times May 26, 2016.

Oppenheimer, Daniel. "Diane Arbus". Jewish Virtual Library, 2004.

Smith, Roberta. "Review/Art; Diane Arbus and Alice Neel, with Attention to the Child". The New York Times, May 19, 1989.

Diane Arbus at David Zwirner

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Diane Arbus (; ; March 14, 1923 - July 26, 1971) was an American photographer. She photographed a wide range of subjects including strippers, carnival performers, nudists, people with dwarfism, children, mothers, couples, elderly people, and middle-class families. She photographed her subjects in familiar settings: their homes, on the street, in the workplace, in the park.

# data[].attributes.body
August 22, 1908 – August 3, 2004)
I like Henri Cartier-Bresson  because he is good at taking picture and i like the way how he took picture.

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Henri Cartier-Bresson ( French: [kaʁtje bʁɛsɔ̃]; 22 August 1908 - 3 August 2004) was a French humanist photographer considered a master of candid photography, and an early user of 35mm film. He pioneered the genre of street photography, and viewed photography as capturing a decisive moment.

Cartier-Bresson was one of the founding members of Magnum Photos in 1947. In the 1970s, he took up drawing-he had studied painting in the 1920s.

Henri Cartier-Bresson was born in Chanteloup-en-Brie, Seine-et-Marne, France. His father was a wealthy textile manufacturer, whose Cartier-Bresson thread was a staple of French sewing kits. His mother's family were cotton merchants and landowners from Normandy, where Henri spent part of his childhood. His mother was descended from Charlotte Corday.

The Cartier-Bresson family lived in a bourgeois neighborhood in Paris, Rue de Lisbonne, near Place de l'Europe and Parc Monceau. Since his parents were providing financial support, Henri pursued photography more freely than his contemporaries. Henri also sketched.

Young Henri took holiday snapshots with a Box Brownie; he later experimented with a 3×4 inch view camera. He was raised in traditional French bourgeois fashion, and was required to address his parents with formal vous rather than tu. His father assumed that his son would take up the family business, but Henri was strong-willed and also feared this prospect.

Cartier-Bresson attended École Fénelon, a Catholic school that prepared students for the Lycée Condorcet. A governess called "Miss Kitty" who came from across the Channel, instilled in him the love of - and competence in - the English language. The proctor caught him reading a book by Rimbaud or Mallarmé, and reprimanded him, "Let's have no disorder in your studies!". Cartier-Bresson said, "He used the informal 'tu', which usually meant you were about to get a good thrashing. But he went on, 'You're going to read in my office.' Well, that wasn't an offer he had to repeat."

After trying to learn music, Cartier-Bresson was introduced to oil painting by his uncle Louis, a gifted painter. But the painting lessons were cut short when uncle Louis was killed in World War I.[citation needed ]

In 1927, Cartier-Bresson entered a private art school and the Lhote Academy, the Parisian studio of the Cubist painter and sculptor André Lhote. Lhote's ambition was to integrate the Cubists' approach to reality with classical artistic forms; he wanted to link the French classical tradition of Nicolas Poussin and Jacques-Louis David to Modernism. Cartier-Bresson also studied painting with society portraitist Jacques Émile Blanche.

During that period, he read Dostoevsky, Schopenhauer, Rimbaud, Nietzsche, Mallarmé, Freud, Proust, Joyce, Hegel, Engels and Marx. Lhote took his pupils to the Louvre to study classical artists and to Paris galleries to study contemporary art. Cartier-Bresson's interest in modern art was combined with an admiration for the works of the Renaissance masters: Jan van Eyck, Paolo Uccello, Masaccio, Piero della Francesca. Cartier-Bresson regarded Lhote as his teacher of "photography without a camera."

Although Cartier-Bresson became frustrated with Lhote's "rule-laden" approach to art, the rigorous theoretical training later helped him identify and resolve problems of artistic form and composition in photography. In the 1920s, schools of photographic realism were popping up throughout Europe but each had a different view on the direction photography should take. The Surrealist movement, founded in 1924, was a catalyst for this paradigm shift[vague ]. Cartier-Bresson began socializing with the Surrealists at the Café Cyrano, in the Place Blanche. He met a number of the movement's leading protagonists, and was drawn to the Surrealist movement's technique of using the subconscious and the immediate to influence their work. The historian Peter Galassi explains:

The Surrealists approached photography in the same way that Aragon and Breton...approached the street: with a voracious appetite for the usual and unusual...The Surrealists recognized in plain photographic fact an essential quality that had been excluded from prior theories of photographic realism. They saw that ordinary photographs, especially when uprooted from their practical functions, contain a wealth of unintended, unpredictable meanings.

Cartier-Bresson matured artistically in this stormy cultural and political atmosphere. But, although he knew the concepts, he couldn't express them; dissatisfied with his experiments, he destroyed most of his early paintings.

From 1928 to 1929, Cartier-Bresson studied art, literature, and English at the University of Cambridge, where he became bilingual. In 1930 he was conscripted into the French Army and stationed at Le Bourget near Paris, a time about which he later remarked: "And I had quite a hard time of it, too, because I was toting Joyce under my arm and a Lebel rifle on my shoulder."

In 1929, Cartier-Bresson's air squadron commandant placed him under house arrest for hunting without a licence. Cartier-Bresson met American expatriate Harry Crosby at Le Bourget, who persuaded the commandant to release Cartier-Bresson into his custody for a few days. The two men both had an interest in photography, and Harry presented Henri with his first camera. They spent their time together taking and printing pictures at Crosby's home, Le Moulin du Soleil (The Sun Mill), near Paris in Ermenonville, France. Crosby later said Cartier-Bresson "looked like a fledgling, shy and frail, and mild as whey." Embracing the open sexuality offered by Crosby and his wife Caresse, Cartier-Bresson fell into an intense sexual relationship with her that lasted until 1931.

Two years after Harry Crosby died by suicide, Cartier-Bresson's affair with Caresse Crosby ended in 1931, leaving him broken-hearted. During conscription he read Conrad's Heart of Darkness. This gave him the idea of escaping and finding adventure on the Côte d'Ivoire in French colonial Africa. He survived by shooting game and selling it to local villagers. From hunting, he learned methods which he later used in photography. On the Côte d'Ivoire, he contracted blackwater fever, which nearly killed him. While still feverish, he sent instructions to his grandfather for his own funeral, asking to be buried in Normandy, at the edge of the Eawy Forest while Debussy's String Quartet was played. Although Cartier-Bresson took a portable camera (smaller than a Brownie Box) to Côte d'Ivoire, only seven photographs survived the tropics.

Returning to France, Cartier-Bresson recuperated in Marseille in late 1931 and deepened his relationship with the Surrealists. He became inspired by a 1930 photograph by Hungarian photojournalist Martin Munkacsi showing three naked young African boys, caught in near-silhouette, running into the surf of Lake Tanganyika. Titled Three Boys at Lake Tanganyika, this captured the freedom, grace and spontaneity of their movement and their joy at being alive. That photograph inspired him to stop painting and to take up photography seriously. He explained, "I suddenly understood that a photograph could fix eternity in an instant."

