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      <title>History of Photography by Alexander Silva Rico</title>
      <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers</link>
      <description>Alexander Y. Silva-Rico</description>
      <language>en-us</language>
      <pubDate>2021-11-15 18:27:09 UTC</pubDate>
      <lastBuildDate>2025-09-30 01:37:44 UTC</lastBuildDate>
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         <title>Kodak Brownie (1900)</title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1897986462</link>
         <description><![CDATA[<div><strong>Kodak's</strong> "Brownie" camera <strong>debuted</strong> at the turn of the&nbsp; century and sold for <strong>$ 1. Hundreds</strong> of <strong>thousands</strong> were purchased <strong>in</strong> the first year alone. <strong>Brownies</strong> helped <strong>bring photos</strong> into the hands of amateurs and <strong>also</strong> allowed the middle class to take their own <strong>"snapshots".</strong></div>]]></description>
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         <pubDate>2021-11-17 21:07:47 UTC</pubDate>
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         <title></title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1898000810</link>
         <description><![CDATA[<div>The name "Brownie" <strong>is partly due to</strong> the popularity of <strong>the children's comic</strong> book&nbsp; of the same <strong>name</strong> and&nbsp; the <strong>fact that</strong> Frank <strong>Brownel</strong> of Rochester, <strong>NY made a camera for Eastman.</strong></div>]]></description>
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         <pubDate>2021-11-17 21:16:36 UTC</pubDate>
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         <title>How Eastman came up the name &quot;Kodak&quot;</title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1898013162</link>
         <description><![CDATA[<div>He <strong>started</strong> with&nbsp; the first letter of his <strong>mother's</strong> maiden name, <strong>"K",</strong> and finally came <strong>to "Kodak".</strong> He registered the <strong>brand</strong> and <strong>launched a</strong> new <strong>camera.</strong> Eastman <strong>turned</strong> everyone <strong>into</strong> a photographer. His Kodak <strong>blossomed with</strong> the slogan, "You press the button—we do the rest."&nbsp;</div>]]></description>
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         <pubDate>2021-11-17 21:25:19 UTC</pubDate>
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         <title>Picture Post Cards (1908)</title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1900291118</link>
         <description><![CDATA[<div><strong>By</strong> the <strong>mid-19th century, people had sent each other a message about the privacy</strong> of the&nbsp; <br>&nbsp; sealed letters. The idea for <strong>postcards was born</strong> in Germany in 1865. <strong>However, it</strong> was the Austrian <strong>Government</strong> <br>&nbsp; that <strong>issued the first postcard</strong> on October 1, <strong>1869. Early</strong> <br> <strong>postcards</strong> had&nbsp; critics. Many <strong>people, especially servants, found</strong> it <strong>inappropriate</strong> to <strong>post a message</strong> on <strong>a card</strong> that <strong>anyone</strong> could read. <strong>However, postcards quickly became popular with the masses because they</strong> could be <strong>sent at <br>, which is significantly cheaper</strong> than <strong>regular letters.</strong></div>]]></description>
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         <pubDate>2021-11-18 18:34:53 UTC</pubDate>
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         <title></title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1900291453</link>
         <description><![CDATA[<div>Postcards <strong>before</strong> 1898 are&nbsp; in&nbsp; the <strong>so-called pioneering era.</strong> In the United States, <strong>of</strong> these early <strong>postcards</strong> were <strong>primarily</strong> used <strong>for</strong> commercial <strong>advertising</strong> and <strong>mailing</strong> of <strong>information.These</strong> postcards <strong>are most concentrated in</strong> New York, Philadelphia, and other <strong>major metropolitan</strong> areas <strong>of  </strong>in <strong>the United States and abroad.&nbsp;By March 1, 1907, writing</strong> on the address side of <strong>a</strong> postcard <strong>was prohibited by law.</strong> For this reason, many postcards up to 1907 <strong>will display the message on page</strong>&nbsp;</div>]]></description>
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         <pubDate>2021-11-18 18:35:02 UTC</pubDate>
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         <title></title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1900291659</link>
         <description><![CDATA[<div><strong>Parliamentary</strong> Act of&nbsp; May 19, <strong>1898 grants issuers</strong> of privately printed <strong>postcards</strong> or <strong>4,444 postcards</strong> permission to sell <strong>to publicly mailed civilian</strong> cards <strong>for</strong> the&nbsp; same <strong>4,444 yen</strong> as <strong>a penny. Was done. The issued postcard may have been</strong> issued by <strong>USPOD.</strong> This marks the <strong>beginning</strong> of the <strong><br>&nbsp;in the so-called</strong> Private Mailing Card (PMC) <strong>era.</strong> Most&nbsp; PMCs were <strong>4,444</strong> souvenir&nbsp; cards <strong>and</strong> early <strong>"Greetings From" people.</strong> Americans <strong>were crazy about</strong> postcards. Only&nbsp;was allowed on the stamp side, <strong>leaving</strong> space&nbsp; around the image for&nbsp; message&nbsp;from the sender.</div>]]></description>
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         <pubDate>2021-11-18 18:35:08 UTC</pubDate>
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         <title>National Geographic (1905)</title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1900292826</link>
         <description><![CDATA[<div><strong>In 1905 Gilbert Grosvenor was the editor of a dry scientific journal with 3000 earnest subscribers. It was called National Geographic. The magazine was losing money hand over fist, and Grosvenor was under pressure to increase circulation.</strong></div>]]></description>
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         <pubDate>2021-11-18 18:35:41 UTC</pubDate>
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         <title></title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1900293016</link>
         <description><![CDATA[<div><strong>National Geographic pioneered the printing of color photographs. Photography made the magazine a huge success.</strong></div>]]></description>
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         <pubDate>2021-11-18 18:35:47 UTC</pubDate>
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         <title></title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1900293196</link>
         <description><![CDATA[<div><strong>Some of the Society’s conservative board members objected, but the general public loved the pictures. Grosvenor began filling the magazine with more and more photographs.</strong></div>]]></description>
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         <pubDate>2021-11-18 18:35:52 UTC</pubDate>
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         <title>Documentary Photography (1900/1930)</title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1900295258</link>
         <description><![CDATA[<div><strong>From</strong> 1900 <strong>to</strong> over <strong>30</strong> years, Edward Sheriff Curtis, or&nbsp; later called <strong>"Shadow Catcher", took more than 40,000 photographs from more than 80 Indian tribal groups</strong> of <strong>Eskimos or Inuit. Recorded</strong> rare ethnographic <strong>information. High</strong> north to <strong>Hopi in</strong> the <strong>southwest.</strong> He <strong>took pictures</strong> of many important and <strong>famous Indians</strong> of <strong>the</strong> time, including Geronimo, Chief Joseph, Red Cloud, <strong>and</strong> Medicine <strong>Crow.</strong> This monumental <strong>work consists</strong> of more than 2,200 <strong>sepia-toned photographic sculptures,</strong> bound <strong>with 20</strong> volumes of <strong>information, small photographs,</strong> and <strong>20 folders with</strong> larger artistic <strong>expressions.</strong></div>]]></description>
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         <pubDate>2021-11-18 18:36:51 UTC</pubDate>
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         <title></title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1900296077</link>
         <description><![CDATA[<div><strong>When admiring</strong> the beauty of <strong>Curtis' photographs, you need to keep them</strong> in <strong>mind. Despite</strong> the dedication and hardships the photographer had to endure, the ultimate beauty of <strong>the "North</strong> American <strong>Indians"</strong> lies not only <strong>in Curtis's genius,</strong> but <strong>especially in</strong> his <strong>subject matter.</strong> The&nbsp; beauty, strength, pride, honor, dignity and other <strong>praiseworthy qualities of the locals, which</strong> may have been <strong>captured</strong> by photographic <strong>technology,</strong> were <strong>initially</strong> an integral part of the people.&nbsp; Curtis was a master <strong>of engineering, but Indians have</strong> beauty and their descendants <strong>have the</strong> same <strong>characteristics</strong> today.</div>]]></description>
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         <pubDate>2021-11-18 18:37:17 UTC</pubDate>
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         <title></title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1900296262</link>
         <description><![CDATA[<div>As one admires the beauty of the Curtis photographs they must be placed in a proper perspective. In spite of the dedication and hardships the photographer had to endure, the ultimate beauty of “The North American Indian” lies not only with the genius of Curtis, but also and most importantly, within his subjects. The native beauty, strength, pride, honor, dignity and other admirable characteristics may have been recorded by photographic techniques, but they were first an integral part of the people. While Curtis was a master technician, the Indian people possessed the beauty and their descendants carry on these same traits today.</div>]]></description>
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         <pubDate>2021-11-18 18:37:22 UTC</pubDate>
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         <title>Pictorialism (1902)</title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1900298277</link>
         <description><![CDATA[<div>After the introduction of&nbsp; handheld amateur <strong>cameras</strong> by Kodak in 1888, <strong>aristocratic</strong> gentlemen with artistic ambitions no longer dominated the medium of photography. <strong>When</strong> an army of <strong>snap shooters on the</strong> weekend&nbsp; invaded the <strong>world of photography,</strong> a small but <strong>stubborn</strong> group of photographers <strong>insisted on</strong> their <strong>medium that they belonged</strong> to&nbsp; the <strong>visual</strong> arts. <strong>Rejecting</strong> the <strong>point-and-shoot</strong> approach to <strong>photography, they adopted a labor-intensive process like</strong> gum <strong>bichromate. It can hand-coat the artist's paper</strong> with homemade emulsions and pigments, or <strong>create</strong> platinum <strong>prints to provide rich and</strong> subtle images. Such <strong>photography</strong> emphasized the role of the photographer as <strong>a</strong> craftsman and <strong>was inconsistent with</strong> the argument that photography <strong>is a purely</strong> mechanical <strong>medium.</strong></div>]]></description>
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         <pubDate>2021-11-18 18:38:22 UTC</pubDate>
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         <title></title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1900298466</link>
         <description><![CDATA[<div>Alfred Stieglitz <strong>is</strong> the most prominent spokesperson for these photographers in <strong>the United States,</strong> and in 1902 he and&nbsp; the <strong>like-minded</strong> New York Camera <strong>Club, including</strong> Gertrude <strong>Casevier,</strong> Alvin Langdon <strong>Coburn,</strong> and Frank <strong>Eugene. Several employees have left</strong> the club <strong>and created</strong> what they <strong>call.</strong> PhotoSecession. The group <strong>exhibited</strong> their work in a space <strong>called Little Gallery in Photo-Secession,</strong> donated by Edward J. <strong>Steichen,</strong> and published a quarterly magazine <strong>called Camerawork</strong> edited by <strong>Stieglitz.</strong></div>]]></description>
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         <pubDate>2021-11-18 18:38:27 UTC</pubDate>
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         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1900298640</link>
