阿三博客

就如以下文字所说，安德烈开创了一个时代。在他的照片里，看到了布列松、专拍人体变形的那个谁（总记不住老外名字），延续了纪实摄影严谨的风格，同时诙谐。幽默谈不上。
画面具有艺术的美感。线条和氛围传递出来美。这是静态画面必须的基本功。 他最好的是景物，其次是具有韵味的画面，是决定性瞬间。人像真的一般。
一下节选的图片来自展览。其中一些觉得不好，并没有截屏。

好奇心与客观性
纪实摄影家有一种共通的特质，他们好奇心旺盛，求知若渴，却都力求客观。他们热烈的寻找自然界与人类社会的本质。他们不厌其烦的调查，好让事实说话。
凯尔泰什孩童般的好奇心
每张照片的美学风格常常是创作者个性的一面镜子。有些纪实工作者冷静、客观而严肃，有的则温暖而活泼，20实际最具影响力、最受人钦佩的摄影家之一的安德烈·凯尔泰什（Andre Kertesz）,即以孩童般的好奇心拍摄各个历史阶段的人类活动。
凯尔泰什对于生命有一种从不质疑的接受，也有能力待着感受性与敏感性记录令他着迷的振奋的事情。凯尔泰什不为特定的目的拍照，而其作品则教导着容忍、尊敬和爱。
他对欧洲摄影发展的影响远超过其他摄影家。
现代美术馆摄影部总监约翰·沙尔科夫斯基（John Szarkowski）说：“这些最晚期的照片，看似才华横溢的初学者带着新鲜感首次发觉摄影艺术之美，然而，从作品的以简驭繁，举重若轻，纵情于浅近的看的乐趣，可以看出这些是大师的作品。摄影世界才重新发现安德烈·凯尔泰什留下的正式他们最为珍惜的摄影价值。”
（安德烈·凯尔泰什的代表作包括：《吻》，the kiss,1915；《讽刺的舞者》，satiric dancer,1926）

以上内容来自 纪实摄影。

访著名摄影家安德烈·克蒂希 （来自网络）
在美国纽约市曼哈顿区，有一条繁华的商业大街，第五街。这里有世界上最大的百货商店和形形色色的小铺。街道两旁是林立的摩大大楼，楼群南端是树木掩映、群鸽闲步的华盛顿广场。广场边耸立着一座高级公寓，这里住着不少美国著名艺术家。当代著名摄影家安德烈·克蒂希（Andre Kertesz）也住在这里。
一九八二年十一月一天的上午，天气格外晴朗。我们前往他的寓所访问。当我们走出电梯时，老人已站在门口等候了。这位年高八十八岁的老摄影家已多年不接待来访的外国人。听说我们来自遥远的中国时，十分高兴。热情地拉我们坐在客厅的沙发上。客厅是向南的，三面是大玻璃窗，阳光射进来特别暖和。老人一个人住着这一套房子，过着深居简出的生活。当我们问到他的摄影经历时，他谈了许多往事，并且也讲到了他对摄影的见解。

安德烈·克蒂希一八九四年出生在匈牙利布达佩斯一个银行职员的家里。中学毕业后就读于布达佩斯商业学院。再后，进证卷交易所任职。一九一二年，他买了第一台相机，是ICA4.5 X 6厘米的盒式干版相机，开始从事业余摄影创作活动并尝到摄影艺术的乐趣。他主要利用业余时间拍片。上下班的途中和假日，是他创作的机会。他不但勤于拍片，而且刻苦钻研技术。自制简易暗房，每天等家人入睡以后，进行底片冲洗和照片印放。

一九二八年他在巴黎买了一台小型轻便的莱卡相机。这时这种相机才问世不久，他充分利用了它的特点，拍了大量作品。第一次世界大战期间，他作为一个士兵经历了打仗的痛苦生活，拍了不少照片。

一九四四年起，克蒂希定居美国。随着经历的不断变化。他的后期作品倾向于抒情，给人一种轻松活泼之感。

克蒂希滔滔不绝的谈他的摄影经历。他在叙述合个阶段的摄影重点时，几次走到他的作品储藏室里取来他的作品。他拍摄的作品都井井有条地放在盒子里。他一张张地拿出来，让我们看，并且介绍他当时拍摄的情况。他做着手势，情绪很高，显然他已沉醉在他过去的创作生活里了。

我们询问他对摄影创作的观点。他说，摄影的特点是抓取瞬间，而且要抓取事物变化的典型瞬间。我们知道，他正是不拘形式，用他那反应敏捷的才能进行抓拍。因此，他拍摄的作品，都记录了当时的历史风貌，具有典型意义。