He acquired the Leica camera with 50 mm lens in Marseilles that would accompany him for many years. The anonymity that the small camera gave him in a crowd or during an intimate moment was essential in overcoming the formal and unnatural behavior of those who were aware of being photographed. He enhanced his anonymity by painting all shiny parts of the Leica with black paint. The Leica opened up new possibilities in photography-the ability to capture the world in its actual state of movement and transformation. Restless, he photographed in Berlin, Brussels, Warsaw, Prague, Budapest and Madrid. His photographs were first exhibited at the Julien Levy Gallery in New York in 1933, and subsequently at the Ateneo Club in Madrid. In 1934 in Mexico, he shared an exhibition with Manuel Álvarez Bravo. In the beginning, he did not photograph much in his native France. It would be years before he photographed there extensively.

In 1934, Cartier-Bresson met a young Polish intellectual, a photographer named David Szymin who was called "Chim" because his name was difficult to pronounce. Szymin later changed his name to David Seymour. The two had much in common culturally. Through Chim, Cartier-Bresson met a Hungarian photographer named Endré Friedmann, who later changed his name to Robert Capa.

Cartier-Bresson traveled to the United States in 1935 with an invitation to exhibit his work at New York's Julien Levy Gallery. He shared display space with fellow photographers Walker Evans and Manuel Álvarez Bravo. Carmel Snow of Harper's Bazaar gave him a fashion assignment, but he fared poorly since he had no idea how to direct or interact with the models. Nevertheless, Snow was the first American editor to publish Cartier-Bresson's photographs in a magazine. While in New York, he met photographer Paul Strand, who did camerawork for the Depression-era documentary The Plow That Broke the Plains.

When he returned to France, Cartier-Bresson applied for a job with renowned French film director Jean Renoir. He acted in Renoir's 1936 film Partie de campagne and in the 1939 La Règle du jeu, for which he played a butler and served as second assistant. Renoir made Cartier-Bresson act so he could understand how it felt to be on the other side of the camera. Cartier-Bresson also helped Renoir make a film for the Communist party on the 200 families, including his own, who ran France. During the Spanish civil war, Cartier-Bresson co-directed an anti-fascist film with Herbert Kline, to promote the Republican medical services.

Cartier-Bresson's first photojournalist photos to be published came in 1937 when he covered the coronation of King George VI and Queen Elizabeth, for the French weekly Regards. He focused on the new monarch's adoring subjects lining the London streets, and took no pictures of the king. His photo credit read "Cartier", as he was hesitant to use his full family name.

In 1937, Cartier-Bresson married a Javanese dancer, Ratna Mohini. They lived in a fourth-floor servants' flat in Paris at 19, rue Neuve-des-Petits-Champs (now rue Danielle Casanova), a large studio with a small bedroom, kitchen, and bathroom where Cartier-Bresson developed film. Between 1937 and 1939, Cartier-Bresson worked as a photographer for the French Communists' evening paper, . With Chim and Capa, Cartier-Bresson was a leftist, but he did not join the French Communist party. In 1967, he was divorced from Ratna "Elie".

In 1970 Cartier-Bresson married Magnum photographer Martine Franck [25] and in May 1972, the couple had a daughter, Mélanie.

When World War II broke out in September 1939, Cartier-Bresson joined the French Army as a Corporal in the Film and Photo unit. During the Battle of France, in June 1940 at St. Dié in the Vosges Mountains, he was captured by German soldiers and spent 35 months in prisoner-of-war camps doing forced labor under the Nazis. He twice tried and failed to escape from the prison camp, and was punished by solitary confinement. His third escape was successful and he hid on a farm in Touraine before getting false papers that allowed him to travel in France. In France, he worked for the underground, aiding other escapees and working secretly with other photographers to cover the Occupation and then the Liberation of France. In 1943, he dug up his beloved Leica camera, which he had buried in farmland near Vosges. At the end of the war he was asked by the American Office of War Information to make a documentary, Le Retour (The Return) about returning French prisoners and displaced persons.

Toward the end of the War, rumors had reached America that Cartier-Bresson had been killed. His film on returning war refugees (released in the United States in 1947) spurred a retrospective of his work at the Museum of Modern Art (MoMA) instead of the posthumous show that MoMA had been preparing. The show debuted in 1947 together with the publication of his first book, The Photographs of Henri Cartier-Bresson. Lincoln Kirstein and Beaumont Newhall wrote the book's text.

In early 1947, Cartier-Bresson, with Robert Capa, David Seymour, William Vandivert and George Rodger founded Magnum Photos. Capa's brainchild, Magnum was a cooperative picture agency owned by its members. The team split photo assignments among the members. Rodger, who had quit in London after covering World War II, would cover Africa and the Middle East. Chim, who spoke a variety of European languages, would work in Europe. Cartier-Bresson would be assigned to India and China. Vandivert, who had also left Life, would work in America, and Capa would work anywhere that had an assignment. Maria Eisner managed the Paris office and Rita Vandivert, Vandivert's wife, managed the New York office and became Magnum's first president.

Cartier-Bresson achieved international recognition for his coverage of Gandhi's funeral in India in 1948 and the last stage of the Chinese Civil War in 1949. He covered the last six months of the Kuomintang administration and the first six months of the Maoist People's Republic. He also photographed the last surviving Imperial eunuchs in Beijing, as the city was being liberated by the communists. In Shanghai, he often worked in the company of photojournalist Sam Tata, whom Cartier-Bresson had previously befriended in Bombay. From China, he went on to Dutch East Indies (Indonesia), where he documented the gaining of independence from the Dutch. In 1950, Cartier-Bresson had traveled to the South India. He had visited Tiruvannamalai, a town in the Indian State of Tamil Nadu and photographed the last moments of Ramana Maharishi, Sri Ramana Ashram and its surroundings. A few days later he also visited and photographed Sri Aurobindo, Mother and Sri Aurobindo Ashram, Pondicherry.

Magnum's mission was to "feel the pulse" of the times and some of its first projects were People Live Everywhere, Youth of the World, Women of the World and The Child Generation. Magnum aimed to use photography in the service of humanity, and provided arresting, widely viewed images.

In 1952, Cartier-Bresson published his book Images à la sauvette, whose English-language edition was titled The Decisive Moment, although the French language title actually translates as " images on the sly" or "hastily taken images", Images à la sauvette included a portfolio of 126 of his photos from the East and the West. The book's cover was drawn by Henri Matisse. For his 4,500-word philosophical preface, Cartier-Bresson took his keynote text from the 17th century Cardinal de Retz, "Il n'y a rien dans ce monde qui n'ait un moment decisif" ("There is nothing in this world that does not have a decisive moment"). Cartier-Bresson applied this to his photographic style. He said: "Photographier: c'est dans un même instant et en une fraction de seconde reconnaître un fait et l'organisation rigoureuse de formes perçues visuellement qui expriment et signifient ce fait" ("To me, photography is the simultaneous recognition, in a fraction of a second, of the significance of an event as well as of a precise organization of forms which give that event its proper expression.").

Both titles came from Tériade, the Greek-born French publisher whom Cartier-Bresson admired. He gave the book its French title, Images à la Sauvette, loosely translated as "images on the run" or "stolen images." Dick Simon of Simon & Schuster came up with the English title The Decisive Moment. Margot Shore, Magnum's Paris bureau chief, translated Cartier-Bresson's French preface into English.

"Photography is not like painting," Cartier-Bresson told the Washington Post in 1957. "There is a creative fraction of a second when you are taking a picture. Your eye must see a composition or an expression that life itself offers you, and you must know with intuition when to click the camera. That is the moment the photographer is creative," he said. "Oop! The Moment! Once you miss it, it is gone forever."