         <description><![CDATA[<div><strong>Stieglitz and Steichen  painted at</strong> the end of World War <strong>I</strong> to <strong>show the natural strength</strong> of the <strong>medium, the ability to truly reproduce abstraction in shape and color, without make-up. Removed the painting façade</strong> of&nbsp; the <strong>photo Real world changes.</strong> This new chapter in each of these <strong>artist</strong> styles <strong>is</strong> a step <strong>towards</strong> the international phenomenon of <strong>modernity</strong> in art,&nbsp; both <strong>taking advantage of its veins</strong> to <strong>create</strong> some of their best <strong>works.</strong> Stieglitz <strong>disbanded Photo-Secession</strong> and <strong>Camerawork</strong> in 1917, but <strong>Secession,</strong> Coburn, and White continued to <strong>take</strong> photographs as they <strong>did at</strong> the <strong>beginning</strong> of the <strong>century,</strong> and <strong>in 1916 founded</strong> an organization called the Pictorial Photographers of <strong>America.</strong></div>]]></description>
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         <pubDate>2021-11-18 18:38:32 UTC</pubDate>
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      </item>
      <item>
         <title>Time-Motion Studies (1910 - 1924)</title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1900300015</link>
         <description><![CDATA[<div><strong>A study</strong> of <strong>time and movement when assessing</strong> industrial <strong>performance. Analyze</strong> the time spent <strong>experiencing</strong> different <strong>movements</strong> of a job or series of jobs. <strong>Time and movement</strong> studies were first <strong>conducted</strong> in <strong>US</strong> offices and factories in the&nbsp; early 20th century.</div>]]></description>
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         <pubDate>2021-11-18 18:39:09 UTC</pubDate>
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      </item>
      <item>
         <title></title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1900300737</link>
         <description><![CDATA[<div>These studies <strong>have been widely used</strong> to <strong>improve work methods by breaking down</strong> the <strong>various</strong> work <strong>processes involved in</strong> the <strong>activity</strong> into measurable elements. Such <strong>analysis served</strong> as <strong>a tool</strong> to <strong>standardize</strong> work and <strong>see how</strong> people and <strong>devices are efficient</strong> and <strong>how they are combined.</strong></div>]]></description>
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         <pubDate>2021-11-18 18:39:32 UTC</pubDate>
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      </item>
      <item>
         <title></title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1900300897</link>
         <description><![CDATA[<div>The application of science to business <strong>problems</strong> and the use of <strong>time study</strong> methods in standard setting and <strong>work</strong> planning&nbsp; was pioneered by Frederick Winslow Taylor. <strong>Based on</strong> the success of these <strong>discussions, Taylor contacted the factory manager and</strong> wrote several papers <strong>suggesting</strong> the <strong>application</strong> of <strong>wage-related</strong> performance <strong>criteria</strong> based on scientific time <strong>studies.</strong> At <strong>the</strong> most basic <strong>level,</strong> time studies <strong>consist of dividing</strong> each job into <strong>its</strong> parts, timing each <strong>part,</strong> and rearranging the parts into the most efficient <strong>way</strong> of working. <strong>Through enumeration</strong> and <strong>arithmetic,</strong> Taylor <strong>sought</strong> to transform <strong>the</strong> essentially <strong>verbal tradition of management</strong> into a set of calculated and written techniques.</div>]]></description>
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         <pubDate>2021-11-18 18:39:37 UTC</pubDate>
         <guid>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1900300897</guid>
      </item>
      <item>
         <title>Social Reform (1906)</title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1900301530</link>
         <description><![CDATA[<div>Lewis W. Hine was <strong>one of</strong> the first to use <strong>children's photographs</strong> as a call for social reform. From 1906 to 1918, Hine photographed children working <strong>in</strong> farms,&nbsp; coal mines and&nbsp; factories.</div>]]></description>
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         <pubDate>2021-11-18 18:39:56 UTC</pubDate>
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      </item>
      <item>
         <title></title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1900301707</link>
         <description><![CDATA[<div>He took thousands of <strong>photographs</strong> in urban and rural <strong>areas</strong> from Maine to Florida, Indiana, Colorado, <strong>Oklahoma,</strong> and Texas. He recorded children <strong>struggling to carry berries at</strong> tobacco farms, sugar <strong>beets, cotton fields</strong> and <strong>canning factories.</strong> There are barefoot children <strong>playing with</strong> looms in <strong>a</strong> textile <strong>factory. And they attracted their cigarette smoke, news programs, swirling</strong> with <strong>the innocence of childhood.</strong></div>]]></description>
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         <pubDate>2021-11-18 18:40:01 UTC</pubDate>
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      <item>
         <title> </title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1900301837</link>
         <description><![CDATA[<div><strong>From fields</strong> to <strong>factories,</strong> children <strong>carry the American economy. Some children suffer from physical malformations as a result of</strong> their <strong>work.</strong> His children represent many races and <strong>men and women. Egalitarianism</strong> exists <strong>at</strong> this <strong>stage</strong> of <strong>work. Hine has called for reform of child</strong> labor.</div>]]></description>
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         <pubDate>2021-11-18 18:40:05 UTC</pubDate>
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      </item>
      <item>
         <title>Moderism/Stright Photography (1915)</title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1900303674</link>
         <description><![CDATA[<div>The history of <strong>contemporary</strong> art shows that America <strong>has provided</strong> a fertile environment for some of the most important <strong>photography</strong> pioneers of the <strong>20th</strong> century. <strong>Perhaps it</strong> was&nbsp; Paul Strand who <strong>opened</strong> a&nbsp; unique position <strong>among</strong> them. <strong>Strands are</strong> often discussed as <strong>so-called straight photography architects. A</strong> pure photographic style that <strong>he records</strong> in the name of <strong>art using a large format camera and brings a new perspective to common or previously ignored subjects. Strand's "straight"</strong> aesthetic <strong>has proven to be attractive enough to be</strong> adopted by other <strong>celebrities</strong> in the <strong>photography world. </strong></div>]]></description>
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         <pubDate>2021-11-18 18:40:58 UTC</pubDate>
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      </item>
      <item>
         <title></title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1900303864</link>
         <description><![CDATA[<div><strong>The "straight"</strong> ideal <strong>was</strong> part of the <strong>reputation of</strong> the famous <strong>f / 64 group, which</strong> shared <strong>the same ideal</strong> with <strong>Strand</strong> as <strong>many others. A straight photographer for decades to come. However,</strong> Strand <strong>took it further</strong> by extending the <strong>aesthetics of "straight"</strong> to <strong>include</strong> documentary <strong>films,</strong> and he <strong>was</strong> highly <strong>regarded</strong> and <strong>standard</strong> for those <strong>seeking</strong> social and political <strong>compensation</strong> through both <strong>stills</strong> and <strong>videos. It is a typical bearer.</strong></div>]]></description>
         <enclosure url="https://www.theartstory.org/images20/works/strand_paul_2.jpg" />
         <pubDate>2021-11-18 18:41:03 UTC</pubDate>
         <guid>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1900303864</guid>
      </item>
      <item>
         <title></title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1900304434</link>
         <description><![CDATA[<div>Wall Street is <strong>a</strong> historically <strong>important image for</strong> both <strong>the beach</strong> and&nbsp; the <strong>evolution</strong> of photographic art. <strong>This is</strong> a style of <strong>soft-focus pictorialism (formerly</strong> by <strong>Strand), where photographers use</strong> camera and darkroom <strong>controls</strong> to <strong>create</strong> images that <strong>mimic this</strong> (by <strong>modern</strong> standards) <strong>a fairly fashionable</strong> painting style. <strong>It shows a clear deviation from (which was practiced). This photo is</strong> an early example of <strong>Strand's</strong> willingness to <strong>put</strong> documentary realism and abstraction <strong>into</strong> the same <strong>framework.</strong></div>]]></description>
         <enclosure url="https://www.theartstory.org/images20/pnt/pnt_strand_paul_1.jpg" />
         <pubDate>2021-11-18 18:41:13 UTC</pubDate>
         <guid>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1900304434</guid>
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      <item>
         <title>Propaganda Photography (1917) WW1</title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1900307500</link>
         <description><![CDATA[<div>President Woodrow Wilson was reelected <strong>under the election slogan</strong> in <strong>1916:</strong> "He kept us <strong>away from</strong> the war." <strong>The newspaper of</strong> that year reflected this relative neutrality. On July 11, 1916, the first two pages of the New York Times were <strong>dedicated</strong> to <strong>a</strong> visit <strong>to Baltimore by</strong> a German submarine <strong>containing dye.</strong> There <strong>was a crew photo</strong> and <strong>story-including</strong> a <strong>hilarious</strong> interview with <strong>Captain</strong> Paul <strong>König,</strong> who spoke <strong>in detail</strong> about his <strong>submarine</strong> and <strong>Shakespeare's onboard library. The photo, dated</strong> December 10, 1916, <strong>shows</strong> a German soldier <strong>in</strong> mourning at <strong>the tomb of</strong> a fallen <strong>comrade.</strong> The dehumanization of <strong>the German humanity, which is characteristic</strong> of <strong>war</strong> propaganda, <strong>has</strong> not yet begun.</div>]]></description>
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         <pubDate>2021-11-18 18:42:09 UTC</pubDate>
         <guid>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1900307500</guid>
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      <item>
         <title>Tabloid Journalism (1900-1919)</title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1900308644</link>
         <description><![CDATA[<div>On a warm summer morning in 1919, <strong>the</strong> New <strong>Yorker saw</strong> a strange sight <strong>while working</strong> at <strong>a</strong> local <strong>newsstand.</strong> A <strong>thin 16-page newspaper,</strong> half the size of <strong>a</strong> standard <strong>large format, full of photographs, cartoons,</strong> and <strong>short, crisp</strong> stories. <strong>.. For only</strong> 2 cents <strong>per issue-a</strong> bargain next to the <strong>solid</strong> New York Times and <strong>The</strong> Wall Street Journal,&nbsp; a <strong>lot</strong> of <strong>nickel-many</strong> curious readers <strong>got</strong> the <strong>opening</strong> edition of&nbsp; the <strong>illustrated</strong> Daily <strong>News at the time.&nbsp;</strong></div>]]></description>
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         <pubDate>2021-11-18 18:42:40 UTC</pubDate>
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      </item>
      <item>
         <title></title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1900308935</link>
         <description><![CDATA[<div>The <strong>possible turnaround</strong> in <strong>the president's war</strong> policy was <strong>reflected</strong> in the <strong>newspaper.</strong> On April 6, 1917, the United States declared war on Germany. <strong>I read the headlines of</strong> the New York Times and <strong>The</strong> Washington Post <strong>for</strong> the next few <strong>days.</strong> "Call <strong>the Republic" of the Houses of Parliament. The United States believes that participating</strong> in <strong>the war will end dictatorship, and</strong> London <strong>(Germans are learning)</strong> and <strong>our armament will complete their enlightenment. Conservatives</strong> are <strong>afraid-a campaign against Wilson's appeal</strong> to <strong>Germanic democracy. "The</strong> United States was optimistic that the declaration of war would <strong>force</strong> Germany to <strong>put</strong> its <strong>weapons.</strong> This optimism proved unfounded. <strong>In June</strong> it <strong>became clear</strong> that Germany had no <strong>intention</strong> of surrendering. </div>]]></description>
