Photographers you most admire

rochephoto

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Thank You Chuck! Very well put. I tell college photography classes that come through my studio that on the lefthand, when I do advertising photography I create tools. They are either brand tools or sales tools or a combination of the two. On the right hand, as an artist, I'm trying to expand my understand of the breadth of visual perception. It's merely serendipity that I use the same tools in both pursuits. My interested in how the medium in it's artistic side can "Surprise Me" as I work to expand my understanding of it.
 

rochephoto

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Thanks Chuck for your astute words. I'm categorically up for the drubbing and I've been at it for some time. Garry Winogrand, whom I new and took classes from in Austin Texas thought along similar lines. I grew up in a family where my mother was a serious artist as well. The two of them showed me that art can have a real depth that is not immediately understood. Winogrand was the one lecturer that I have come across that really talked about this in a way that made sense. He was passionate about it.
Best - Chris
 

rochephoto

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I will also check out "The Rape of the Masters"
 

rochephoto

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I'll leave you with this final thought. Ask yourself just why these artifacts are "downright depressing or even shocking". Is it the art or is it the agenda?

Thanks for the civil discourse.

I have to add that my wife often asks me if I have something easy to look at that she could put on the walls of our home. I have to reply honestly that I really don't think so. It's not that I'm trying to make images that aren't "pretty" it's just not what is interesting to me.
 

rochephoto

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I would add that we do learn by looking at Good Art and it is as much a part of the process as going on and doing ones own work. I'll also say that we all have motivations that spur us to create, I just hope that the images themselves are more interesting than the agenda.
 

rochephoto

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Something that Garry Winogrand said in his seminars at UT Austin in the '70s is that if you spend a life seriously working as a visual artist and you make 5-10 really great pieces that are enduring, then you've accomplished a great deal
 

snusmumriken

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Something that Garry Winogrand said in his seminars at UT Austin in the '70s is that if you spend a life seriously working as a visual artist and you make 5-10 really great pieces that are enduring, then you've accomplished a great deal

I can’t help the mischievous thought that if that was his aim, his approach was like that of a codfish laying eggs.
 

rochephoto

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I can’t help the mischievous thought that if that was his aim, his approach was like that of a codfish laying eggs.

I hear you! At the same time, there are a lot of myths and lore going on about Winogrand. I went to events and photographed with Garry, although my work is not like his. First - what he was trying to achieve pretty much required that he shoot a lot of film. Second - he NEVER "shot from the hip" and would be greatly offended if you suggested otherwise. He shot and printed to the frame with NO CROPPING. It was very important that he frame all of his images. That being said, he did several things when he photographed that may look to the layman that he was not using the finder. These included rolling the camera and his eye off to the side from where his body was facing and bringing to and away from his eye very rapidly in an effort to make his subjects not fully aware that he was photographing them or anything at all. There is virtually no way he could have made the images he did without these technics. Third - He was an excellent technician. He taught me how to inspection develop 8 rolls at a time in an open sheet film tank and I have seen his negatives. Very full toned. Unfortunately it appears that whoever developed his remaining rolls posthumously didn't know that the development times needed to be reduced between 30-50 percent depending on the conditions he was photographing in. Expose for the shadows, develop for the highlights.
Best - Chris
 

chuckroast

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If you want to really understand the contemporary sensibility about quality, read "The Fountainhead" by Rand. It's entirely about what happens what people with mediocre skills will to to try and feel that there work is "great". It's essentially a meditation on quality. Beyond that, I will not comment because her works are overtly political in their own right (and I disagree substantially with her in some regards) and this ain't the place.
 

MattKing

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I greatly prefer Robert Pirsig about "quality".
And yes, we aren't going to get into Ayn Rand here - there is no one more controversial/political.
 

Sirius Glass

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When we were growing up, every weekend our parents dragged us to an art museum in the Washington DC or Baltimore area on a Saturday or Sunday whether or not we needed it. After one looks at enough good art, one will almost automatically find a good composition or move the a nearby location for a better composition almost without thinking about it.
 

chuckroast

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I greatly prefer Robert Pirsig about "quality".
And yes, we aren't going to get into Ayn Rand here - there is no one more controversial/political.

I like Pirsig as well, though for somewhat different reasons. I've read Rand extensively. Of all her books, I find "The Fountainhead" essentially nonpolitical, though certainly controversial in some circles. The movie with Patrica Neal was also pretty great ... and in B&W
 
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Like music, I find that I admire individual photos as I would individual songs. So just like I can like jazz, pop, soul, etc., by many artists, it's kind of like that with photography. I like the photo first, then note who the photographer is. Of course, some do many photos that I like more. But like music, it's not limited to any one style or photographer.
 
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cliveh

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There is no artist or photographer who has ever existed who wasn't influenced by others. Art is not created in a vacuum.
 

schyter

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1) William Mortensen
2) André Kertész
3) Man Ray
4) Mario Giacomelli
5) Andreas Feininger
6) Michael Ackerman
7) William Eugene Smith
8) Michael Kenna
9) Paolo Gioli
10) Aleksandr Michajlovič Rodčenko

but my absolute favorite photo is the one taken by Sergey Strunnikov to Zoja Anatol'evna Kosmodem'janskaja.


 

albireo

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  1. Gerry Johansson
  2. Robert Adams
  3. Michael Schmidt
  4. Chris Killip
  5. William Eggleston
  6. Luigi Ghirri
  7. Helga Paris
  8. Stephen Shore
  9. Paul Graham
  10. Lewis Baltz
 

Alex Benjamin

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  1. Gerry Johansson
  2. Robert Adams
  3. Michael Schmidt
  4. Chris Killip
  5. William Eggleston
  6. Luigi Ghirri
  7. Helga Paris
  8. Stephen Shore
  9. Paul Graham
  10. Lewis Baltz

Love the list. Both Michael Schmidt and Helga Paris are new to me.
 

Dali

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Diane Arbus, Bruce Gilden and Michael Ackerman for totally different reasons.
 

albireo

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Love the list. Both Michael Schmidt and Helga Paris are new to me.

You're in for a treat. One thread that connects them, for me, is that they both explored themes of alienation, separation, anxiety and uncertainty about the future in the divided Germany pre 1989.

"Waffenruhe", "Berlin Wedding" and "Leipzig Hauptbahnhof" have a special place on my desk.
 

Jim Peterson

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Ansel Adams
Marc Adamus
Galen Rowell
Bruce Jackson
Austin Granger
Bruce Barnbaum
Bruce Percy
John Shaw
Art Wolfe
 

SodaAnt

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I’ll turn this thread around a little and list the photographers whose work I don’t like.

Brett Weston — Too derivative
Weegee — Ambulance chaser
Fred Picker — Liked his newsletter and most Zone VI products, but my god, his photos were absolutely sterile
Edward Weston — I find his work boring, or pointless, especially the nudes


Here are the ones I do like:

Ansel Adams
Arthur Rothstein
Jack Delano
John Vachon
Marion Post Walcott
Garry Winogrand
Dorothea Lange
Margaret Bourke-White
John Sexton
 
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Sirius Glass

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There are too many great photographers to list all of them and that of course would include myself, IMNOHO.
 
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The golden triumvirate for me are Edward Weston, Andre Kertesz and Ralph Gibson.

I also dig, in no particular order, Daido Moriyama, Roy DeCarava, Brett Weston, Yasuhiro Ishimoto, Harry Callahan, Anton Corbijn, Henry Wessel, Josef Sudek, Moholy-Nagy, Pentti Sammallahti, Ray Metzker, Todd Hido.

The two most overblown photographers I think are Ansel Adams and Garry Winogrand.
 
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