The photo Rue Mouffetard, Paris, taken in 1954, has since become a classic example of Cartier-Bresson's ability to capture a decisive moment. He held his first exhibition in France at the Pavillon de Marsan in 1955.

Cartier-Bresson's photography took him to many places, including China, Mexico, Canada, the United States, India, Japan, Portugal and the Soviet Union. He became the first Western photographer to photograph "freely" in the post-war Soviet Union.

In 1962, on behalf of , he went to Sardinia for about twenty days. There he visited Nuoro, Oliena, Orgosolo Mamoiada Desulo, Orosei, Cala Gonone, Orani (hosted by his friend Costantino Nivola), San Leonardo di Siete Fuentes, and Cagliari.

Cartier-Bresson withdrew as a principal of Magnum (which still distributes his photographs) in 1966 to concentrate on portraiture and landscapes.

In 1967, he was divorced from his first wife of 30 years, Ratna (known as "Elie"). In 1968, he began to turn away from photography and return to his passion for drawing and painting. He admitted that perhaps he had said all he could through photography. He married Magnum photographer Martine Franck, thirty years younger than himself, in 1970. The couple had a daughter, Mélanie, in May 1972.

Cartier-Bresson retired from photography in the early 1970s, and by 1975 no longer took pictures other than an occasional private portrait; he said he kept his camera in a safe at his house and rarely took it out. He returned to drawing, mainly using pencil, pen and ink, and to painting. He held his first exhibition of drawings at the Carlton Gallery in New York in 1975.

Cartier-Bresson died in Céreste ( Alpes-de-Haute-Provence, France) on August 3, 2004, aged 95. No cause of death was announced. He was buried in the local cemetery nearby in Montjustin and was survived by his wife, Martine Franck, and daughter, Mélanie.

Cartier-Bresson spent more than three decades on assignment for Life and other journals. He traveled without bounds, documenting some of the great upheavals of the 20th century - the Spanish Civil War, the liberation of Paris in 1944, the fall of the Kuomintang in China to the communists, the assassination of Mahatma Gandhi, the May 1968 events in Paris, the Berlin Wall. And along the way he paused to document portraits of Camus, Picasso, Colette, Matisse, Pound and Giacometti. But many of his most renowned photographs, such as Behind the Gare Saint-Lazare, are of seemingly unimportant moments of ordinary daily life.

Cartier-Bresson did not like to be photographed and treasured his privacy. Photographs of Cartier-Bresson are scant. When he accepted an honorary degree from Oxford University in 1975, he held a paper in front of his face to avoid being photographed. In a Charlie Rose interview in 2000, Cartier-Bresson noted that it wasn't necessarily that he hated to be photographed, but it was that he was embarrassed by the notion of being photographed for being famous.

Cartier-Bresson believed that what went on beneath the surface was nobody's business but his own. He did recall that he once confided his innermost secrets to a Paris taxi driver, certain that he would never meet the man again.

In 2003, he created the Henri Cartier-Bresson Foundation in Paris with his wife, the Belgian photographer Martine Franck and his daughter to preserve and share his legacy. In 2018, the foundation relocated from the Montparnasse district to Le Marais.

Cinéma vérité

Cartier-Bresson's photographs were also influential in the development of cinéma vérité film. In particular, he is credited as the inspiration for the National Film Board of Canada's early work in this genre with its 1958 series.

Cartier-Bresson almost always used a Leica 35 mm rangefinder camera fitted with a normal 50 mm lens, or occasionally a wide-angle lens for landscapes. He often wrapped black tape around the camera's chrome body to make it less conspicuous. With fast black and white film and sharp lenses, he was able to photograph events unnoticed. No longer bound by a 4×5 press camera or a medium format twin-lens reflex camera, miniature-format cameras gave Cartier-Bresson what he called "the velvet hand...the hawk's eye."

He never photographed with flash, a practice he saw as "impolite...like coming to a concert with a pistol in your hand."

He believed in composing his photographs in the viewfinder, not in the darkroom. He showcased this belief by having nearly all his photographs printed only at full-frame and completely free of any cropping or other darkroom manipulation. He insisted that his prints be left uncropped so as to include a few millimeters of the unexposed negative around the image area, resulting in a black frame around the developed picture.

Cartier-Bresson worked exclusively in black and white, other than a few experiments in color. He disliked developing or making his own prints and showed a considerable lack of interest in the process of photography in general, likening photography with the small camera to an "instant drawing". Technical aspects of photography were valid for him only where they allowed him to express what he saw:

Constant new discoveries in chemistry and optics are widening considerably our field of action. It is up to us to apply them to our technique, to improve ourselves, but there is a whole group of fetishes which have developed on the subject of technique. Technique is important only insofar as you must master it in order to communicate what you see... The camera for us is a tool, not a pretty mechanical toy. In the precise functioning of the mechanical object perhaps there is an unconscious compensation for the anxieties and uncertainties of daily endeavor. In any case, people think far too much about techniques and not enough about seeing.

He started a tradition of testing new camera lenses by taking photographs of ducks in urban parks. He never published the images but referred to them as 'my only superstition' as he considered it a 'baptism' of the lens.

Cartier-Bresson is regarded as one of the art world's most unassuming personalities. He disliked publicity and exhibited a ferocious shyness since his days of hiding from the Nazis during World War II. Although he took many famous portraits, his face was little known to the world at large. This, presumably, helped allow him to work on the street undisturbed. He denied that the term "art" applied to his photographs. Instead, he thought that they were merely his gut reactions to fleeting situations that he had happened upon.

In photography, the smallest thing can be a great subject. The little human detail can become a leitmotiv.

1947: The Photographs of Henri Cartier-Bresson. Text by Lincoln Kirstein. New York: Museum of Modern Art.

1952: The Decisive Moment. Texts and photographs by Cartier-Bresson. Cover by Henri Matisse. New York: Simon & Schuster. French edition

1954: Les Danses à Bali. Texts by Antonin Artaud on Balinese theater and commentary by Béryl de Zoete Paris: Delpire. German edition.

1955: The Europeans. Text and photographs by Cartier-Bresson. Cover by Joan Miró. New York: Simon & Schuster. French edition.

1955: People of Moscow. London: Thames & Hudson. French, German and Italian editions.

1956: China in Transition. London: Thames & Hudson. French, German and Italian editions.

1958: Henri Cartier-Bresson: Fotografie. Prague and Bratislava: Statni nakladatelstvi krasné. Text by Anna Farova.

1963: Photographs by Henri Cartier-Bresson. New York: Grossman Publisher. French, English, Japanese and Swiss editions.

1964: China. Photographs and notes on fifteen months spent in China. Text by Barbara Miller. New York: Bantam. French edition.

1966: Henri Cartier-Bresson and the Artless Art. Text by Jean-Pierre Montier. Translated from the French L'Art sans art d'Henri Cartier-Bresson by Ruth Taylor. New York: Bulfinch Press.

1968: The World of HCB. New York: Viking Press. French, German and Swiss editions. ISBN 978-0670786640

1969: Man and Machine. Commissioned by IBM. French, German, Italian and Spanish editions.

1970: France. Text by François Nourissier. London: Thames & Hudson. French and German editions.

1972: The Face of Asia. Introduction by Robert Shaplen. New York and Tokyo: John Weatherhill; Hong Kong: Orientations. French edition.

1973: About Russia. London: Thames & Hudson. French, German and Swiss editions.