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         <pubDate>2021-11-18 18:42:48 UTC</pubDate>
         <guid>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1900308935</guid>
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      <item>
         <title></title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1900309142</link>
         <description><![CDATA[<div>Patriotic <strong>propaganda and many</strong> censorship <strong>laws, including</strong> the Espionage Act of June 15, 1917, <strong>are in</strong> full swing. <strong>Photos</strong> in the <strong>gravure department</strong> showed <strong>dozens</strong> of young men <strong>signing up</strong> for the <strong>design-the</strong> American flag <strong>is found</strong> in more than half <strong>of</strong> the <strong>photos. Pictures</strong> of German soldiers <strong>were posted,</strong> as <strong>well as all</strong> stories from <strong>the perspective of the</strong> German or <strong>Austro-Hungarian Empire.</strong> Countless portraits of <strong>the</strong> heroic President Wilson <strong>have</strong> appeared. In <strong>June,</strong> the <strong>War Drive</strong> became a <strong>race</strong> to see which <strong>states and</strong> even which <strong>cities were</strong> the most patriotic. The New York Times <strong>publishes</strong> daily <strong>charts</strong> showing which states <strong>hired</strong> the most recruits and <strong>bought</strong> the most war bonds. <strong>Due to the imminent intervention, the newspaper reduced the photos of</strong> the battlefield and replaced them with <strong>images</strong> of parades and training regiments. <strong>When American soldiers began fighting in the war, the editorial policy</strong> became even more <strong>pro-American.</strong></div>]]></description>
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         <pubDate>2021-11-18 18:42:54 UTC</pubDate>
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      <item>
         <title></title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1900309502</link>
         <description><![CDATA[<div><strong>It's</strong> no wonder <strong>that</strong> circulation <strong>has</strong> dropped dramatically <strong>in</strong> the&nbsp; months <strong>that followed,</strong> as readers lost interest and <strong>competing</strong> publishers predicted the <strong>rapid end of their papers. However, the founder of the</strong> Daily <strong>News,</strong> Joseph Medill Patterson, <strong>a quirky WWI veterinarian</strong> whose family owned the Chicago Tribune, <strong>decided to succeed in</strong> the first <strong>tabloid concept</strong> in the United <strong>States. </strong>&nbsp;Working with a <strong>small workforce</strong> of nine <strong>people in</strong> a <strong>small rental</strong> space in <strong>Lower</strong> Manhattan, Patterson <strong>does everything</strong> by <strong>officially</strong> sticking to <strong>the noisy, swaying, hard-working</strong> immigrant <strong>town</strong> heading into the <strong>roaring</strong> Twenties. <strong>It was decided to do it correctly.</strong></div>]]></description>
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         <pubDate>2021-11-18 18:43:03 UTC</pubDate>
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      <item>
         <title></title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1900309646</link>
         <description><![CDATA[<div>With <strong>a fascinating combination</strong> of <strong>fascinating</strong> photos, <strong>refreshing copies,</strong> and <strong>a fascinating combination focused</strong> on sex, <strong>murder, scandals, sports,</strong> and <strong>high-society gadgets,</strong> the <strong>news is a reliable</strong> paper for <strong>the rise of the</strong> New <strong>York</strong> working class. <strong>became. Within</strong> seven years <strong>of</strong> its debut, it <strong>jumped to the</strong> top&nbsp; with <strong>about</strong> 1 million <strong>copies. After the</strong> ups and downs <strong>of a century</strong> later,&nbsp; Daily News is no longer just a newspaper. <strong>A multi-platform</strong> media company with a popular website&nbsp; owned by the Chicago <strong>Tribune, faithful</strong> to the <strong>visionary founder's</strong> formula&nbsp; 100 years <strong>ago, but still alive and prosperous despite recent challenges.&nbsp;</strong></div>]]></description>
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         <pubDate>2021-11-18 18:43:07 UTC</pubDate>
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      <item>
         <title>Celebrity (Glamour) Photography (1920&#39;s)</title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1900311418</link>
         <description><![CDATA[<div>Hollywood <strong>portrait photography began in</strong> the <strong>early</strong> 20th <strong>century, when</strong> the film industry <strong>moved</strong> from the <strong>East Coast</strong> to Hollywood. These <strong>young</strong> studios needed to <strong>generate</strong> interest in their <strong>films</strong> by promoting&nbsp; actors <strong>looking inside</strong> them. From 1910 <strong>to</strong> 1970, there were six <strong>people who</strong> became <strong>priority photographers for Shooting</strong> the <strong>Stars, each contributing</strong> in their own way (as seen&nbsp; in <strong>the</strong> stunning portrait of <strong>George Edward Harriet's</strong> Marlene <strong>Dietrich above). ), Created an appearance that defines</strong> the <strong>golden age</strong> of the <strong>film</strong> Hollywood <strong>stars:</strong> Albert Witzel, George Hurrell, Clarence Bull, Ruth Harriet Louise, Milton <strong>Greene,</strong> Cecil Beaton.</div>]]></description>
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         <pubDate>2021-11-18 18:43:58 UTC</pubDate>
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      <item>
         <title></title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1900311591</link>
         <description><![CDATA[<div>He left Hollywood to make <strong>a</strong> training <strong>film</strong> for the First Motion Picture Unit of the United States Army Air Forces. <strong>By the time</strong> he returned <strong>to</strong> the <strong>mid-1950s,</strong> his <strong>glamor</strong> photography had <strong>become unpopular</strong> and <strong>replaced by</strong> a <strong>rustic</strong> and <strong>subdued style.</strong> He moved to New York and worked <strong>in</strong> the advertising <strong>industry,</strong> where <strong>his appeal is</strong> still valued. <strong>Since</strong> 1970, his most prominent work <strong>has been an</strong> album <strong>cover photographer. Cass Elliott's self-titled album (1972), Tom Waits' Foreign Affairs (1977), Fleetwood Mac Mirage (1982), Queen's the Works (1984), Midge Ure's Gift (1985), I</strong> shot the cover <strong>of</strong> Paul <strong>McCartney's</strong> Press to <strong>Play. Play (1986). Harrell</strong> died on May 17, 1992, shortly after completing a TBS documentary about his life</div>]]></description>
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         <pubDate>2021-11-18 18:44:03 UTC</pubDate>
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      <item>
         <title></title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1900311897</link>
         <description><![CDATA[<div>George Hurrell was the creator of <strong>Hollywood's fascinating portraits and</strong> the <strong>lonely man</strong> who captured <strong>the tallest</strong> movie <strong>star</strong> in Hollywood history with bold <strong>contrasts</strong> and <strong>captivating</strong> poses. However, <strong>Harrell</strong> originally studied as a painter <strong>who was not particularly interested</strong> in photography, <strong>and only used</strong> photography&nbsp; as a medium for recording his paintings. After moving <strong>from Chicago</strong> to Laguna Beach&nbsp; in <strong>1925,</strong> he met Edward <strong>Steichen. After</strong> seeing some of his <strong>work, Edward Steichen recommended that he concentrate on photography. Around</strong> the same time, <strong>Harrell</strong> was introduced to&nbsp; actor Ramon Novarro and agreed to take <strong>some pictures</strong> of him. <strong>Novaro</strong> was impressed with the <strong>result</strong> and showed <strong>it</strong> to the actress Norma <strong>Shearer. Her Norma Shearer sought</strong> to <strong>shape</strong> her <strong>healthy</strong> image into <strong>a</strong> more <strong>attractive</strong> and sophisticated <strong>one and win</strong> the title role <strong>of her</strong> movie The Divorcee.</div>]]></description>
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         <pubDate>2021-11-18 18:44:13 UTC</pubDate>
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      </item>
      <item>
         <title>American Photography 1900 - 1934</title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1925942972</link>
         <description><![CDATA[]]></description>
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         <pubDate>2021-12-02 19:25:06 UTC</pubDate>
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      </item>
      <item>
         <title>The Photographic Age 1935 - 1959</title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1925946050</link>
         <description><![CDATA[]]></description>
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         <pubDate>2021-12-02 19:26:49 UTC</pubDate>
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      </item>
      <item>
         <title>Wire Journalism/Plane Crash (1935)</title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1926030946</link>
         <description><![CDATA[<div><strong>January 1, 1935, groups of technicians huddled around black machines across the country. The first transmission -- a dramatic photo of a plane crash.</strong></div><div><br></div><div><strong>The still-wet print was wrapped around the cylinder. The rotating drum converted the photograph’s black and white tones into a wavering, high pitched sound. In twenty-five cities across the country, twenty-five cylinders were rotating simultaneously, while recording the image on a photographic plate.</strong></div>]]></description>
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         <pubDate>2021-12-02 20:17:04 UTC</pubDate>
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      <item>
         <title></title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1926032514</link>
         <description><![CDATA[<div><strong>In the following months, sensational news pictures flew back and forth across the country. Amelia Earhart landed in California after flying nonstop from Honolulu. G-men shooting ‘Ma’ Barker in a furious gunfight in Florida. Will Rogers, the folksy celebrity philosopher, was killed in an airplane crash in Alaska. From this time on, big events, no matter where in the world they occurred, would be pictured on the front page of everyone’s newspaper on the same day.</strong></div>]]></description>
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         <pubDate>2021-12-02 20:18:07 UTC</pubDate>
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      <item>
         <title></title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1926045863</link>
         <description><![CDATA[<div><strong>Will Rogers, the folksy celebrity philosopher, killed in an airplane crash in Alaska. From this time on, big events, no matter where in the world they occurred, would be pictured on the front page of everyone’s newspaper on the same day.</strong></div>]]></description>
         <enclosure url="https://www.google.com/imgres?imgurl=https%3A%2F%2Fgo.newspapers.com%2Fi%2Femail%2FNcom_HIH_Aug2016.jpg&amp;imgrefurl=https%3A%2F%2Fblog.newspapers.com%2Fwill-rogers-dies-in-plane-crash-august-15-1935%2F&amp;tbnid=fdPDHYhoKlYd8M&amp;vet=12ahUKEwist6XX-cX0AhXNwJcIHdavCCsQMygBegQIARAT..i&amp;docid=peTiLWgZ-rbUZM&amp;w=580&amp;h=250&amp;q=Will%20Rogers%2C%20the%20folksy%20celebrity%20philosopher%2C%20killed%20in%20an%20airplane%20crash%20in%20Alaska.&amp;hl=en&amp;safe=active&amp;ved=2ahUKEwist6XX-cX0AhXNwJcIHdavCCsQMygBegQIARAT" />
         <pubDate>2021-12-02 20:27:35 UTC</pubDate>
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      <item>
         <title>Hindenburg Exp/Murray Becker (1937)</title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1926055501</link>
         <description><![CDATA[<div><strong>The day the Hindenburg went down, the image eclipsed the words. From then on, it wasn’t really news if you didn’t have a picture.</strong></div><div><br></div>]]></description>
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         <pubDate>2021-12-02 20:34:47 UTC</pubDate>
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      <item>
         <title></title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1926059084</link>
