Word: cameras
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Dates: during 1930-1939
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Upholding the future of the theatre as opposed to motion-pictures, Hardwicke stated that "dogs, little children and dumb blondes are the best actors before a camera." He emphasized the importance of the audience to dramatic creation, pointing out that no real acting could be done over a two minute stretch with hours of interval between sections of a scene...
Most people are familiar with the camera as a recorder of contemporary history, but are unfamiliar with photographic records of the past. This past is not quite 100 years old. for it was in August 1839 that the Frenchman, Louis Daguerre, first publicly described his discovery. In the U. S. the first daguerreotypes were sometimes called "sun pictures," and in a few years the clarity of U. S. sunlight was being declared the reason for the superiority of Yankee photographers. Published this week is the first attempt at a full history of these men, their methods, their successors...
...theorem that "the camera cannot lie" is one banality which no self-respect-ing photographer ever repeats. Unless a camera is skilfully used it can produce mechanical lies on the negative, and in many kinds of light or shadow even expert photographers do not yet know how to reproduce what they see. Under the best technical circumstances, moreover, a photograph tells precisely that fraction of truth allowed by the camera's brief interval of exposure and limited field of vision. This fraction may be very slight or very great, depending on the photographer's luck, care and awareness...
There are perhaps half-a-dozen living photographers who are seriously and solely engaged in making the camera tell what concentrated truth they can find for it. One. the oldest, is Alfred Stieglitz. Another is a Hungarian war photographer, Robert Capa (TIME, Feb. 24), now in China. A third, one of the most adventurous, is a 29-year-old vagabond Frenchman named Cartier-Bresson, whose abilities sober critics have called "magical." Apparently carefree but quick on the trigger, Cartier-Bresson has snapped unforgettable, revelatory pictures of commonplace and sub-commonplace scenes, from bare French cafe tables to Mexicans with their...
Compared with such recent books of documentary photographs as Archibald MacLeish's Land of the Free (TIME, April 25), Evans' selection in his own book is many-sided, disinterested, clinical. The photographs are uncaptioned yet arranged to be looked at in order. In each the camera has caught the essential moment, memorized in detail some significant things: the early morning light on hundreds of back yards in an industrial city; four sour people on a Bronx bench on Sunday; a pompous Legionnaire with waxed mustaches, looking brave...