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Still Life Photographs: The production of "still life photographs-size" portraits as big as 6 x 10 feet is recorded, but these enlargements were of such poor quality that they were heavily retouched. Marcus Aurelius Root, a prominent Philadelphia photographer, wrote in 1864:
Since the introduction of the Solar Camera, still life photographs-size anc other enlarged photographs have begun to excite popular attention. These pictures, from causes both inherent and incidental, require, more than any other photographs, some aid from the artist's touch.
What sort of photographs were these prints, which caused so much commotion? Just plain, straightforward itographs. But such photographs! Different from the photographs usually seen at the exhibitions? Yes. How different? There's the rub. If you could see them for yourself, you would at once appreciate their difference.
Photographs have been combined with the printed word, not as literal illustrations, but to reinforce one another so that new meanings can be read in each. Thus in the book Time in New England, an anthology of Ne England writings with Paul Strand's photographs, Nam Newhall put a photograph of a blasted tree with £ account of witchcraft, a stern detail of rock with ey witness accounts of the Boston Massacre, the spire of meeting house with a statement on abolition, an infini seascape with the chronicle of the loss of a ship at se In the 1955 exhibition The Family of Man at The M seum of Modern Art, and in the book made from Edward Steichen not only juxtaposed photographs i family still life photographs the world over, but also used photographs metaphors: the great Mount Williamson of Ansel Adan expressed the creation of earth; a photograph by Wyr Bullock of a child asleep in a forest glade, the creatic of man. |
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