the fading to the right
Yesterday I went to see a show together with @Cor featuring (many) prints by the Séeberger brothers. Photographed at 18x24 and 13x18cm and enlarged onto bromide paper, the subject matter overlapped strongly with that of Atget. Stylistically, it's more varied, and the prominently featuring posing figures are a fundamental difference. But one particular series featuring back-alleys and view of tannery works could have been made by Atget, if not for the different printing technique. Same subject matter, same era, same format much of the time, and in several instances, the same compositional choices. One key difference is the technical superiority of the Seeberger images from an objective viewpoint - they are pretty much immaculate. This says little of course about the subjective appreciation of technical choices/outcome that may not be objectively optimal.
Is there any online link where we can explore their photo archive?
An excerpt from a recent interview with Jean-Jacques Naudet, editor-in-chief of the French online journal L’Oeil de laPhotographie.
Early in his career at PHOTO magazine, he was assigned to interview Romeo Martinez. (Romeo Martinez): “What do you know about Atget?” I said, ”Atget. Great photographer, loved by the Surrealists and the one who made us remember the old Paris.”
He said, “Tell me about Atget and the prostitutes?” and I didn’t know anything about Atget and the prostitutes. “So, maybe one day we will meet again, but next time try to know better about Atget and the prostitutes. If you don’t know about Atget and the prostitutes, you will never know anything about photography.
I’m not sure I understand. Are you saying that photographing prostitutes the way he did — with respect, neutrality, and a documentary approach — is essential to understanding his entire body of work? That feels like a bit of an overstatement. One could say the same about how Bresson or Brassaï photographed prostitutes, each in their own style. I don’t see any hidden meaning in Atget’s approach that would fundamentally change the perception of his entire body of work — or of photography as a whole. But who knows, maybe I’m wrong too, like the editor!
I’m not saying anything, just citing a quote.
The quote I have was taken from an interview with Jean-Jacques Naudet on L'Oeil de la Photographie. He was recalling a conversation with Romeo. It is possible that interchange might have been included in his interview with Romeo which would have been published in PHOTO magazine.Sorry to correct myself I don't quite understand Romeo Martinez
Tried to find the whole interview but is on some subscription content in NY times.
Do you happen to have it?
The quote I have was taken from an interview with Jean-Jacques Naudet on L'Oeil de la Photographie. He was recalling a conversation with Romeo. It is possible that interchange might have been included in his interview with Romeo which would have been published in PHOTO magazine.
Guess I'm a moron; but that's nothing new. So there's no sense me getting enlightened by someone else's nonsense.
Guess I'm a moron; but that's nothing new. So there's no sense me getting enlightened by someone else's nonsense.
We should start a club, 'caus seems like I'm a moron too.
(I'm betting Môssieur Martinez doesn't have much consideration for people who end their sentences with a proposition either)
I found that interview too and Romeo Martinez stated the following:
"Only morons talk about Atget without mentioning the importance of prostitutes in his work. Without them, his photos are incomprehensible"
Too bad I cannot read the whole interview (it is under paywall)
We should start a club, 'caus seems like I'm a moron too.
(I'm betting Môssieur Martinez doesn't have much consideration for people who end their sentences with a proposition either)
'Too" is an adverb in that sentence.
Maybe not, but the author Lucy (nee Luc) Sante is quite astute. Her/his The Factory of Facts is a favorite book in my collection.Here’s an article giving some background:
https://live-legacy-admin.nypl.org/blog/2015/03/06/eugene-atget-public-eye
I can’t say it has given me any insight on the rest of Atget’s work.
Maybe not, but the author Lucy (nee Luc) Sante is quite astute. Her/his The Factory of Facts is a favorite book in my collection.
The League of Morons? It has a certain ring to it.
I would give some validity to Martinez's comments as he was a well-respected collector and editor of Camera magazine for over 10 years. Some comments about him:Sure, I have no criticism of the article, which was very informative and interesting. It was Martinez’ claim - that the prostitute story is the key to understanding Atget/photography in general - that didn’t work for me.
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