克蒂希作品的题材很广泛。和其他的许多老摄影家一样，他是崇尚现实主义的。他的全部作品，就是二十世纪以来一个时代的纪录。就是这个复杂多变的世界的一面镜子。他的作品是质朴而纯洁的，有时又是诙谐的。它们不但给人留下深刻印象，还能启发人们去深思。

据我们所知，他的艺术风格曾为同时代摄影家们所仰慕和模仿。他拥有一批推崇者，如著名摄影家布拉塞，亨利·卡蒂埃——勃列松等。他们在克蒂希的敏捷、独特、不落俗套的创作方式的启发下，拍出了大量的不朽的摄影作品。克蒂希的风格，在欧洲现代摄影艺术史中占有举足轻重的地位。有人认为他开创了一个新时代。他的这种在现场抓取既深刻而又值得永久保存的图片的创作方式，既是严肃而有分析的，又是即兴的。这很快就成了一种世界性的风格。

克蒂希的作品在欧洲和美国都影响较大，许多作品都出了画册。无论是欧洲的博物馆，还是美国纽约现代艺术博物馆，都想收藏他的全部作品。当我们和他谈到他的作品如何能保存下来时，他告诉我们，前不久有一家英国的博物馆愿以每张一千美元购买他的三百七十五张照片，他说，我没有卖，我还要看一看再说。

克蒂希独自一个人生活。几年前，他的老伴去世。为了寄托他的哀思，他利用两个玻璃人。以窗外大片天空为背景，从不同的角度，拍摄了不少两个模拟人物相偎相依故的彩色照片。

克蒂希年事已高。久不出门，他不能到外面拍摄照片，但是，他的创作热情还是很高，他在家里布置了很多木雕、瓷雕和各种静物。在他客厅的细木架上几乎摆满了这些东西。他精神好的时候，就把要拍摄的静物，置放在窗前，用三脚架架着相机拍摄。他勤于思索，精雕细刻，他创造的彩色静物作品很有特点。很多人都要收藏地的作品，经常有人上门来选购。

http://en.wikipedia.org/wiki/Andr%C3%A9_Kert%C3%A9sz

图片来源 http://www.nga.gov/exhibitions/2005/kertesz/kertesz_ss1.shtm
这里的图片更多 http://photography-now.net/andre_kertesz/index.html 这里可看到一些好的风景画。

爱德华韦斯顿？

最著名的那幅画。讽刺的舞者。网上很多版本不全，注意，左上角有一个雕像。

难道卡什受到他的影响？ 这些环境肖像并不突出。可能在那个时代很NB啦

包括下面这张，典型的瞬间艺术

想起了谍影重重2还是3里面的火车站。哈哈

让人想起了华尔街那张。不过，那是商业的，冷冰的，这是生活化的

杰克 德拉诺  艺术专业，学过绘画、音乐。在拿到一笔奖学金之后，他才买了相机。
在PAFA毕业之后，开始了一项艺术计划。比较自信的是，他给FSA的老板罗伊斯瑞克写信，毛遂自荐，加入FSA。一年的薪水是2300美金。不过条件是他必须自己有卡车和驾照。
在项目中，他自己冲洗胶卷 ，到了FSA之后，不用这么做了。
在波多黎各开展项目，在那里定居。妻子是某个摄影师的堂妹。
后来，他开始搞起了导演、编剧，并获得多项奖项。
也是一条大牛。

FSA精神与永恒，用相机书写世界的存在
一个女孩站在门廊里。她的身后有另一人影，在通往门厅的走廊中段。再远处是女孩的祖母，面对后门的门阶而坐。德拉诺喜欢这张作品。他说，这张照片不但构图讲究，拍得正儿八经，它还有文献价值，极其真实。看上去好像是把各个环节凑到一起，构成一幅l 7世纪的绘画；而它也像那个样式的绘画那样，赏味着文化和时间的延续性。德拉诺显示了一个精心组装的世界，与过去保持接触。在这一方面，他的影作远比其他人，比如沃克·伊文斯和本·商南的作品有更多的历史意识。那些人是他的前驱，曾在美国农业安全管理局文献部效力。德拉诺是该局雇用的最后一批摄影家之一，于l 940年接替亚瑟·罗思坦的工作。1941年至1942年，他定居波多黎各，在那儿继续摄影家和作曲家的工作。 (文字来源网络，出处忘了)

以下内容来自维基百科。
Delano was born as Jack Ovcharov in Voroshilovka, 120 miles southwest of Kiev, Ukraine and moved, with his parents and younger brother, to the United States in 1923. Between 1924 and 1932 he studied graphic arts/photography and music (viola and composition)[2]  at the Settlement Music School and solfeggio with a professor from the Curtis Institute in Philadelphia, Pennsylvania.[3]  After being awarded an art scholarship for his talents, he attended the Pennsylvania Academy of the Fine Arts (PAFA) where, from 1928 until 1932, he studied illustration and continued his musical training. While there, Delano was awarded the Kesson traveling fellowship which he took to Europe where he bought a camera that got him interested in photography.