         <description><![CDATA[<div>Born in Brooklyn in 1909, Murray L. Becker was introduced to news photography while working at the New York American as an office boy. One of his jobs was to lug heavy photo equipment for a staff photographer. Observing the photographer at work, Becker decided on his career and worked his way into the ranks of the news photographers. He joined AP in 1929, just a year after General Manage Kent Cooper hired AP’s first photographers. In 43 years with the AP, 32 years of those as chief photographer, Becker supervised coverage of national political conventions, presidential inaugurations, sports events, and was part of the team that developed AP’s space coverage in the early 1960s.&nbsp;</div><div><br></div>]]></description>
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         <pubDate>2021-12-02 20:37:39 UTC</pubDate>
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      <item>
         <title></title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1926066949</link>
         <description><![CDATA[<div>Becker was a skilled photographer who continued to shoot throughout his years at AP. He mentored many AP photographers and taught photography at the University of North Carolina. In 1970 Becker received the Joseph A. Sprague Award from the National Press Photographers Association. He was cited for “setting the highest standards in equipment, techniques and photographic coverage; for serving not only as a manager but as a lecturer, teacher and advisor to photographers around the world.”&nbsp;</div><div>After retiring from the AP in 1972, Becker continued to teach in Florida. He died on March 18, 1986.</div><div><br></div>]]></description>
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         <pubDate>2021-12-02 20:43:25 UTC</pubDate>
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      <item>
         <title>WeeGee (1935)</title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1926075164</link>
         <description><![CDATA[<div>Weegee, born Usher Fellig on June 12, 1899, in the town of Lemburg (now in Ukraine), first worked as a photographer at age fourteen, three years after his family immigrated to the United States, where his first name was changed to the more American-sounding Arthur. Self-taught, he held many other photography-related jobs before gaining regular employment at a photography studio in lower Manhattan in 1918. This job led him to others at a variety of newspapers until, in 1935, he became a freelance news photographer.&nbsp;</div><div><br></div><div><br></div>]]></description>
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         <pubDate>2021-12-02 20:49:37 UTC</pubDate>
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      <item>
         <title></title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1927871694</link>
         <description><![CDATA[<div>Bonanos also proves himself resourceful, tracking down a rubbernecking seven-year-old whom Weegee photographed after a murder in 1939, as well as a toddler who appeared in a Coney Island crowd scene the following year. Readers will want to keep their Weegee collections on the coffee table; Bonanos describes more pictures than his publisher could reasonably reproduce, even in a book that occasionally becomes relentless and replete, like a contact sheet instead of a selected print. But Weegee and his world don’t encourage minimalism, and, fifty years after his death, he has at last acquired a biographer who can keep up with him.</div><div><br></div>]]></description>
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         <pubDate>2021-12-03 17:49:16 UTC</pubDate>
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      <item>
         <title></title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1927872192</link>
         <description><![CDATA[<div>Bonanos describes the Speed Graphic camera—even now, still part of the <em>Daily News</em> logo—as being “tough as anything, built mostly from machined aluminum and steel.” It was the only press credential Fellig needed at murders and fires, where, after leaving Acme, in 1934, he continued to show up with a manic freelancing zeal. A couple of years later, he was living in a room at 5 Centre Market Place, with no hot water but with a handful of books, among them “Live Alone and Like It” and “The Sex Life of the Unmarried Adult.” He decorated the place with his own published photographs—“like taxidermied heads on a hunter’s wall,” as Bonanos puts it. He got to the nighttime action so fast that he developed (and encouraged) a reputation for being psychic. Bonanos shows that Weegee’s success had more to do with persistence than with telepathy; a bell connected the photographer’s room to the Fire Department’s alarms, and he got permission to install a police radio in his ’38 Chevrolet. However much Weegee wanted people to believe that his professional moniker came from being recognized as a human Ouija board, it in fact derived from his early drudgery as a squeegee boy—a dryer of just developed prints—in the <em>Times’</em> darkroom.</div><div><br></div>]]></description>
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         <pubDate>2021-12-03 17:49:34 UTC</pubDate>
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      <item>
         <title>Life magazine (1936)</title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1934208831</link>
         <description><![CDATA[<div>)In 1936, when he proposed to create a new foundation, Henry R. Luce was only 38 years old but already influential in American life. With his Yale College classmate Briton Hadden, he had founded <em>Time</em> magazine thirteen years earlier, followed in 1929 by <em>Fortune</em>, and in 1936 by <em>Life</em>. Luce made his first major gift in 1935, an endowment at Yenching University in Peking to honor his father’s work. The Foundation’s grantmaking became a tribute to his parents, Elizabeth Root Luce and Henry Winters Luce, Presbyterian missionaries and educators who worked in China during the first part of the twentieth century. Their four children—Henry, Emmavail, Elisabeth, and Sheldon—were all born in China.<br><br></div><div><br></div>]]></description>
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         <pubDate>2021-12-07 18:04:00 UTC</pubDate>
         <guid>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1934208831</guid>
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         <title></title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1934434746</link>
         <description><![CDATA[<div><strong>Photos</strong> became portable in the <strong>1930s, and portable 35mm cameras became available. So</strong> almost <strong>everything could be photographed,</strong> and <strong>time editor</strong> Henry Luce wanted to <strong>create</strong> a magazine <strong>to celebrate the photographs</strong> and <strong>bring them to</strong> American homes. Photojournalism and <strong>"photo essay"</strong> were born.</div>]]></description>
         <enclosure url="https://wlxaj1j3fea9rr7r20slpixw-wpengine.netdna-ssl.com/wp-content/uploads/2015/11/Fort-Peck-Dam-Life-Magazine.jpg" />
         <pubDate>2021-12-07 19:54:41 UTC</pubDate>
         <guid>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1934434746</guid>
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      <item>
         <title></title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1934449319</link>
         <description><![CDATA[<div><strong>Photographer</strong> W. Eugene Smith in Kremmling, <strong>Colorado for LIFE magazine's groundbreaking 1948 photo essay "Country Doctor" (where we look at</strong> the <strong>whole thing, followed</strong> by <strong>some unpublished photographs taken). After spending 23 days, a tireless family drew daily tasks. Ernest Ceriani, a doctor</strong>.&nbsp; Born <strong>on</strong> a sheep <strong>farm</strong> in Wyoming, <strong>Ph.D.</strong> Ceriani attended&nbsp; Loyola <strong>Medical</strong> School <strong>in Chicago,</strong> but <strong>he chose</strong> not to pursue a medical career in <strong>a</strong> big city. <strong>After serving</strong> in the <strong>Marines in 1946,</strong> he was <strong>hired from a</strong> hospital in <strong>Kremling,</strong> and he and <strong>his wife, Berneta,</strong> born in Colorado, settled <strong>in a</strong> rural town. Dr. Ceriani was the <strong>only doctor in</strong> an area of <strong>​​about</strong> 400 square <strong>miles where about</strong> 2,000 <strong>people lived.</strong></div>]]></description>
         <enclosure url="https://static.life.com/wp-content/uploads/migrated/2014/10/w-eugene-smith-country-doctor-01-1024x830.jpg" />
         <pubDate>2021-12-07 20:02:52 UTC</pubDate>
         <guid>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1934449319</guid>
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         <title>FSA Photographers (1930&#39;s)</title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1934464315</link>
         <description><![CDATA[<div>Dorothea Lange <strong>is America's</strong> greatest documentary photographer. She is best known for her <strong>records</strong> of the Great Depression and&nbsp; photographs of <strong>wandering</strong> farm workers. Below are 42 <strong>pre-WWII photos they took</strong> for the <strong>United States.</strong> Farm Security Administration <strong>(FSA), which studies the</strong> living conditions of <strong>agricultural</strong> workers and their families in <strong>western</strong> states such as California. Most of the workers <strong>came</strong> west to escape the Dust Bowl, <strong>a long</strong> drought <strong>that</strong> devastated millions of acres of farmland in Midwestern states <strong>like</strong> Oklahoma.</div>]]></description>
         <enclosure url="https://d7hftxdivxxvm.cloudfront.net/?resize_to=fill&amp;width=200&amp;height=200&amp;quality=80&amp;src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2FF77WnsMF_06x0G5UddDFhQ%2Flarge.jpg" />
         <pubDate>2021-12-07 20:10:21 UTC</pubDate>
         <guid>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1934464315</guid>
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      <item>
         <title></title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1934852524</link>
         <description><![CDATA[<div><strong>As</strong> the Great Depression <strong>began</strong> in the <strong>1930s,</strong> Lange <strong>moved the</strong> camera lens from the studio to the street. She <strong>began researching the</strong> unemployed and <strong>the homeless, attracting</strong> the attention of the <strong>Federal</strong> Resettlement Administration (RA), <strong>later</strong> known as the Farm Security Administration (FSA), and <strong>hired</strong> her as a photographer in 1935. <strong>This division</strong> was set up to combat <strong>poverty in</strong> rural <strong>areas of the United States,</strong> and <strong>Lange's</strong> work humanized the <strong>aftermath</strong> of the Great Depression and influenced the development of <strong>her</strong> documentary photography.</div>]]></description>
         <enclosure url="https://www.google.com/imgres?imgurl=https%3A%2F%2Fwww.artandobject.com%2Fsites%2Fdefault%2Ffiles%2Fstyles%2Feletter_top%2Fpublic%2Flange-slides01.jpg%3Fitok%3DbmQKqh5r&amp;imgrefurl=https%3A%2F%2Fwww.artandobject.com%2Farticles%2Fenduring-influence-dorothea-lange&amp;tbnid=mI_mBRtET04rgM&amp;vet=12ahUKEwjxlvX5v9L0AhW0Jn0KHf7yDxsQMygiegUIARDXAQ..i&amp;docid=jxCX5bLwfKnXrM&amp;w=640&amp;h=400&amp;itg=1&amp;q=dorothea%20lange%20great%20depression&amp;hl=en&amp;safe=active&amp;ved=2ahUKEwjxlvX5v9L0AhW0Jn0KHf7yDxsQMygiegUIARDXAQ" />
         <pubDate>2021-12-08 01:29:43 UTC</pubDate>
         <guid>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1934852524</guid>
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      <item>
         <title></title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1934879019</link>
         <description><![CDATA[<div>This was one of <strong>Lange's</strong> first attempts at street <strong>snapshots</strong> and was <strong>shot</strong> near her studio in San Francisco. The <strong>photo shows</strong> a <strong>lonely</strong> man <strong>standing</strong> in front of a soup kitchen run by a widow <strong>named</strong> White Angel. The angel was <strong>Royce</strong> Jordan, a <strong>working-class female</strong> who relied <strong>solely</strong> on <strong>unilateral</strong> donations to <strong>save bread.</strong> Seeing the suffering <strong>first hand</strong> was <strong>also the reason</strong> Lange <strong>left the</strong> studio and <strong>used the</strong> camera as a tool for social change.</div>]]></description>
         <enclosure url="https://www.historyplace.com/unitedstates/lange/dor12-103.htm" />
         <pubDate>2021-12-08 01:47:03 UTC</pubDate>
         <guid>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1934879019</guid>
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         <title>Civil Movement Photography (Gordon Parks 1948)</title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1934887415</link>
