Archived posting to the Leica Users Group, 2003/10/30
[Author Prev] [Author Next] [Thread Prev] [Thread Next] [Author Index] [Topic Index] [Home] [Search]True enough! Also, don't forget the great divide between the artist and the photographers. Some of the best work, that we now identify as documentary, was commissioned to illustrate a point of view. The role of the 'point of view' is in itself compellingly interesting. I always wondered on how much the early photographers were creatures of the modern theme, unbeknownst even to themselves in many cases. Slobodan Dimitrov - ---------- >From: Tim Atherton <tim@KairosPhoto.com> >To: leica-users@mejac.palo-alto.ca.us >Subject: RE: [Leica] The Decisive Moment is gone >Date: Thu, Oct 30, 2003, 5:36 PM > >> >> I suppose that when documentary photography was melded into >> the fine art >> >> school of thought, such an excretion from a staff keyboard ponder like >> >> Gopnik isn't too surprising. >> > >> > Been a long time coming - didn't that happen around the 1930's? >> (or was it >> > earlier?) > > >> I think that at one time it was considered advocacy photography, which has >> once again come back full circle to that definition. Recently, >> publications >> like Doubletake and Aperture have added a sort of formalism to >> the approach. >> The demands of a new photographic consumer, the investor, pushed for new >> definitions of the work on hand. Definitions that I think would >> often be at >> odds with past usages that the photographer's used themselves. >> Slobodan Dimitrov > > But people like Evans didn't consider themselves to be documentary > photographers, rather photographers (artists?) who used a certain "style" to > make their point, express their vision, tell what it was they wanted to > tell. > > The same could to some extent be said of Atget (although much more of an > enigma). > > tim > > -- > To unsubscribe, see http://mejac.palo-alto.ca.us/leica-users/unsub.html - -- To unsubscribe, see http://mejac.palo-alto.ca.us/leica-users/unsub.html