After graduating from the PAFA, Delano proposed a photographic project to the Federal Art Program: a study of mining conditions in the Schuylkill County, Pennsylvania anthracite coal area. Delano sent sample pictures to Roy Stryker and applied for a job at the FSA. Through the help of Edwin Rosskam and Marion Post Wolcott, Stryker offered Delano a job at $2,300/year. As a condition of the job, Delano had to have his own car and driver’s license, both of which he acquired before moving to Washington, D.C.
Chicago railyards, 1942. Photograph by Jack Delano.

Before working at the FSA, Delano had done his own processing and developing but he didn’t have to do either of that at the FSA. Other photographers working for the FSA include Walker Evans, Dorothea Lange, and Gordon Parks. In 1943 FSA was eliminated as “budget waste” and subsumed into the Office of War Information (OWI).

He travelled to Puerto Rico in 1941 as a part of the FSA project. This trip had such a profound influence on him that he settled there permanently in 1946.

With his wife Irene (a second cousin to fellow photographer Ben Shahn) he worked in the Community Division of the Department of Public Education producing films, for many of which Delano composed the score.[4] Delano also directed Los Peloteros, a Puerto Rican film about poor rural kids and their love for baseball. The film remains a classic in Puerto Rican cinema.

Jack Delano’s musical compositions included works of every type: orchestral (many composed for the Puerto Rico Symphony Orchestra), ballets (composed for Ballet Infantil de Gilda Navarra and Ballets de San Juan), chamber, choral (including a commission for Coro de Nis de San Juan) and solo vocal. His vocal music often showcases Puerto Rican poetry, especially the words of friend and collaborator Tomás Blanco. Blanco, Dlano and his wife Irene collaborated on children’s books. The most prominent of these remains a classic in Puerto Rican literature: The Child’s Gift: A Twelfth Night Tale by Tomás Blanco, with illustrations by Irene Délano and incidental music (written on the margins) by Jack Délano.

His score for the film “Desde las nubes” demonstrates an early use of electronic techniques. Most of his works composed after he moved to Puerto Rico are notable for using folk material in a classical form

http://en.wikipedia.org/wiki/Jack_Delano

http://www.loc.gov/pictures/collection/fsa/related/?q=Delano%2C%20Jack&fi=names&co=fsa&c=20&st=thumbnails

http://www.shorpy.com/jack-delano-photos

插件没搞好，只好老老实实的一张张上传了。这些照片真的是太漂亮了。前面的赞美之词，一点都不过分。

John Vachon

约翰 瓦尚 ，取得文学学士之后，在斯特莱克办公室做档案管理工作和信差。闲暇期间拍照，受到ben shahn、Stryker的鼓励，开始拍专题。后来为FSA拍摄。估计，在 斯特莱克 去美孚石油公司之后，他也过去工作。
进入过生活杂志，也是LOOK专职摄影师。受埃文斯风格影响很大。埃文斯还影响了弗兰克。
具体见wiki 资料。

John F. Vachon (19 May 1914–20 April 1975) was an American photographer. He worked as a filing clerk for the Farm Security Administration before Roy Stryker recruited him to join a small group of photographers, including Esther Bubley, Marjory Collins, Mary Post Wolcott, Jack Delano, Arthur Rothstein, Walker Evans, Russell Lee, Gordon Parks, Charlotte Brooks, Carl Mydans, Dorothea Lange and Ben Shahn, who were employed to publicize the conditions of the rural poor in America.

Family and education

Vachon was born in Saint Paul, Minnesota. He graduated from Cretin High School (now Cretin-Derham Hall High School). He received a bachelors degree in 1934 from the University of St. Thomas in Saint Paul, then named St. Thomas College. In about 1938 he married Millicent Leeper who was known as Penny. She died in 1960. Vachon married Fraoise Fourestier in 1961. Vachon served in the United States Army in 1945.[1]

Vachon’s daughter, Christine Vachon, is a noted independent film producer.