         <description><![CDATA[<div>Gordon <strong>Park's early job</strong> as a professional photographer was <strong>to shoot</strong> fashion <strong>at</strong> a department store in St. Paul, Minnesota. <strong>This</strong> professional experience <strong>allowed</strong> him to <strong>shoot</strong> local newspapers, <strong>which led</strong> Parks to explore and <strong>record the poor</strong> South <strong>Side of Chicago.</strong> This series of photographs <strong>will be funded by the</strong> Rosenwald Fund&nbsp; in <strong>Photography and will be able</strong> to <strong>collaborate</strong> with Roy <strong>Stryker's</strong> renowned Farm Security Administration (FSA) <strong>photographer team.</strong> When the FSA was <strong>incorporated</strong> into the Office of War Information (OWI), Parks had the opportunity to <strong>take pictures of</strong> the legendary Tuskegee Airmen <strong>fighter pilot.</strong> The combination of <strong>Park's</strong> fashion <strong>photography and</strong> documentary photography <strong>experience shaped</strong> his <strong>style,</strong> and&nbsp; when he joined <strong>the</strong> staff in <strong>1948, he became an asset</strong> to <strong>Life Magazine. During</strong> the rest of his tenure <strong>until</strong> the early <strong>1970s, he worked there as both a fashion photographer and a photo documentary.</strong></div><div><br><br></div>]]></description>
         <enclosure url="https://www.gordonparksfoundation.org/media/cache/resolve/300x300/604ff958bec27e4e7f684922/37fee8c8c56fd7d6c047f87dc1e1df99.jpeg" />
         <pubDate>2021-12-08 01:52:23 UTC</pubDate>
         <guid>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1934887415</guid>
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      <item>
         <title></title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1934891045</link>
         <description><![CDATA[<div>In January 1942, Parks arrived in Washington, <strong>D.C. Working at a</strong> Farm Security Administration (FSA). He was <strong>keen</strong> to <strong>record</strong> the <strong>African-American community,</strong> as he <strong>did</strong> in Chicago. <strong>But</strong> he <strong>was still unaware of</strong> the challenges he would face as a black man in the <strong>city-it was</strong> on <strong>a</strong> racial fault line between the <strong>north</strong> and <strong>south of the country.</strong> <br> <strong>Being familiar with</strong> the <strong>situation,</strong> FSA director Roy Stryker suggested that Parks <strong>first explore</strong> Washington without <strong>a</strong> camera. <strong>The park</strong> found <strong>prejudice</strong> everywhere. He was <strong>distracted from the restaurant,</strong> kicked out of <strong>the theater, rejected by a reputable department store,</strong> and <strong>tried</strong> to buy a winter <strong>coat there. Only</strong> a few <strong>days later,</strong> Parks was <strong>completely depressed. "In</strong> this <strong>glorious</strong> historic <strong>place,"</strong> he <strong>complained that "racism</strong> was <strong>rampant" (half-autumn</strong> 1997).</div>]]></description>
         <enclosure url="https://www.gordonparksfoundation.org/media/cache/resolve/500x500_fit/604ff958bec27e4e7f684922/ebe4fcfd3804353c48641b89e314e335.jpeg" />
         <pubDate>2021-12-08 01:54:35 UTC</pubDate>
         <guid>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1934891045</guid>
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      <item>
         <title></title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1934912138</link>
         <description><![CDATA[<div>In 1958, Art Kane (1925–1995) photographed <strong>57</strong> jazz musicians <strong>from the sandstone stairs of</strong> Harlem <strong>and published</strong> Esquire magazine <strong>on</strong> the <strong>development</strong> of <strong>this</strong> genre. Since the Harlem Renaissance, the <strong>region has</strong> been a <strong>remarkable hub for unique</strong> American <strong>jazz sounds. His photographs (commonly</strong> referred to as <strong>"the</strong> Great Day <strong>of Harlem") have been imprinted on</strong> our collective memory, <strong>creating</strong> countless <strong>"Great Day" compliments</strong> to <strong>commemorate</strong> other historic <strong>gatherings. rice field. .. ..</strong> Philadelphia, . <strong>.. ..</strong> Kansas <strong>City ,. .. .. Jersey ,. .. .. St. Paul ,. .. .. Houston ,. .. ..</strong> Spanish <strong>harem</strong> and&nbsp; Dutch version, <strong>great day of harem and more.</strong></div>]]></description>
         <enclosure url="https://www.gordonparksfoundation.org/media/cache/resolve/500x500_fit/604ff958bec27e4e7f684922/11dc5d468248159adbb33f34d2ad2f2e.jpeg" />
         <pubDate>2021-12-08 02:08:52 UTC</pubDate>
         <guid>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1934912138</guid>
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      <item>
         <title>Ansel Adams </title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1934917453</link>
         <description><![CDATA[<div><strong>Ansel Adams</strong>, (born February 20, 1902, San Francisco, <a href="https://www.britannica.com/place/California-state">California</a>, U.S.—died April 22, 1984, <a href="https://www.britannica.com/place/Carmel-California">Carmel</a>, California), American photographer who was the most important landscape <a href="https://www.britannica.com/technology/photography">photographer</a> of the 20th century. He is also perhaps the most widely known and beloved photographer in the history of the United States; the popularity of his work has only increased since his death.&nbsp;</div>]]></description>
         <enclosure url="https://cdn.britannica.com/22/197622-050-D83A284B/Photographer-Ansel-Adams-circa-1950.jpg" />
         <pubDate>2021-12-08 02:11:54 UTC</pubDate>
         <guid>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1934917453</guid>
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      <item>
         <title></title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1934920291</link>
         <description><![CDATA[<div>Adams was a hopeless, rebellious student, but, once his father bowed to the inevitable and removed him from school at age 12, he proved a remarkable autodidact. He became a serious and ambitious musician who was considered by qualified judges (including the musicologist and composer <a href="https://www.britannica.com/biography/Henry-Cowell">Henry Cowell</a>) to be a highly gifted pianist. After he received his first camera in 1916, Adams also proved to be a talented photographer.</div>]]></description>
         <enclosure url="https://www.google.com/imgres?imgurl=https%3A%2F%2Fstatic01.nyt.com%2Fimages%2F2019%2F01%2F18%2Farts%2F18anseladams1%2F18anseladams1-videoSixteenByNineJumbo1600.jpg&amp;imgrefurl=https%3A%2F%2Fwww.nytimes.com%2F2019%2F01%2F17%2Farts%2Fdesign%2Fnational-parks-ansel-adams-photography.html&amp;tbnid=NiGrza5pl72lOM&amp;vet=12ahUKEwjC08bEkNP0AhVAAjQIHQIHCngQMygBegUIARDLAQ..i&amp;docid=9OvkkNd4WhycHM&amp;w=1600&amp;h=900&amp;itg=1&amp;q=ansel%20adams&amp;safe=active&amp;ved=2ahUKEwjC08bEkNP0AhVAAjQIHQIHCngQMygBegUIARDLAQ" />
         <pubDate>2021-12-08 02:13:33 UTC</pubDate>
         <guid>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1934920291</guid>
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         <title></title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1934923627</link>
         <description><![CDATA[<div><br>The <strong>Zone System</strong> is a <a href="https://en.wikipedia.org/wiki/Photography">photographic</a> technique for determining optimal <a href="https://en.wikipedia.org/wiki/Photographic_film">film</a> <a href="https://en.wikipedia.org/wiki/Exposure_(photography)">exposure</a> and <a href="https://en.wikipedia.org/wiki/Photographic_processing">development</a>, formulated by <a href="https://en.wikipedia.org/wiki/Ansel_Adams">Ansel Adams</a> and <a href="https://en.wikipedia.org/wiki/Fred_R._Archer">Fred Archer</a>.<a href="https://en.wikipedia.org/wiki/Zone_System#cite_note-1"><sup>[1]</sup></a> Adams described the Zone System as "[...] not an invention of mine; it is a codification of the principles of <a href="https://en.wikipedia.org/wiki/Sensitometry">sensitometry</a>, worked out by Fred Archer and myself at the Art Center School in Los Angeles, around 1939–40." The technique is based on the late 19th century sensitometry studies of <a href="https://en.wikipedia.org/wiki/Hurter_and_Driffield">Hurter and Driffield</a>. The Zone System provides photographers with a systematic method of precisely defining the relationship between the way they visualize the photographic subject and the final results. Although it originated with <a href="https://en.wikipedia.org/wiki/Black-and-white">black-and-white</a> <a href="https://en.wikipedia.org/wiki/Sheet_film">sheet film</a>, the Zone System is also applicable to roll film, both black-and-white and color, <a href="https://en.wikipedia.org/wiki/Negative_film">negative</a> and <a href="https://en.wikipedia.org/wiki/Reversal_film">reversal</a>, and to <a href="https://en.wikipedia.org/wiki/Digital_photography">digital photography</a>.<br><br></div><div><br></div><div><br><br></div>]]></description>
         <enclosure url="https://www.google.com/imgres?imgurl=https%3A%2F%2Fcdn.fstoppers.com%2Fstyles%2Flarge-16-9%2Fs3%2Flead%2F2019%2F10%2F4c8bad86a7106eb89669211cb196a313.jpg&amp;imgrefurl=https%3A%2F%2Ffstoppers.com%2Feducation%2Fhow-use-ansel-adams-zone-system-digital-world-417047&amp;tbnid=yOMXCkhwq8k9UM&amp;vet=12ahUKEwi2gMWVktP0AhWDgp4KHXv-A3IQMyggegUIARCIAg..i&amp;docid=GqvBkE7UrrA6XM&amp;w=1185&amp;h=670&amp;q=ansel%20adams%20zone%20system&amp;hl=en&amp;safe=active&amp;ved=2ahUKEwi2gMWVktP0AhWDgp4KHXv-A3IQMyggegUIARCIAg" />
         <pubDate>2021-12-08 02:15:39 UTC</pubDate>
         <guid>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1934923627</guid>
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         <title>WWll The Big Five (1939 - 1945)</title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1934956984</link>
         <description><![CDATA[<div>The deplorable behavior of four U.S. Marines captured on video urinating on three Afghan corpses must be rigorously investigated and punished as promised. Such callous desecration of the dead is loathsome, even in a war zone. Unfortunately, it`s not all that surprising. Such atrocities have always been a part of the dehumanizing nature of warfare. Scalps were collected as the American West was settled. During World War II, <strong>Japanese soldiers'</strong> teeth and skulls&nbsp; were <strong>treated</strong> as trophies. <strong>Still, spooky souvenir photos</strong> were <strong>distributed,</strong> but <strong>YouTube didn't have</strong> the immediacy and global <strong>reach.</strong> They were <strong>featured</strong> in <strong>post-gun magazines,</strong> not in the <strong>country</strong> we were <strong>in. The same</strong> was <strong>true</strong> in Vietnam. John Kerry, a veteran of <strong>the</strong> war <strong>and</strong> later&nbsp; a <strong>member of the</strong> U.S. <strong>Senator</strong> and Democratic <strong>presidential candidate,</strong> testified <strong>in</strong> the Senate in 1971 about <strong>his</strong> fellow <strong>fighter jets</strong> who <strong>had</strong> cut <strong>their</strong> ears and <strong>heads.</strong></div>]]></description>
         <enclosure url="https://cdn.newsday.com/polopoly_fs/1.3448760.1326418527!/httpImage/image.jpg_gen/derivatives/landscape_768/image.jpg" />
         <pubDate>2021-12-08 02:36:39 UTC</pubDate>
         <guid>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1934956984</guid>
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      <item>
         <title></title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1934959550</link>
         <description><![CDATA[<div><strong>Her name was Betty Grable, and at the height of the war, 50,000 servicemen a month were asking for this picture. 20th Century Fox made a movie to capitalize on the fame of the photograph. They called it Pin-Up Girl.</strong></div>]]></description>
         <enclosure url="https://iconicphotos.files.wordpress.com/2009/05/betty-grable.jpg" />
         <pubDate>2021-12-08 02:38:20 UTC</pubDate>
         <guid>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1934959550</guid>
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         <title></title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1934981653</link>
         <description><![CDATA[<div><strong>Hungarian-born Capa was probably</strong> the <strong>most famous combat photographer</strong> of&nbsp; World War <strong>II, and was famous long</strong> before <strong>he embarked on</strong> a landing craft with <strong>a man from</strong> Company E <strong>early</strong> in the&nbsp; morning&nbsp; of DDay. <strong>During</strong> the Spanish Civil <strong>War, he endangered his life many times</strong> and <strong>took</strong> the most&nbsp; fascinating of all <strong>his</strong> war photographs. <strong>This</strong> famous <strong>photo allegedly shows</strong> the death of <strong>the</strong> Spanish Loyalist <strong>militia</strong> Frederico Borrell <strong>Garcia, who was</strong> struck&nbsp; by a <strong>nationalist</strong> bullet on a barren Iberian <strong>hill.</strong></div>]]></description>
         <enclosure url="http://skylighters.org/photos/hedgehog.jpg" />
         <pubDate>2021-12-08 02:53:07 UTC</pubDate>