1976: Henri Cartier-Bresson. Texts by Cartier-Bresson. History of Photography Series. History of Photography Series. French, German, Italian, Japanese and Italian editions.

1979: Henri Cartier-Bresson Photographer. Text by Yves Bonnefoy. New York: Bulfinch. French, English, German, Japanese and Italian editions. ISBN 978-0821207567

1983: Henri Cartier-Bresson. Ritratti = Henri Cartier-Bresson. Portraits. Texts by André Pieyre de Mandiargues and Ferdinando Scianna, "I Grandi Fotografi". Milan: Gruppo Editoriale Fabbri. English and Spanish editions.

1985:

Henri Cartier-Bresson en Inde. Introduction by Satyajit Ray, photographs and notes by Cartier-Bresson. Text by Yves Véquaud. Paris: Centre national de la photographie. English edition.

Photoportraits. Texts by André Pieyre de Mandiargues. London: Thames & Hudson. French and German editions.

1987:

Henri Cartier-Bresson. The Early Work. Texts by Peter Galassi. New York: Museum of Modern Art. French edition. ISBN 978-0870702624

Henri Cartier-Bresson in India. Introduction by Satyajit Ray, photographs and notes by Cartier-Bresson, texts by Yves Véquaud. London: Thames & Hudson. French edition.

1989:

L'Autre Chine. Introduction by Robert Guillain. Collection Photo Notes. Paris: Centre National de la Photographie.

Line by Line. Henri Cartier-Bresson's drawings. Introduction by Jean Clair and John Russell. London: Thames & Hudson. French and German editions.

1991:

America in Passing. Introduction by Gilles Mora. New York: Bulfinch. French, English, German, Italian, Portuguese and Danish editions.

Alberto Giacometti photographié par Henri Cartier-Bresson. Texts by Cartier-Bresson and Louis Clayeux. Milan: Franco Sciardelli.

1994:

A propos de Paris. Texts by Véra Feyder and André Pieyre de Mandiargues. London: Thames & Hudson. French, German and Japanese editions. ISBN 978-0821220641

Double regard. Drawings and photographs. Texts by Jean Leymarie. Amiens: Le Nyctalope. French and English editions.

Mexican Notebooks 1934-1964. Text by Carlos Fuentes. London: Thames & Hudson. French, Italian, and German editions.

L'Art sans art. Text de Jean-Pierre Montier. Paris: Editions Flammarion. English, German and Italian editions.

1996: L'Imaginaire d'après nature. Text by Cartier-Bresson. Paris: Fata Morgana. German and English editions'

1997: Europeans. Texts by Jean Clair. London: Thames & Hudson. French, German, Italian and Portuguese editions.

1998: Tête à tête. Texts by Ernst H. Gombrich. London: Thames & Hudson. French, German, Italian and Portuguese editions.

1999: The Mind's Eye. Text by Cartier-Bresson. New York: Aperture. French and German editions.

1999: Henri Cartier-Bresson: A Biography. Text by Pierre Assouline, translated by David Wilson. London: Thames and Hudson.

2001: Landscape Townscape. Texts by Erik Orsenna and Gérard Macé. London: Thames & Hudson. French, German and Italian editions.

2003: The Man, the Image and the World. Texts by Philippe Arbaizar, Jean Clair, Claude Cookman, Robert Delpire, Jean Leymarie, Jean-Noel Jeanneney and Serge Toubiana. London: Thames & Hudson, 2003. German, French, Korean, Italian and Spanish editions.

2005:

Henri Cartier-Bresson: The Mind's Eye: Writings on Photography and Photographers, Aperture; 1st edition. ISBN 978-0893818753

Henri Cartier-Bresson: Masters of Photography Series, Aperture; Third edition. ISBN 978-0893817442

2006: An Inner SIlence: The portraits of Henri Cartier-Bresson, New York: Thames & Hudson. Texts by Agnès Sire and Jean-Luc Nancy.

2010: Henri Cartier-Bresson: The Modern Century, The Museum of Modern Art, New York; Reprint edition. ISBN 978-0870707780

2015: Henri Cartier-Bresson: The Decisive Moment, Steidl; Pck Slp Ha edition. ISBN 978-3869307886

2017: Henri Cartier-Bresson Fotógrafo. Delpire.

Cartier-Bresson was second assistant director to Jean Renoir in 1936 for La vie est à nous and Une partie de campagne, and in 1939 for La Règle du Jeu.

1937: Victoire de la vie. Documentary on the hospitals of Republican Spain: Running time: 49 minutes. Black and white.

1938: L'Espagne Vivra. Documentary on the Spanish Civil War and the post-war period. Running time: 43 minutes and 32 seconds. Black and white.

1938 Avec la brigade Abraham Lincoln en Espagne, Henri Cartier-Bresson ja Herbert Kline. Running time 21 minutes. Black and white.

1944-45: Le Retour. Documentary on prisoners of war and detainees. Running time: 32 minutes and 37 seconds. Black and white.

1969-70: Impressions of California. Running time: 23 minutes and 20 seconds. Color.

1969-70: Southern Exposures. Running time: 22 minutes and 25 seconds. Color.

1956: A Travers le Monde avec Henri Cartier-Bresson. Directed by Jean-Marie Drot and Henri Cartier-Bresson. Running time: 21 minutes. Black and white.

1963: Midlands at Play and at Work. Produced by ABC Television, London. Running time : 19 minutes. Black and white.

1963-65: Five fifteen-minute films on Germany for the Süddeutscher Rundfunk, Munich.

1967: Flagrants délits. Directed by Robert Delpire. Original music score by Diego Masson. Delpire production, Paris. Running time: 22 minutes. Black and white.

1969: Québec vu par Cartier-Bresson / Le Québec as seen by Cartier-Bresson. Directed by Wolff Kœnig. Produced by the Canadian Film Board. Running time: 10 minutes. Black and white.

1970: Images de France.

1991: Contre l'oubli : Lettre à Mamadou Bâ, Mauritanie. Short film directed by Martine Franck for Amnesty International. Editing : Roger Ikhlef. Running time: 3 minutes. Black and white.

1992: Henri Cartier-Bresson dessins et photos. Director: Annick Alexandre. Short film produced by FR3 Dijon, commentary by the artist. Running time: 2 minutes and 33 seconds. Color.

1997: Série "100 photos du siècle": L'Araignée d'amour: broadcast by Arte. Produced by Capa Télévision. Running time: 6 minutes and 15 seconds. Color.

"Henri Cartier-Bresson, point d'interrogation" by Sarah Moon, screened at Rencontres d'Arles festival in 1994

Henri Cartier-Bresson: L'amour Tout Court (70 mins, 2001. Interviews with Cartier-Bresson.)

Henri Cartier-Bresson: The Impassioned Eye (72 mins, 2006. Late interviews with Cartier-Bresson.)

1933 Cercle Ateneo, Madrid

1933 Julien Levy Gallery, New York

1934 Palacio de Bellas Artes, Mexico City (with Manuel Alvarez Bravo)

1952 Institute of Contemporary Arts, London

1955 Retrospektive - Musée des Arts décoratifs, Paris

1956 Photokina, Cologne, Germany

1963 Photokina, Cologne, Germany

1964 The Phillips Collection, Washington

1965-1967 2nd retrospective, Tokyo, Musée des Arts Décoratifs, Paris, New York, London, Amsterdam, Rome, Zurich, Cologne and other cities.

