Word: focusing
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Dates: during 1970-1979
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...dangerous and innocuous lapses and errors Newman records from his over 20 years experience in reporting. There is the actress who told him she hoped she wouldn't be an "escapegoat" if her show failed. There is the political organizer who describes elections as "the quadrennial challenge of giving focus and perspective to the polemics of contending partisans." There is the advertiser's use of such phrases as "B.O."and "unsightly bulge" to induce people to buy deodorants and brassieres...
There were very few dissenters. In 1962 TIME called him "the greatest tenor singing today." His voice had almost unique evenness of tone and quality from top to bottom and was celebrated for its diamond-hard focus. At the same time it was infused with a sweetness and warmth more usually heard in singers from Naples than in tenors from Brooklyn, where Tucker came from...
This shift in the focus of magazines does not necessarily correspond to a shift in the nature of reality; it's just that the forces that shaped the 60s seemed, correctly or not, easier to deal with in terms of personalities. Vietnam was Johnson's war; racism was Wallace's and Bull Connor's fault. Individuals seemed larger-than-life enough to be responsible for some of our major catastrophes. Now, of course, those people are gone and the problems are even worse. It's obvious that it was too simple to pin them to people like Johnson or Wallace...
...Rejlander tried to use multiple imagery--painstakingly assembled in the darkroom--to create "historical" pictures, portraying in one vast tableau all the heroes, villains, and valiant deeds of great events. They more or less failed, but for thirty years, the so-called "Photo-secession" or pictorialist school produced soft-focus, dreamy images with such titles as "Madonna with Child" or "Blessed Art Thou Among Women...
...classic" photographers. Doty's treatment of Edward Steichen and Alfred Steiglitz, both closely associated with the "pictorialist" school, is good, but the pictures by Weston and Evans which he selected distort their work. Both men represent the birth of modern photography, but by trying to cast them as "hard focus pictorialists" he takes all the edge out of their radical innovations. Weston is represented with several abstractly formal pictures from the early 1930s (e.g., cross-sections of an onion and of a Nautilus shell), but with only one landscape, and none of his final landscapes from Pt. Lobos. Evans...