         <guid>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1934981653</guid>
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      <item>
         <title>Family of Man (1955)</title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1934984090</link>
         <description><![CDATA[<div><strong>Most of the</strong> images <strong>shown</strong> in the show <strong>are</strong> from&nbsp; Life <strong>Magazine's archives, as well as</strong> from other <strong>major</strong> magazines of the <strong>time,</strong> such as Vogue <strong>and</strong> Ladies Home Journal. <strong>Photo</strong> agencies such as Magnum, Black <strong>Star</strong> and Rapho Guillumette were also <strong>important image sources.</strong> The exhibition was curated by Edward <strong>Steichen with the support of</strong> Wayne <strong>Miller</strong> and designed by architect Paul Rudolph. <strong>Images (mainly modern</strong> documentary <strong>photography) have been</strong> grouped <strong>into 37</strong> thematic sections that <strong>tell the general</strong> story of human life. <strong>The focus of</strong> the exhibition was <strong>the transparency of the large</strong> backlit <strong>colors</strong> in a <strong>dark</strong> room with red walls depicting the explosion of a hydrogen bomb. <strong>This</strong> was followed by a huge <strong>photo wallpaper</strong> depicting <strong>a UN meetinghouse that should</strong> symbolize a better future than&nbsp; nuclear war. The exhibition ended with a group of <strong>photographs depicting</strong> happy <strong>children adorned</strong> in a <strong>pink-walled room. Even though it was</strong> naive, sentimental, <strong>and melodramatic,</strong> the exhibition at MoMA <strong>properly represented</strong> the hopes and dreams of many.</div>]]></description>
         <enclosure url="https://fkmagazine.lv/wp-content/uploads/2018/07/family-man1-768x840.jpg" />
         <pubDate>2021-12-08 02:54:50 UTC</pubDate>
         <guid>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1934984090</guid>
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         <title></title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1934991768</link>
         <description><![CDATA[<div>The Family of Man <strong>prints should</strong> not&nbsp; be <strong>viewed</strong> as individual <strong>works of art, but</strong> they <strong>should still be viewed. Not all spectators</strong> were <strong>always happy when</strong> the <strong>public came across</strong> the <strong>exhibition.</strong> Some <strong>photos</strong> turned out to be controversial and <strong>offended</strong> some visitors. These cases reveal the <strong>gap</strong> between the <strong>curator's</strong> worldview and <strong>many</strong> other perspectives&nbsp; from <strong>non-American</strong> cultures <strong><br></strong><br></div>]]></description>
         <enclosure url="https://fkmagazine.lv/wp-content/uploads/2018/07/02_Nat_FARBMAN_058_001-768x952.jpg" />
         <pubDate>2021-12-08 03:00:13 UTC</pubDate>
         <guid>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1934991768</guid>
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      <item>
         <title></title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1934996749</link>
         <description><![CDATA[<div>The Family of Man <strong>occupies</strong> a unique place in the history of photography. Most <strong>of the</strong> other exhibitions that have <strong>left</strong> their mark in history are <strong>avant-garde and innovative,</strong> such <strong>as</strong> Pressa (Cologne, 1928), Film <strong>and Photographs</strong> (Stuttgart, 1929), New Documents (New York, 1967), or <strong>new terrain. Exploration. Man Altered</strong> Landscape <strong>Photograph</strong> (Rochester, 1975). <strong>Scientists are</strong> constantly <strong>looking</strong> back at these exhibitions, <strong>reviewing</strong> and <strong>modifying</strong> their interpretations, and <strong>striving</strong> to find new reasons for their importance. <strong>But the</strong> Family of <strong>Man</strong> was <strong>by no means</strong> an <strong>avant-garde</strong> or&nbsp; particularly innovative exhibition. <strong>His</strong> general <strong>message-everyone has joy,</strong> pain, and work <strong>resemblance-was particularly thoughtful, unexpected, and</strong> not&nbsp; radical. <strong>The</strong> design was <strong>fascinating,</strong> but <strong>it was never</strong> groundbreaking. <strong>Scientists are always looking</strong> back <strong>on</strong> it, but they are <strong>looking for</strong> new <strong>flaws</strong> and <strong>flaws.</strong> And&nbsp; despite <strong>the</strong> few historians who <strong>tried</strong> to analyze the show in a more benevolent <strong>light, The Family of Man seems to continue to provide endless reasons to dislike it.</strong> There is no other&nbsp; exhibition in <strong>the</strong> history of photography that has <strong>frustrated</strong> several generations of historians. And we are not <strong>over</strong> yet.</div>]]></description>
         <enclosure url="https://fkmagazine.lv/wp-content/uploads/2018/07/family-man-4-768x613.jpg" />
         <pubDate>2021-12-08 03:03:46 UTC</pubDate>
         <guid>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1934996749</guid>
      </item>
      <item>
         <title>Fashion Photography (Richard Avedon 1944)</title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1935003747</link>
         <description><![CDATA[<div>American fashion and portrait <strong>photographer</strong> Richard <strong>Avedon</strong> was known for <strong>pushing</strong> the <strong>boundaries of</strong> photography&nbsp; in the fashion and political world. <strong>From works</strong> from&nbsp; Vogue to the New Yorker, Avedon was able to capture the rare <strong>emotions</strong> and&nbsp; unique essence of his <strong>subject, which</strong> many other photographers <strong>failed.</strong></div>]]></description>
         <enclosure url="https://iphf.org/wp-content/uploads/2016/08/avedon_portrait.png" />
         <pubDate>2021-12-08 03:08:59 UTC</pubDate>
         <guid>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1935003747</guid>
      </item>
      <item>
         <title></title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1935005705</link>
         <description><![CDATA[<div>Born and raised in New York City by a family involved in the fashion world, Avedon took an interest in fashion and photography from an early age. He attended DeWitt Clinton High School where he managed the school`s literary magazine, The Magpie, with fellow classmate and long time friend, James Baldwin. Avedon enrolled in Columbia University, but dropped out after one year to serve in the Merchant Marines during World War II. As a Marine, his primary duty was to photograph sailors for identification portraits. After fulfilling his military duties, Avedon attended the New School of Social Research to study under Harper`s Bazaar`s art director, Alexey Brodovitch in1944. The photographers quickly <strong>formed</strong> a close <strong>relationship,</strong> and after&nbsp; working <strong>together for a year,</strong> Brodovitch hired him as <strong>a permanent</strong> photographer for the magazine. After <strong>filming his</strong> daily life in New <strong>York for several years,</strong> Avedon was <strong>commissioned to film</strong> the <strong>infamous Fashion Week</strong> in Paris. <strong>For</strong> the next <strong>decade,</strong> he <strong>filmed a moving model</strong> in the city of <strong>Paris and posed</strong> in&nbsp; cafes and <strong>trams. After working for Harper's</strong> Bazaar for <strong>20</strong> years, <strong>Avedon went</strong> to&nbsp; another <strong>famous</strong> fashion magazine, Vogue, where he <strong>stayed</strong> for <strong>nearly 25</strong> years.</div>]]></description>
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         <pubDate>2021-12-08 03:10:23 UTC</pubDate>
         <guid>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1935005705</guid>
      </item>
      <item>
         <title></title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1935006578</link>
         <description><![CDATA[<div>Richard Avedon <strong>is</strong> passionate about photography and devoted his life to capturing the reality of <strong>the subject.</strong> He is&nbsp; most famous <strong>for</strong> his <strong>pioneering photography</strong> techniques and <strong>his quest to expand the world of fashion and transform</strong> photography into more than just <strong>photography</strong> by <strong>making</strong> the <strong>genre of</strong> photography&nbsp; a unique art form. <strong>I'm one of the photographers.</strong></div><div><br></div>]]></description>
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         <pubDate>2021-12-08 03:11:00 UTC</pubDate>
         <guid>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1935006578</guid>
      </item>
      <item>
         <title>Street Photography (Robert Frank 1947)</title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1935018613</link>
         <description><![CDATA[<div>When Robert Frank worked on the Americans, consider it from his viewpoint. He was Swiss-born, and he saw America from an outsider perspective. Although his work was a labor of love, he clearly showed the ugly parts of American society, which included mass consumerism, racism, and the divide between the rich and poor.<br><br></div><div><br></div>]]></description>
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         <pubDate>2021-12-08 03:19:42 UTC</pubDate>
         <guid>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1935018613</guid>
      </item>
      <item>
         <title></title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1935020946</link>
         <description><![CDATA[<div>Not only that, but critics would see Frank as having “contempt for any standards of quality or discipline in technique.” To better understand where Frank got his gritty aesthetic from, let us explore a bit of his background: When Frank started photography in his early twenties, he studied with <a href="http://en.wikipedia.org/wiki/Alexey_Brodovitch">Alexey Brodovitch</a>, a Russian-born innovator for Harper’s Bazaar. Brodovitch was well known for turning the magazine from having drab and boring photographs and adding dynamic montages of photos and text.<br><br></div><div><br></div>]]></description>
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         <pubDate>2021-12-08 03:21:24 UTC</pubDate>
         <guid>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1935020946</guid>
      </item>
      <item>
         <title></title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1935021763</link>
         <description><![CDATA[<div>To create images that are docile and straightforward aren’t enough for Frank. Rather, he wants to create images that are full of power, energy, and ask questions. He didn’t want to create a “picture that really said it all, that was a masterpiece.” Rather, he would try to create images that he would gain feeling and emotion from the photos. An excerpt from “Looking In” also shows the challenge that Frank faced at the time</div>]]></description>
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         <pubDate>2021-12-08 03:22:00 UTC</pubDate>
         <guid>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1935021763</guid>
      </item>
      <item>
         <title>The Black Press (1955)</title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1935022446</link>
         <description><![CDATA[<div>On August 28, 1955, while visiting family in Money, <a href="https://www.history.com/topics/us-states/mississippi">Mississippi</a>, 14-year-old <a href="https://www.biography.com/people/emmett-till-507515">Emmett Till</a>, an African American from <a href="https://www.history.com/topics/chicago">Chicago</a>, is brutally murdered for allegedly flirting with a white woman four days earlier. His assailants—the white woman’s husband and his brother—made Emmett carry a 75-pound cotton gin fan to the bank of the Tallahatchie River and ordered him to take off his clothes. The two men then beat him nearly to death, gouged out his eye, shot him in the head and then threw his body, tied to the cotton gin fan with barbed wire, into the river.<br><br></div><div><br></div>]]></description>
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         <pubDate>2021-12-08 03:22:29 UTC</pubDate>
         <guid>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1935022446</guid>
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         <title></title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1935027737</link>
         <description><![CDATA[<div><br>Till grew up in a working-class neighborhood on the south side of Chicago, and though he had attended a segregated elementary school, he was not prepared for the level of segregation he encountered in Mississippi. His mother warned him to take care because of his race, but Emmett enjoyed pulling pranks. On August 24, while standing with his cousins and some friends outside a country store in Money, Emmett bragged that his girlfriend back home was white. Emmett’s African American companions, disbelieving him, dared Emmett to ask the white woman sitting behind the store counter for a date<br><br></div>]]></description>