1970 En France - Grand Palais, Paris. Later in the US, USSR, Australia and Japan

1971 Les Rencontres d'Arles festival. Movies screened at Théatre Antique.

1972 Les Rencontres d'Arles festival. "Flagrant Délit " (Production Delpire) screened at Théatre Antique.

1974-1997 Galerie Claude Bernard, Paris

1975 Carlton Gallery, New York

1975 Galerie Bischofberger, Zurich, Switzerland

1980 Brooklyn Museum, New York

1980 Photographs, Art Institute of Chicago

1980 Portraits - Galerie Eric Franck, Geneva, Switzerland

1981 Musée d'Art Moderne de la Ville de Paris, France

1982 Hommage à Henri Cartier-Bresson - Centre National de la Photographie, Palais de Tokyo, Paris

1983 Printemps Ginza - Tokyo

1984 Osaka University of Arts, Japan

1984-1985 Paris à vue d'œil - Musée Carnavalet, Paris

1985 Henri Cartier-Bresson en Inde - Centre National de la Photographie, Palais de Tokyo, Paris

1985 Museo de Arte Moderno de México, Mexico

1986 L'Institut Français de Stockholm

1986 Pavillon d'Arte contemporanea, Milan, Italy

1986 Tor Vergata University, Rome, Italy

1987 Museum of Modern Art, Oxford, UK (drawings and photography)

1987 Early Photographs - Museum of Modern Art, New York

1988 Institut Français, Athen, Greece

1988 Palais Lichtenstein, Vienna, Austria

1988 Salzburger Landessammlung, Austria

1988 Group exhibition: "Magnum en Chine" at Rencontres d'Arles, France.

1989 Chapelle de l'École des Beaux-Arts, Paris

1989 Fondation Pierre Gianadda, Martigny, Switzerland (drawings and photographs)

1989 Mannheimer Kunstverein, Mannheim, Germany (drawings and photography)

1989 Printemps Ginza, Tokyo, Japan

1990 Galerie Arnold Herstand, New York

1991 Taipei Fine Arts Museum, Taiwan (drawings and photographs)

1992 Centro de Exposiciones, Saragossa and Logrono, Spain

1992 Hommage à Henri Cartier-Bresson - International Center of Photography, New York

1992 L'Amérique - FNAC, Paris

1992 Musée de Noyers-sur-Serein, France

1992 Palazzo San Vitale, Parma, Italy

1993 Photo Dessin - Dessin Photo, Arles, France

1994 "Henri Cartier-Bresson, point d'interrogation" by Sarah Moon screened at Rencontres d'Arles festival, France.

1994 Dessins et premières photos - La Caridad, Barcelona, Spain

1995 Dessins et Hommage à Henri Cartier-Bresson - CRAC (Centre Régional d'Art Contemporain) Valence, Drome, France

1996 Henri Cartier-Bresson: Pen, Brush and Cameras - The Minneapolis Institute of Arts, US

1997 Les Européens - Maison Européenne de la Photographie, Paris

1997 Henri Cartier-Bresson, dessins - Musée des Beaux-Arts, Montreal

1998 Galerie Beyeler, Basel, Switzerland

1998 Galerie Löhrl, Mönchengladbach, Germany

1998 Howard Greenberg Gallery, New York

1998 Kunsthaus Zürich, Zurich, Switzerland

1998 Kunstverein für die Rheinlande und Westfalen, Düsseldorf, Germany

1998 Line by Line - Royal College of Art, London

1998 Tête à Tête - National Portrait Gallery, London

1998-1999 Photographien und Zeichnungen - Baukunst Galerie, Cologne, Germany

2003-2005 Rétrospective, Bibliothèque nationale de France, Paris; La Caixa, Barcelona; Martin Gropius Bau, Berlin; Museum of Modern Art, Rome; Dean Gallery, Edinburgh; Museum of Modern Art, New York; Museo Nacional de Bellas Artes, Santiago, Chile

2004 Baukunst Galerie, Cologne

2004 Martin-Gropius-Bau, Berlin

2004 Museum Ludwig, Cologne

2008 Henri Cartier-Bresson's Scrapbook Photographs 1932-46, National Media Museum, Bradford, UK

2008 National Gallery of Modern Art, Mumbai, India

2008 Santa Catalina Castle, Cadiz, Spain

2009 Musée de l'Art Moderne, Paris

2010 Museum of Modern Art, New York

2010 The Art Institute of Chicago, Chicago

2011 High Museum of Art, Atlanta, GA

2011 Maison de la Photo, Toulon, France

2011 Kunstmuseum Wolfsburg, Germany

2011 Queensland Art Gallery, Brisbane, Australia

2011-2012 KunstHausWien, Vienna, Austria

2015 Ateneum, Helsinki

2017 Leica Gallery, San Francisco.

2017 Museo Botero/Banco de la Republica, Bogota Colombia

2018 International Center of Photography, New York

2022 Cina 1948-49/1958, MUDEC, Milan, Italy

2022 L'expérience du paysage, Fondation Henri Cartier-Bresson, Paris, France

Cartier-Bresson's work is held in the following public collections:

Bibliothèque Nationale de France, Paris, France

De Menil Collection, Houston, Texas, US

Foundation Henri Cartier-Bresson, Paris, France

University of Fine Arts, Osaka, Japan

Maison Européenne de la Photographie, Paris, France

Musée Carnavalet, Paris, France

Museum of Modern Art, New York City

Jeu de Paume, Paris, France

Institute for Contemporary Photography, New York City

The Philadelphia Art Institute, Philadelphia, Pennsylvania, US

The Museum of Fine Arts, Houston, US

Kahitsukan Kyoto Museum of Contemporary Art, Kyoto, Japan

Museum of Modern Art, Tel Aviv, Israel

Moderna Museet, Stockholm, Sweden

1954: Overseas Press Club of America Award

1960: Overseas Press Club of America Award

1964: Overseas Press Club of America Award

1967: The Cultural Award from the German Society for Photography (DGPh), with Edwin H. Land

1981: Grand Prix National de la Photographie

2006: Prix Nadar for the photobook Henri Cartier-Bresson: Scrapbook

Assouline, P. (2005). Henri Cartier-Bresson: A Biography. London: Thames & Hudson.

Galassi, Peter (2010). Henri Cartier-Bresson: the Modern Century. London: Thames & Hudson.

Montier, J. (1996). Portrait: First Sketch. Henri Cartier-Bresson and the Artless Art (p. 12). New York: Bulfinch Press.

Warren, J (2005), Encyclopedia of Twentieth-Century Photography. Routledge

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Henri Cartier-Bresson ( French: [kaʁtje bʁɛsɔ̃]; 22 August 1908 - 3 August 2004) was a French humanist photographer considered a master of candid photography, and an early user of 35mm film. He pioneered the genre of street photography, and viewed photography as capturing a decisive moment.

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I like this photographer because she takes good black and white pictures.

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Von Unwerth did promotional photography for Duran Duran from 1994 to 1997 and did some photography for their 1990 album and 1997 album Medazzaland. [citation needed ] Her work has been used on other album covers including Bananarama's (1991), Belinda Carlisle's A Woman and a Man (1996), Cathy Dennis' Am I the Kinda Girl?

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I like Cindy Sherman's photos because they are very colorful and silly and i love the mood the pictures give off...