Later years
African American boy. Cincinnati, Ohio, 1942 or 1943. Photographed by John Vachon.Doctor administering a typhoid vaccination at a school in San Augustine County, Texas. Photograph by John Vachon, April 1943.Worker at carbon black plant in Sunray, Texas. Photographed by John Vachon, 1942.

John Vachon’s first job at the Farm Security Administration carried the title “assistant messenger.” He was twenty-one, and had come to Washington from his native Minnesota to attend The Catholic University of America. Vachon had no intention of becoming a photographer when he took the position in 1936, but as his responsibilities increased for maintaining the FSA photographic file, his interest in photography grew.[2]

By 1937 Vachon had looked enough to want to make photographs himself, and with advice from Ben Shahn he tried out a Leica in and around Washington. His weekend photographs of “everything in the Potomac River valley” were clearly the work of a beginner, but Stryker lent him equipment and encouraged him to keep at it. Vachon received help as well from Walker Evans, who insisted that he master the view camera, and Arthur Rothstein, who took him along on a photographic assignment to the mountains of Virginia. In October and November 1938, Vachon traveled to Nebraska on his first extensive solo trip. He photographed agricultural programs on behalf of the FSA’s regional office and pursued an extra assignment from Stryker: the city of Omaha.[2]

The hallmark of this style of photography is the portrayal of people and places encountered on the street, unembellished by the beautifying contrivances used by calendar and public relations photographers.[2]

He was a photographer for the Office of War Information in Washington, D.C. from 1942 to 1943, and then staff photographer for Standard Oil Company of New Jersey between 1943 and 1944. Between 1945 and 1947 he photographed New Jersey and Venezuela for Standard, and Poland for the United Nations Relief and Rehabilitation Administration.[1]

Vachon became a staff photographer for Life magazine, where he worked between 1947 and 1949, and for over twenty five years beginning in 1947 at Look magazine. When Look closed in 1971 he became a freelance photographer. In 1975 he was a visiting lecturer at the Minneapolis Institute of Arts.[1]

He died in 1975 in New York at age 60.[1]

http://en.wikipedia.org/wiki/John_Vachon

http://memory.loc.gov/ammem/fsahtml/fachap02.html

又是生活杂志的感觉。

Carl Mydans

Carl Mydans (May 20, 1907 – August 16, 2004) was an American photographer who worked for the Farm Security Administration and Life magazine.

Mydans became devoted to photography while in college at Boston University. While working on the Boston University News as an undergraduate, his first reporting jobs were for The Boston Globe and the Boston Herald. After college, he went to New York as a writer for American Banker and then in 1935 to Washington to join a group of photographers in the Farm Security Administration.

In 1936, he joined Life as one of its earliest staff photographers (Alfred Eisenstaedt, Margaret Bourke-White, Thomas McAvoy and Peter Stackpole were the original staff photographers) and a pioneering photojournalist.

Mydans recorded photographic images of life and death throughout Europe and Asia during World War II. In 1941, the photographer and his wife Shelley, herself a journalist, were captured by the invading Japanese forces in the Philippines, held for nearly a year in Manila, then for another year in Shanghai, China, before they were released as part of a prisoner-of-war exchange.

Mydans was sent back to war in Europe for pivotal battles in Italy and France. By 1944, Mydans was back in the Philippines to cover MacArthur’s landing, where he took some of his most famous pictures.

Some of Mydans’s more famous pictures include: the bombing of Chongqing, the Japanese surrender aboard the U.S.S. Missouri in 1945; angry French citizens shaving the heads of women accused of sleeping with Germans during the occupation in 1944; a roomful of excited royal youngsters and their staid older relatives in 1954; and a 1950 portrait of Douglas MacArthur smoking a pipe.

http://en.wikipedia.org/wiki/Carl_Mydans

一开始为FSA工作，后来为美国生活杂志工作，是最早的一批摄影家。去拍摄二战时，与妻子被日军抓捕，后来被交换时释放。拍摄过重庆轰炸。

更多资料，图片见http://library.duke.edu/exhibits/carlmydans/index.html

这是最著名的那张照片。

沃克·埃文斯（Walker Evans，1903-1975年），美国摄影师。
他尤其以关于美国乡村和小镇的人们及环境的鲜明照片著名。他在20世纪30年代经济大萧条时期为农场安全管理局拍摄的照片，如《佃农家庭》与《广告牌和框架房屋》，以简单和直接为特点，影响了后来的美国纪实摄影。埃文斯出生于密苏里的圣路易斯，20世纪二十年代开始摄影。他是《财富》杂志的编辑，并在耶鲁大学教授图形艺术。 阅读全文 »