         <enclosure url="https://amsterdamnews.com/wp-content/uploads/2018/07/Screen_Shot_2018-07-24_at_11.46.24_AM.png" />
         <pubDate>2021-12-08 03:26:34 UTC</pubDate>
         <guid>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1935027737</guid>
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      <item>
         <title></title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1935028786</link>
         <description><![CDATA[<div><br>After seeing the mutilated remains, she decided to have an open-casket funeral so that all the world could see what racist murderers had done to her only son. <em>Jet,</em> an African American weekly magazine, published a photo of Emmett’s corpse, and soon the mainstream media picked up on the story. Less than two weeks after Emmett’s body was buried, Milam and Bryant went on trial in a segregated courthouse in Sumner, Mississippi. There were few witnesses besides Mose Wright, who positively identified the defendants as Emmett’s killers.<br><br></div><div><br></div><div><br></div>]]></description>
         <enclosure url="https://www.google.com/imgres?imgurl=https%3A%2F%2Fs.abcnews.com%2Fimages%2FUS%2Femmett-till-mom-ap-rc-210128_1611842440299_hpMain_4x5_992.jpg&amp;imgrefurl=https%3A%2F%2Fabcnews.go.com%2FUS%2Femmett-tills-childhood-home-named-chicago-landmark%2Fstory%3Fid%3D75536520&amp;tbnid=dqzmGbKimtu5zM&amp;vet=12ahUKEwjW84OTodP0AhWNGjQIHdz1C1gQMygMegUIARDMAQ..i&amp;docid=UqUnqMskNR-KNM&amp;w=793&amp;h=992&amp;itg=1&amp;q=Emmett%20till&amp;hl=en&amp;safe=active&amp;ved=2ahUKEwjW84OTodP0AhWNGjQIHdz1C1gQMygMegUIARDMAQ" />
         <pubDate>2021-12-08 03:27:24 UTC</pubDate>
         <guid>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1935028786</guid>
      </item>
      <item>
         <title>The Golden Age of Photography 1960 - now</title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1936580646</link>
         <description><![CDATA[]]></description>
         <enclosure url="" />
         <pubDate>2021-12-08 18:43:09 UTC</pubDate>
         <guid>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1936580646</guid>
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      <item>
         <title></title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1936661633</link>
         <description><![CDATA[]]></description>
         <enclosure url="https://www.pulitzer.org/cms/sites/default/files/styles/page_photo/public/main_images/ap_marines_raising_flag_iwo-jima_alan_wood_130428_copy_7.jpg" />
         <pubDate>2021-12-08 19:24:13 UTC</pubDate>
         <guid>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1936661633</guid>
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      <item>
         <title></title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1936665736</link>
         <description><![CDATA[]]></description>
         <enclosure url="https://www.google.com/imgres?imgurl=https%3A%2F%2F1.api.artsmia.org%2F114514.jpg&amp;imgrefurl=http%3A%2F%2Fcollections.artsmia.org%2Fart%2F114514%2Fthe-living-dead-at-buchenwald-margaret-bourke-white&amp;tbnid=pSwRVKJya8t8wM&amp;vet=12ahUKEwjyqf6l99T0AhUPm54KHaSpCuMQMyhGegQIARA8..i&amp;docid=DUpWSTDhgAjq6M&amp;w=400&amp;h=322&amp;itg=1&amp;q=Evidence%2FMargret%20Burk%20White%20ww2&amp;safe=active&amp;ved=2ahUKEwjyqf6l99T0AhUPm54KHaSpCuMQMyhGegQIARA8" />
         <pubDate>2021-12-08 19:26:24 UTC</pubDate>
         <guid>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1936665736</guid>
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      <item>
         <title>Civil Rights (Danny Lyon)</title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1938809771</link>
         <description><![CDATA[<div><strong>Born in Brooklyn,</strong> Danny Lyon <strong>earned</strong> a <strong>bachelor's degree</strong> in history from the University of <strong>Chicago in 1963 and was</strong> a&nbsp; photographer <strong>on</strong> the Student <strong>Nonviolence Coordination Board. As a self-taught,</strong> he traveled with the Chicago <strong>Outlaw Motorcycle Club</strong> in <strong>1965/66</strong> and published <strong>a photo</strong> of the club members as The Bikeriders (1968). <strong>He</strong> has been <strong>working as</strong> an independent photographer and <strong>employee</strong> at <strong>Magnum since 1967</strong> and has <strong>been making</strong> films since 1969. Lyon received <strong>a</strong> Guggenheim <strong>Fellowship for</strong> photography and filmmaking, and his work has been <strong>featured at</strong> many major exhibitions, including <strong>towards the social landscape of</strong> the George Eastman House. His first solo exhibition <strong>took place</strong> at the Art Institute of Chicago. In addition to The Bikeriders, Lyon has published several <strong>photobooks</strong> based <strong>on</strong> his experiences in <strong>groups and specific locations, such as</strong> The Movement <strong>(1964) on</strong> the Civil Rights <strong>Movement</strong> and Conversations with the Dead <strong>(1971). I am publishing. A</strong> study of life in Texas <strong>prison.</strong></div>]]></description>
         <enclosure url="https://www.crmvet.org/crmpics/lyon/cairo2.jpg" />
         <pubDate>2021-12-09 17:42:45 UTC</pubDate>
         <guid>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1938809771</guid>
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      <item>
         <title></title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1938809920</link>
         <description><![CDATA[<div><strong>His</strong> films <strong>include</strong> Social Services 127, Los Niños Abandonados, and Little Boy. Personal participation in the <strong>life</strong> of his <strong>subject</strong> is <strong>an important part</strong> of Danny <strong>Lyon's</strong> photography. <strong>Although his subject</strong> often <strong>deviates</strong> from <strong>social</strong> norms,&nbsp; he <strong>strives</strong> to <strong>convey</strong> their <strong>personality</strong> and <strong>sensitivities</strong> honestly, <strong>compassionately,</strong> and <strong>without prejudice. For</strong> him, this requires <strong>direct</strong> knowledge of their <strong>experience. In</strong> his <strong>early works</strong> he <strong>withdrew</strong> his own personality from the <strong>photographs</strong> to emphasize that of his <strong>subject, but in</strong> his recent <strong>works he</strong> includes more of himself. Lyon has consistently produced <strong>powerful and honest</strong> documents <strong>about the lives</strong> of real <strong>people who</strong> have inspired many photographers since the 1960s.</div>]]></description>
         <enclosure url="https://www.crmvet.org/crmpics/cairo.jpg" />
         <pubDate>2021-12-09 17:42:51 UTC</pubDate>
         <guid>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1938809920</guid>
      </item>
      <item>
         <title></title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1938810016</link>
         <description><![CDATA[<div><strong>Lyon, brought to</strong> SNCC <strong>as the first full-time photographer</strong> by James <strong>Forman,</strong> spent two years <strong>recording</strong> SNCC activists and demonstrations against the backdrop of <strong>racist</strong> violence in the South.&nbsp; SCLC was already <strong>very prominent</strong> in the media, <strong>but "SNCC did not turn to</strong> the <strong>world of observation."</strong> With the help of&nbsp; early <strong>Lyon</strong> photography, SNCC began <strong>developing</strong> its public image. In Cairo, for example, <strong>a photo</strong> of <strong>John Lewis's Lyon</strong> kneeling <strong>during</strong> the demonstration became <strong>a symbolic</strong> poster with the <strong>words "Let's create a new world together" on top of</strong> the <strong>photo.</strong> Many other SNCC posters and pamphlets featured <strong>pictures of Lyon.</strong> They <strong>sympathized with</strong> the <strong>movement</strong> and inspired others. In <strong>1963</strong> he lent his <strong>replacement</strong> Nikon to Tamio Wakayama, who became <strong>an</strong> SNCC&nbsp; photographer after Lyon left the <strong>south.</strong> Wakayama said, <strong>"I am</strong> always&nbsp; grateful to <strong>Danny."</strong></div>]]></description>
         <enclosure url="https://www.crmvet.org/crmpics/lyon/albany1.jpg" />
         <pubDate>2021-12-09 17:42:54 UTC</pubDate>
         <guid>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1938810016</guid>
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      <item>
         <title>Vietnam (Thích Quảng Đức)</title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1938810480</link>
         <description><![CDATA[<div>Thích Quảng Đức was a Vietnamese Mahayana Buddhist monk who burned himself to death at a busy Saigon road intersection on 11 June 1963. Quảng Đức was protesting the persecution of Buddhists by the South Vietnamese government led by Ngô Đình Diệm, a staunch Roman Catholic.</div>]]></description>
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         <pubDate>2021-12-09 17:43:09 UTC</pubDate>
         <guid>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1938810480</guid>
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      <item>
         <title>General Nguyen Ngoc Loan/Eddie Adams</title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1938810653</link>
         <description><![CDATA[<div>Major General Nguyễn Ngọc Loan was a South Vietnamese general and chief of the South Vietnamese National Police. Loan gained international attention when he summarily executed handcuffed prisoner Nguyễn Văn Lém, on February 1, 1968 in Saigon, Vietnam during the Tet Offensive. Nguyễn Văn Lém was a Viet Cong member.</div>]]></description>
         <enclosure url="https://3.bp.blogspot.com/-TOTyNF8KUZM/V2SCSItpyCI/AAAAAAAAKY0/-deXpZZt__AjtgAtrz1dzeoVusDg1HOmwCLcB/s1600/Saigon%2Bexecution%2BMurder%2Bof%2Ba%2BVietcong%2Bby%2BSaigon%2BPolice%2BChief%252C%2B1968.jpg" />
         <pubDate>2021-12-09 17:43:14 UTC</pubDate>
         <guid>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1938810653</guid>
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      <item>
         <title>Phan Thi Kim Phuc/Nick Ut</title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1938810777</link>
         <description><![CDATA[<div>Phan Thị Kim Phúc OOnt, referred to informally as the Napalm girl, is a South Vietnamese-born Canadian woman best known as the nine-year-old child depicted in the Pulitzer Prize-winning photograph taken at Trảng Bàng during the Vietnam War on June 8, 1972.</div>]]></description>
         <enclosure url="https://en.wikipedia.org/wiki/File:The_Terror_of_War.jpg" />
         <pubDate>2021-12-09 17:43:18 UTC</pubDate>
         <guid>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1938810777</guid>
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      <item>
         <title>WHOLE EARTH</title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1938811234</link>
         <description><![CDATA[<div>The Whole Earth Catalog (WEC) was an American counterculture magazine and product catalog published by Stewart Brand several times a year between 1968 and 1972, and <strong>sometimes</strong> until 1998. The magazine <strong>contained</strong> essays and articles, but <strong>focused</strong> primarily&nbsp; on product reviews. The&nbsp; focus <strong>of editing</strong> was on <strong>the topics of self-sufficiency,</strong> ecology, alternative <strong>pedagogy,</strong> "do it yourself" (DIY),&nbsp; holism, and <strong>under</strong> the slogan "access to tools".&nbsp; WEC listed and reviewed a <strong>variety</strong> of products (clothing, books, tools, machines, seeds, etc.), <strong>but</strong> did not sell any of <strong>them</strong> directly. Instead, <strong>vendor</strong> contact information was <strong>displayed next to</strong> the item and its <strong>rating. As a result, although</strong> not a <strong>regular magazine, many issues</strong> and updates were <strong>needed</strong> to keep <strong>prices</strong> and <strong>inventory</strong> information up to date.</div>]]></description>
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         <pubDate>2021-12-09 17:43:33 UTC</pubDate>
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      <item>
         <title>Apollo 8 / First Earth Landing</title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1938811445</link>
         <description><![CDATA[<div>Apollo 8, the first manned mission to the moon, entered lunar orbit on Christmas Eve, Dec. 24, 1968. That evening, the astronauts-Commander Frank Borman, Command Module Pilot Jim Lovell, and Lunar Module Pilot William Anders-held a live broadcast from lunar orbit, in which they showed pictures of the Earth and moon as seen from their spacecraft. Said Lovell, "The vast loneliness is awe-inspiring and it makes you realize just what you have back there on Earth." They ended the broadcast with the crew taking turns reading from the book of Genesis.</div>]]></description>
         <enclosure url="https://www.nasa.gov/sites/default/files/images/297755main_GPN-2001-000009_full.jpg" />
         <pubDate>2021-12-09 17:43:39 UTC</pubDate>
         <guid>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1938811445</guid>