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Exhibition. Feb 26–Jun 11, 2012. Cindy Sherman (American, b. 1954) is widely recognized as one of the most important and influential artists in contemporary art. Throughout her career, she has presented a sustained, eloquent, and provocative exploration of the construction of contemporary identity a…

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Julia Margaret Cameron Born:June 11,1815 Died:January 26,1879 

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Julia Margaret Cameron Born:June 11,1815 Died:January 26,1879 

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Julia Margaret Cameron was a British photographer. She became known for her portraits of celebrities of the time, and for photographs with Arthurian and other legendary or heroic themes

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1685 This is the man who made the first camera in america.

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May 26, 1895, Hoboken, NJ

Died: October 11, 1965, San Francisco,
I like that she be came a symbol for the great depresstion

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Florence Owens Thompson, 32, a poverty-stricken migrant mother with three young children, gazes off into the distance. This photograph, commissioned by the FSA, came to symbolize the Great Depression for many Americans.

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by-dorothea-lange - The Dust Bowl Pictures - Dust Bowl - HISTORY.com

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Florence Owens Thompson, 32, a poverty-stricken migrant mother with three young children, gazes off into the distance. This photograph, commissioned by the FSA, came to symbolize the Great Depression for many Americans.

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1933-2004
I like how he was different and took picture of things that other people didn't

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August 14, 1965 (age 51)
i like that he take he take up close photos with stars and he take photos of obama

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Richardson was born in New York City, the son of Norma Kessler, an actress, and Bob Richardson, a fashion photographer who struggled with schizophrenia and drug abuse. Richardson's father was Irish Catholic and his mother is Jewish. Following the divorce of his parents, Richardson moved to Woodstock, New York, with his mother and stepfather, English guitarist Jackie Lomax.

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Cynthia Morris "Cindy" Sherman is an American photographer and film director, best known for her conceptual portraits.I like  how she can turn herself into a hold nother person
Born;january 19,1954(age 62), Glen ridge ,NJ

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I like the way she is studying how to do the ink , and is working hard to get whatever she needs done .

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Robert Mapplethorpe

Robbert Mapplethorpe was an American photographer, known for his sensitive yet blunt treatment of controversial subject-matter in the large-scale, highly stylized black and white medium of photography.

He was born in November,4 1946 Floral park park New york.

He died March,9 1998 in Boston,MA

I like that the quote he had wrote.

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[ M ] Robert Mapplethorpe - Self-portrait (1980)

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Explore Cea.'s photos on Flickr. Cea. has uploaded 35500 photos to Flickr.

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George Herman "Babe" Ruth was an American professional baseball player whose career in Major League Baseball spanned 22 seasons, from 1914 through 1935.

Born: February 6, 1895, Pigtown, Baltimore, MD

Died: August 16, 1948, Manhattan, New York City, NY

Height: 6′ 2″
http://sabr.org/bioproj/person/9dcdd01c

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Born: 1815
Died: 1879
I like her because she looks like really pretty and I seen the pictures she takes. They're really good. They're black and white and I love those kind of photos.

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Born: March 24, 1886,

Died: January 1, 1958
I like this photographer because he would take a picture of something as simple as a onion, and would make the picture look like it means something more than what it does.

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Born: June 14, 1904
Died: August 27, 1971
Margaret Bourke- White was an American photographer and documentary photographer. She was known for being the first foreign photographerpermitted to to take pictures of the Soviet five year plan. I liked her because she had a interesting career and photos.

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I like Lewis Wickes because his his photographs were instrumental in changing child labor laws in the United States and that's special. Hine was an American sociologist and photographer. Hine used his camera as a tool for social reform..

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I like how she's the recipient of a MacArthur Fellowship.

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Born: october 2, 1949
still  alive
lives in: waterbury,CT
Annie Leibovitz photographed John Lennon the day he was assassinated.

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What i like about Imogen Cunningham  she was an American photographer known for her botanical photography, nudes, and industrial landscapes. ( Love nature...)

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Sally Mann is an American photographer, best known for her large black-and-white photographs—at first of her young children,

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Born: March 3 1918
Died: June 6 2006
Arnold Abner Newman was an American photographer, noted for his "environmental portraits" of artists and politicians. I like him cause all his pictures are unique.

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Born: June 12, 1899, Zolochiv, Ukraine
Died:December 26, 1968, New York City,New York
I like him because he followed the city's emergency services and documenting their activity.

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I like pauls photographs because they are really nice. They tell lots of stories

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Born: December 23, 1908, Mardin, Turkey

Died: July 13, 2002, Boston , MA

The reason why I like this photographer is because of his  motivational quotes, and his amazing work of art and talent.

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Karsh was born to an Armenian parents Amsih Karsh, a merchant, and Bahai Nakash, on December 23, 1908 in Mardin, Diyarbekir Vilayet, Ottoman Empire. The city's Armenian population was largely Arabic-speaking. His Armenian name Hovsep is a variant of Joseph, while Yousuf is the Arabic version of the same name.

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Alfred Eisenstaedt (December 6, 1898 – August 23, 1995)

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Alfred Eisenstaedt (December 6, 1898 – August 23, 1995)

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born march 2  1921
died september 12 1986
Ernst Haas was a photographer and a color photographer

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1908-2004. I love this mans art because of the beauty of love and people all in black in white. if you want to see this picture up close click on the photo. He is very passionate in what he puts into his artwork.

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Born: June 11,1815
died:  January 26,1879
i like her work because she is very talented and it tells a story.

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The Met's Heilbrunn Timeline of Art History

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In December 1863, little more than a year after Roger Fenton retired from photography and sold his equipment, Julia Margaret Cameron received her first camera. It was a gift from her daughter and son-in-law, given with the words "It may amuse you, Mother, to try to photograph during your solitude at Freshwater." Cameron was forty-eight, a mother of six, and a deeply religious, well read, somewhat eccentric friend of many of Victorian England's greatest minds: the painter G. F. Watts; the poets Robert Browning, Henry Taylor, and Alfred Lord Tennyson, her neighbor at Freshwater on the Isle of Wight; the scientists Charles Darwin and Sir John Herschel; and the historian and philosopher Thomas Carlyle. In the decade that followed the gift, the camera became far more than an amusement to her: "From the first moment I handled my lens with a tender ardour," she wrote, "and it has become to me as a living thing, with voice and memory and creative vigour." Her mesmerizing portraits and figure studies on literary and biblical themes were unprecedented in her time and remain among the most highly admired of Victorian photographs.

The gift of the camera in December 1863 came at a moment when her husband Charles was in Ceylon attending to the family's coffee plantations, when their sons were grown or away at boarding school, and when their only daughter, Julia, had married and moved away. Photography became Cameron's link to the writers, artists, and scientists who were her spiritual and artistic advisors, friends, neighbors, and intellectual correspondents. "I began with no knowledge of the art," she wrote. "I did not know where to place my dark box, how to focus my sitter, and my first picture I effaced to my consternation by rubbing my hand over the filmy side of the glass." No matter. She was indefatigable in her efforts to master the difficult steps in producing negatives with wet collodion on glass plates. Although she may have taken up photography as an amateur and sought to apply it to the noble noncommercial aims of art, she immediately viewed her activity as a professional one, vigorously copyrighting, exhibiting, publishing, and marketing her photographs. Within eighteen months she had sold eighty prints to the Victoria and Albert Museum, established a studio in two of its rooms, and made arrangements with the West End printseller Colnaghi's to publish and sell her photographs.