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      <item>
         <title>The Photo Op/Presidents</title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1938811581</link>
         <description><![CDATA[<div>President Trump seems to instinctively understand the power of digital media and photography. <strong>After</strong> all, <strong>he's</strong> a reality <strong>TV</strong> star and a <strong>cover story for a</strong> veteran <strong>tabloid. From the</strong> first day <strong>of his inauguration,</strong> he <strong>discussed and edited photographs showing</strong> the size of <strong>the</strong> inauguration <strong>crowd.</strong> In the past, he has <strong>stuck to the</strong> (real and fake) <strong>cover of</strong> Lucefounded Time magazine. <strong>It shouldn't be surprising that</strong> he <strong>took</strong> a photo&nbsp; at St. <strong>John's</strong> Church <strong>during the protest,</strong> even if <strong>it was a</strong> brutal <strong>way</strong> to get <strong>there. Shortly</strong> after his appearance, the White House tweeted a <strong>29-second</strong> edited video of the <strong>event, excluding</strong> the <strong>exclusion</strong> of protesters. <strong>It</strong> begins with&nbsp; the White House <strong>recordings, continues to the rise of music,</strong> and <strong>continues as</strong> Donald Trump <strong>leaves</strong> the <strong>premises and leads</strong> a group of white officials <strong>(despite</strong> the ongoing coronavirus <strong>pandemic, everything). Has been exposed). A</strong> few seconds <strong>after</strong> Trump <strong>stands with the Bible</strong> in front of the <strong>boarding church,</strong> the footage <strong>shows</strong> him <strong>passing through law enforcement ranks and</strong> returning to the White <strong>House</strong> in full riot <strong>equipment,</strong> with <strong>the roof</strong> of the <strong>administration building cluttered long. The</strong> Secret Service and the Washington Monument <strong>are approaching</strong> the <strong>background, indicating that it ends with a shot.</strong> This moment, <strong>like everyone else</strong> before, <strong>is accountable</strong> for <strong>the systematic anti-black species discrimination</strong> that <strong>has continued since</strong> the <strong>inauguration of the country's</strong> special <strong>interest in whites.</strong> The <strong>president's</strong> photo <strong>shoot in</strong> St. <strong>John's</strong> may&nbsp; have been <strong>distracting.</strong> It <strong>could</strong> have been a page from his reality TV script. It <strong>can foresee</strong> more <strong>harmful anti-democratic</strong> tendencies. <strong>However,</strong> the work of racial justice <strong>has much</strong> more than careful <strong>examination</strong> of <strong>images.</strong> But <strong>as</strong> long <strong>as</strong> we <strong>look</strong> at these <strong>images, it's good</strong> to <strong>study how photography is a matrix</strong> of power. They are cultural <strong>relics trapped</strong> in <strong>the context</strong> of <strong>history,</strong> race, gender, sexuality, class, and religion. <strong>Taking</strong> the&nbsp; St. <strong>John's camera seriously and exhibiting</strong> beyond the Bible&nbsp; and <strong>its</strong> symbolism <strong>prepares us</strong> to understand&nbsp; how deeply <strong>the</strong> visual <strong>works</strong> of religion and race <strong>are rooted</strong> in American life and culture.</div>]]></description>
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         <pubDate>2021-12-09 17:43:44 UTC</pubDate>
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         <title>Gulf War/David Turnley</title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1938812114</link>
         <description><![CDATA[<div>53 of David <strong>Turnley's</strong> new&nbsp; Paris <strong>photos and</strong> some of his classic <strong>photos can be purchased</strong> online at special <strong>vacation</strong> prices. <strong>Choose</strong> from these <strong>exquisitely printed autographed collector's</strong> prints <strong>this season</strong> as <strong>a gift</strong> for <strong>your</strong> loved ones or <strong>as a gift</strong> for <strong>yourself.</strong> The <strong>advertised</strong> size&nbsp; is 12 <strong>"x 16".</strong> Prints purchased during this sale and <strong>shipped in</strong> the <strong>US</strong> and France will be <strong>shipped by</strong> December 25th.</div>]]></description>
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         <pubDate>2021-12-09 17:44:00 UTC</pubDate>
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         <title>The Digital Age</title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1938812333</link>
         <description><![CDATA[<div><strong>The digital manipulation of photographs has an important new application -- finding missing children.</strong></div><div><strong>Cheryl Morrien was seven years old when she was kidnapped by a stranger. Her family hasn't seen her for 10 years. Today, she would be seventeen. Steve Loftin is a forensic artist with an unusual skill. He can alter a photograph to produce an image of how Cheryl's face might have aged. He uses a picture of her sister as a guide.</strong></div>]]></description>
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         <pubDate>2021-12-09 17:44:07 UTC</pubDate>
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      <item>
         <title>Photography Art (Doug Aitken)</title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1938812459</link>
         <description><![CDATA[<div>Aitken is best known for <strong>its multi-screen</strong> video <strong>installation,</strong> which <strong>explores how</strong> perception and consciousness are <strong>being</strong> transformed by <strong>a new, technology-driven global entity. Passengers are one of</strong> a group of <strong>1999</strong> still <strong>images showing aircraft</strong> in <strong>flight. Most of them are concentrated</strong> in <strong>weak mesh patterns</strong> of <strong>takeoff</strong> and <strong>landing</strong> over <strong>barren</strong> airport landscapes. <strong>This elegant and minimalist example with an</strong> emphasis on <strong>brightness, color</strong> and <strong>atmosphere shows Eightken's guilt towards</strong> older California artists such as James Turrell and Robert Irwin. <strong>It's</strong> also <strong>shy and sensual.</strong> Aitken's high production <strong>value, reminiscent</strong> of <strong>technicolor filmmaking</strong> and glossy <strong>advertising,</strong> directly <strong>refers</strong> to the world of media <strong>images, which inevitably determines</strong> our <strong>reaction</strong> to the world.</div>]]></description>
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         <pubDate>2021-12-09 17:44:10 UTC</pubDate>
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         <title>Gabriel Orozco</title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1938813561</link>
         <description><![CDATA[<div><strong>Orosco</strong> works <strong>on</strong> sculpture and photography in <strong>an</strong> elegant, <strong>minimalist</strong> and <strong>anti-monumental style.</strong> His sculptures are often <strong>short-lived, in</strong> this <strong>case</strong> a beach <strong>table</strong> with a <strong>sand</strong> pyramid <strong>on top, and those photographs make</strong> the constructed situation <strong>last longer.</strong> This work <strong>not only promotes</strong> awareness of the <strong>vulnerabilities in</strong> our <strong>achievements, but also promotes</strong> the <strong>abundant</strong> resources available <strong>when</strong> we&nbsp; use the ordinary <strong>ones only</strong> in <strong>a</strong> poetic <strong>way.</strong></div>]]></description>
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         <pubDate>2021-12-09 17:44:43 UTC</pubDate>
         <guid>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1938813561</guid>
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         <title>Tom Friedman</title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1938813730</link>
         <description><![CDATA[<div><strong>Friedman, toothpick, pasta, has been</strong> known <strong>to be converted to cleverly sculpture</strong> everyday <strong>materials</strong> such as&nbsp; chewing <strong>gum.</strong> In <strong>his current classic</strong> work, he <strong>chopped</strong> his <strong>self-portrait</strong> in&nbsp; aspirin, <strong>while teasing</strong> the <strong>tradition</strong> of marble <strong>sculpture</strong> and miniature <strong>portraits, we respect them.</strong> In this <strong>photo,</strong> he <strong>has painted</strong> himself as a <strong>bar code of a</strong> human <strong>being. This is to take</strong> a thin vertical <strong>portion of the self-portrait photos of the full-length, stretched out in</strong> a <strong>horizontal direction using</strong> a <strong>computer,</strong> to create a <strong>practical</strong> abstract image <strong>that was created from the ribbon.</strong></div>]]></description>
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         <pubDate>2021-12-09 17:44:47 UTC</pubDate>
         <guid>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1938813730</guid>
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         <title>How we remember History through photographs?</title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1938813901</link>
         <description><![CDATA[<div><strong>According to one study, photographs</strong> help <strong>remind you of</strong> what <strong>you</strong> saw during <strong>the</strong> event, <strong>but</strong> they <strong>can reduce your</strong> memory of what <strong>they</strong> said. She goes on to discuss the impact <strong>of seeing a lot of</strong> your past <strong>photos</strong> on <strong>your adaptable self-sensation. Studies have shown</strong> that we often <strong>evoke</strong> false memories <strong>of</strong> the past.</div>]]></description>
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         <pubDate>2021-12-09 17:44:52 UTC</pubDate>
         <guid>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1938813901</guid>
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      <item>
         <title>How photographs link us together as a human society and as people?</title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1938814343</link>
         <description><![CDATA[<div><strong>Photography plays</strong> an important role in <strong>everyone's life. Pictures</strong> connect us to <strong>the past and</strong> remind us of people, places, <strong>emotions</strong> and stories. They can help us&nbsp; know who we are. <strong>Pictures are especially important for</strong> people who grew up in <strong>children's facilities. Unfortunately,</strong> for&nbsp; many people, <strong>there are no photos that</strong> most of us take for <strong>granted.</strong> The <strong>Senate's "Forgotten Australians"</strong> report (2004) <strong>states</strong> that <strong>"the</strong> lack of photographs and <strong>souvenirs</strong> is <strong>strongly</strong> felt&nbsp; by <strong>those in need of</strong> care <strong>... photographs</strong> are <strong>children lost in the past. It is</strong> a <strong>concrete connection with</strong> the <strong>times ”(p.255).</strong></div>]]></description>
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         <pubDate>2021-12-09 17:44:58 UTC</pubDate>
         <guid>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1938814343</guid>
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         <title>Mary Ann Vecchio/John Filo</title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1939005994</link>
         <description><![CDATA[<div>Mary Ann Vecchio is one of two subjects in the Pulitzer Prize-winning photograph by photojournalism student John Filo during the immediate aftermath of the Kent State shootings on May 4, 1970.</div>]]></description>
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         <pubDate>2021-12-09 19:25:06 UTC</pubDate>
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         <title>Life/One Weeks Dead</title>
         <author>as0529</author>
         <link>https://padlet.com/as0529/lovephotoclass2022__SF49ers/wish/1939101654</link>
         <description><![CDATA[<div>In June 1969, LIFE magazine published a <strong>controversial article</strong> in some <strong>circles that was</strong> as <strong>inspiring</strong> as it&nbsp; intensified <strong>the study of the soul of the country</strong> 45 years ago. On the cover was <strong>a picture</strong> of a young man and 11 <strong>explicit</strong> words: <strong>"Faces</strong> of&nbsp; American Dead in Vietnam: <strong>Weekly Tolls". In it,</strong> LIFE published <strong>photos and names on 10 funeral pages</strong> after <strong>the names</strong> of 242 young men <strong>who were</strong> killed <strong>in half the world</strong> in seven days <strong>"in</strong> connection with the <strong>Vietnam conflict."</strong></div>]]></description>
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         <pubDate>2021-12-09 20:27:22 UTC</pubDate>
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