Cameron had no interest in establishing a commercial studio, however, and never made commissioned portraits. Instead, she enlisted friends, family, and household staff in her activities, often costuming them as if for an amateur theatrical, aiming to capture the qualities of innocence, virtue, wisdom, piety, or passion that made them modern embodiments of classical, religious, and literary figures. A parlor maid was transformed into the Madonna, her husband into Merlin, a neighbor's child into the infant Christ or, with swan's wings attached, into Cupid or an angel from Raphael's Sistine Madonna. Her artistic goals for photography, informed by the outward appearance and spiritual content of fifteenth-century Italian painting, were wholly original in her medium. She aimed for neither the finish and formalized poses common in the commercial portrait studios, nor for the elaborate narratives of other Victorian "high art" photographers such as H. P. Robinson and O. G. Rejlander. Her aspirations were, she said, "to ennoble Photography and to secure for it the character and uses of High Art by combining the real and the Ideal and sacrificing nothing of the Truth by all possible devotion to poetry and beauty." As she wrote to Herschel, "I believe in other than mere conventional topographic photography-map-making and skeleton rendering of feature and form."

Even allowing for slight movement as a positive attribute, posing for Cameron was no easy task. One of her models-or "victims" as Tennyson called them-left a vivid description of a photographic session with Cameron: "The studio, I remember, was very untidy and very uncomfortable. Mrs. Cameron put a crown on my head and posed me as the heroic queen. ... The exposure began. A minute went over and I felt as if I must scream, another minute and the sensation was as if my eyes were coming out of my head; a third, and the back of my neck appeared to be afflicted with palsy; a fourth, and the crown, which was too large, began to slip down my forehead; a fifth-but here I utterly broke down, for Mr. Cameron, who was very aged, and had unconquerable fits of hilarity which always came in the wrong places, began to laugh audibly, and this was too much for my self-possession, and I was obliged to join the dear old gentleman."

Her photographs were not universally admired, especially by fellow photographers. The Photographic Journal, reviewing her submissions to the annual exhibition of the Photographic Society of Scotland in 1865, reported with a condescension that infuriated her: "Mrs. Cameron exhibits her series of out-of-focus portraits of celebrities. We must give this lady credit for daring originality, but at the expense of all other photographic qualities. A true artist would employ all the resources at his disposal, in whatever branch of art he might practise. In these pictures, all that is good in photography has been neglected and the shortcomings of the art are prominently exhibited. We are sorry to have to speak thus severely on the works of a lady, but we feel compelled to do so in the interest of the art." The Illustrated London News countered, describing her portraits as "the nearest approach to art, or rather the most bold and successful applications of the principles of fine-art to photography." The Photographic Journal rebutted: "Slovenly manipulation may serve to cover want of precision in intention, but such a lack and such a mode of masking it are unworthy of commendation." Wilhelm Vogel reported the stir that her photographs provoked the following year in Berlin, where they won Cameron the gold medal: "Those large unsharp heads, spotty backgrounds, and deep opaque shadows looked more like bungling pupils' work than masterpieces. And for this reason many photographers could hardly restrain their laughter, and mocked at the fact that such photographs had been given a place of honour. ... But, little as these pictures moved the photographers who only looked for sharpness and technical qualities in general, all the more interested were the artists ... [who] praised their artistic value, which is so outstanding that technical shortcomings hardly count." Cameron dismissed the condemnation of the photographic establishment, writing later that it would have dispirited her "had I not valued that criticism at its worth," basking instead in the positive judgment of artists and friends.

Seen with historical perspective, it is clear that Cameron possessed an extraordinary ability to imbue her photographs with a powerful spiritual content, the quality that separates them from the products of commercial portrait studios of her time. In a dozen years of work, effectively ended by the Camerons' departure for Ceylon in 1875, the artist produced perhaps 900 images-a gallery of vivid portraits and a mirror of the Victorian soul.

Malcolm Daniel
Department of Photographs, The Metropolitan Museum of Art

October 2004

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Julia Margaret Cameron (1815-1879) | Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art

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"Although she may have taken up photography as an amateur and sought to apply it to the noble noncommercial aims of art, [Julia Margaret Cameron] immediately viewed her activity as a professional one, vigorously copyrighting, exhibiting, publishing, and marketing her photographs."

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Born: February 24 1950
I chose this photographer because his represents diversity.

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"Most of my pictures are grounded in people.I look for the unguarded moment, the essential soul peeking out,experience etched on a person's face.I try to convey what it is like to be that person,a person caught in a broader landscape that I guess you'd call the human condition."- Steve McCurry

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Born: March 25 1981-0000
Casey Neistat work is fresh and new and brings in new photographers.

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born 1949-0000
it expresses feeling and happiness and it makes me feel happy.

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1902-1984
I like his work because he shows nature and he's very talented with his art.

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I like him because he photographed  WW2

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Robert Capa • Photographer Profile • Magnum Photos Magnum Photos

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In 1947, Robert Capa founded Magnum Photos with Henri Cartier-Bresson, David Seymour, George Rodger and William Vandivert.

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i like how because she was a photographer and she was a specializing in erotic femininity.

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Von Unwerth did promotional photography for Duran Duran from 1994 to 1997 and did some photography for their 1990 album and 1997 album Medazzaland. [citation needed ] Her work has been used on other album covers including Bananarama's (1991), Belinda Carlisle's A Woman and a Man (1996), Cathy Dennis' Am I the Kinda Girl?

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Eadweard Muybridge Born April 9 1830 Died May 8 1904.

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Eadweard Muybridge Born April 9 1830 Died May 8 1904.

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I like how he was the first to show motion in photographs.

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I like this lady's photography. It is very adorable & cute how she takes the pictures of the babies. Here is a link for you to look at some of her photography.

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You probably know the name Anne Geddes. If you Google "famous photographers," she pops up in suggested names, sandwiched right between Andy Warhol and Weegee.

If, for some reason, you do not know Anne Geddes' name, you most certainly would recognize her work. She did those photos of babies dressed up as bunnies and cabbages and gingerbread men and other harder-to-distinguish objects. She did those adorable yet slightly unsettling visions of teeny newborns stuffed inside very large pockets and, once, chilling in a faux amniotic sac with Celine Dion. She made the calendar that hung on your kitchen wall in the late '90s and the birthday card you hoped would have $20 inside it, but didn't.

Like Lisa Frank and Thomas Kinkade, Geddes' imagery formed the desktop wallpaper to my childhood. I grew to know and love it almost without my consent, like a mediocre song on the radio that keeps playing over and over and over again, until you start to crave it like a warm, fuzzy blanket. More babies, more babies, I would find myself thinking, laughing too hard when it came time to switch the family calendar from March to April. A baby as butterfly! Inspired choice.

I wrote my college admissions essay on an Anne Geddes photograph. The prompt was something along the lines of: "Write about a work of art that made a lasting impact on you." I was 17 years old and most definitely not ready to answer that question. And so I made a joke. If you want to be in an Anne Geddes photograph, I thought, you have to sign up early. Like, before you are even born. And so, in my essay, I praised the ambitious babies of Geddes' photos, their fearlessness and body positivity, and speculated on their commendable distance from the typical trappings of the modeling world ― sex, drugs and low self-esteem.

I got waitlisted at some very prestigious universities as a result.

Needless to say, Anne Geddes has been a very serious part of my life as a very serious arbiter of taste. You might even say, had I not written about her work a decade ago, I may never have found myself writing about art professionally. And yet it was only recently that the idea popped into my head that I could actually speak to the woman who, for all these years, had enchanted me with candied visions of babies in every fruit and vegetable variety known to mankind.

Who is Anne Geddes? Is she self-aware? Sincere? Does she consider herself a fine artist? Is she in fact a bunch of babies stacked atop each other in a large trench coat, like that scene in "The Little Rascals "?

I called a number. The phone rang. "This is Anne," said a woman in an Australian accent. Anne Geddes is Australian? My first question: "Tell me about your childhood. Where are you from?" She responds, "Well, I'm Australian, obviously." Right. Off to a good start.

In short, Anne Geddes is very serious about her work. Born in 1956, she grew up a self-described country kid on a cattle ranch in North Queensland. Although she felt creative from a young age, Geddes didn't pick up a camera for the first time until she was in her 20s. Her inspiration wasn't quite fine art, it was photojournalism à la Life Magazine. "I was mesmerized by images of people, the way they could tell stories, a moment in time frozen forever," she said with warmth and wholehearted candor. "It still fascinates me to this day. The power of a single image to change lives is incredible."

Growing up, the possibility that Geddes could one day become a professional photographer never occurred to her. Raised in the 1950s and '60s, before photography was an established part of everyday life, Geddes recalls only seeing two or three pictures of herself as a kid. "I grew up in an era where once a year we were taken to the photographic studio in our Sunday best," she said. "I look at them now and I can't get across a sense of who I was as a child."

Geddes, in her own photography, aims to capture the essence of each specific child at that specific moment. "If you're bringing your 2-year-old, you're going to look at that image in20 years and you'll remember what they looked like when they were 2." Like a butterfly, I guess, or a vintage can of tomatoes.

When Geddes first started taking pictures, she was 25 years old and living in Hong Kong with her husband, who had taken a job in television. She started off by photographing families in their own environments, but felt that setup didn't allow her to find her own style. Then something clicked when, a few years later in the 1980s, Geddes saw an ad for a studio photographer in Melbourne.

"There was very simple lighting, a very simple canvas backdrop," Geddes said of the studio. "A pin dropped and I thought, that's what I want to do. I want to dictate the environment and control the lighting." Geddes volunteered to be the photographer's unpaid assistant. "The moment I first walked into a photographic studio everything fell into place."

This is the amazing thing about Anne Geddes. Those posed portraits in front of khaki-colored backdrops which I imagine most photographers would find dull and monotonous ― if not soul-sucking ― genuinely galvanize Geddes. Her chosen profession is more than just a gimmick or a way to pay the bills: It's a lifelong passion. A dream come true.

As a studio photographer, Geddes began with straight-up baby portraits, no frills. And then a greeting card company approached her to make a line, so she began delving into more experimental sets and costumes. "Once you start doing greeting cards, of course, you have to do seasonal images," she said. And then came the calendars, and thus, more costumes. The more festive the threads, it seemed, the more attention Geddes' work received.

And the more Geddes speaks, the clearer it is just how passionate she is about photos, and babies and, mostly, photos of babies. "How wonderful is it going to be for this child to see in such wonderful detail their newborn selves, at the very beginning of their lives?" Geddes muses. "I've photographed thousands of babies over my 30-year career and I've never lost that fascination and awe at the sight of a newborn. At the very beginning of our lives, there is so much potential, so much purity. All these words sounds so trite but it's very true."

In case you were curious, Geddes is still taking photos of babies today. In her most recent series, she transforms babies into symbols of the zodiac ― a baby lion for Leo, a cocoon of twin butterflies for Gemini. She's also working on a series called " Baby Look at You Now," where she juxtaposes '90s baby photos with pictures of her subjects all grown up. If you posed for Anne Geddes at any point in your life, you're welcome to submit.

"When I first started, I said I wanted to be the most successful portrait photographer in Auckland," she said. "Then I said I wanted to be the most well-known in New Zealand and then, Australia ― and the rest is history."

Is Anne Geddes implying she is the most successful portrait photographer in the world? I, for one, would not object to this statement.

I asked Geddes where she considers herself on the spectrum of fine art to commercial photography. Although her work has been the subject of an exhibition at Qatar Museums, it thrives, for the most part, on calendars sold for around $14.99. "I think [fine art and commercial photographer] are pretty much the same," Geddes said, shattering my brain into a million baby heart-shaped pieces. "And I know a lot of people would dispute that. I know there is a lot of snobbery in the art world, but you can't tell me that every fine artist doesn't want to be successful."

Maybe not every, but certainly most. "Every fine artist wants to be commercial, and I've always found that a bit of a conundrum," Geddes continued. "Most have an exhibition in a gallery, they sell some work, and then a book is published. I came at it from the other way. There was nobody going down the same road as me. I was just doing what I wanted to do creatively. Forging new paths."

I try my hardest to hold onto my long-held convictions ― namely that a photographer whose primary output is greeting cards is not working in the same sphere as one whose work hangs on the walls of painstakingly curated gallery spaces. And yet, as someone consistently drawn to powerful images that exist outside the mainstream art institution, a part of me is wooed.

Geddes is the ultimate antidote to art world snobbery. Your life may not be changed by a schmaltzy image of a baby propped up in a sunflower pot, or slumped atop a giant egg, but you'll probably crack a smile. It's bizarre yet oddly inspiring to know that, despite being one of the most commercially successful photographers in the game, Geddes has followed her own vision every single step of the way.

When I professed my teenage love for Anne Geddes, I did so under a veil of sarcasm. I was young and insecure ― paralyzed by the prospect of writing about something I genuinely loved and respected and too wobbly in both my tastes and ability to defend them to even begin to think about a work of art that had shaped me.

Although I did all I could to evade the question posed by that pesky common application, and any significant mental breakdowns it may have induced, my response illuminated what I've now come to recognize as a deep appreciation of bad taste. Stripped of pretension and ambition, schemes and strategies, "bad" art often lays bare the insides of both artist and viewer. In the case of Anne Geddes, it also lays bare those adorable baby bodies.

I hung up with Anne Geddes in something of a daze. She had given not a single knowing wink, not even the subtlest of hints that some part of her baby-tastic career was just the teensiest bit silly. Instead I got lines like, "Babies transform lives, they transform families, they bring so much hope." And you know what? They do!

This is a story about an artist who changed my life, who inspired me, albeit in a roundabout way, to embark upon the first piece of art writing I'd ever created. I was ashamed to say it then, but 10 years later, I'm ready. I love Anne Geddes and all her weirdly dressed babies. I love them. I love them. Oh my god, they're so cute and weird, I love them so much.

Hit Backspace for a regular dose of pop culture nostalgia.

BEFORE YOU GO

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The Real Artist Behind Those Photographs Of Babies In Flower Pots

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You probably know the name Anne Geddes. If you Google "famous photographers," she pops up in suggested names, sandwiched right between Andy Warhol and Weegee. If, for some reason, you do not know Anne Geddes' name, you most certainly would recognize her work.

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I really like this man's work. For Me, it is peaceful and serene. Here is a link to a website with his work.

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The Ansel Adams Gallery - Welcome To The World Of Fine Arts

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The Ansel Adams Gallery strives to cultivate an aesthetic appreciation and concern for our world by offering visitors a unique variety of books, handcrafts, fine art prints, and an extraordinary collection of Ansel Adams original photographs.