Word: photographers
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Dates: during 1940-1949
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Author Born sees a new trend, "precisionism," in modern U.S. still life. To his taste, the best living still-lifer in the U.S. is Charles Sheeler, a precisionist who likes painting machines and whose machine-smooth technique often looks as slick as a glossy photograph. "Sheeler's interpretation of the machine," writes Born, "in all its apparent austerity, is ... mechanization . . . humanized. Hence he not only forms the zenith of a development but also points the way to a new goal." That sounded rather like a plastic apple arc-welded to a bulletproof dish-and it did not sound much...
...brilliant red star Antares (450 times the diameter of the sun) in the constellation of Scorpio is a "double" star. Antares has a comparatively faint blue "companion" which is so close that it is almost impossible to photograph by itself. Irregularities in the earth's atmosphere make the images of the two stars dance around, forming "tremor discs" of light which overlap on the photographic plate during a long exposure...
...month, McDonald Observatory at Fort Davis, Tex., had a wonderfully "steady" night. Struve trained the 82-inch reflecting telescope on the Companion of Antares. The image of the Companion trembled hardly at all. In a few rare minutes, he was able to coax it separately into a spectrograph and photograph its spectrum under almost ideal conditions without interference from the brilliant red light of nearby Antares...
...late, great Ignace Jan Paderewski on TIME'S Feb. 27, 1939, issue. That assignment was given to Artist Ernest Hamlin Baker by Editor Tasker in an attempt to get a more significant kind of cover for TIME. Hitherto we had used a few conventional paintings, some color photographs and an occasional black & white or two-color sketch, but the old reliable black & white photograph was our standby...
Therefore, our artists had (and have) to work almost exclusively from photo graphs of their subject, supplemented by detailed research into his attributes and works. In so doing the artists found, of course, that no single photograph is a so-called spit & image of a man. Rather, what he really looks like is a sort of photomontage of many different pictures. There, the creative act of portraiture moved, according to many who have studied and thought about TIME'S cover portraits, into a dimension beyond the scope of the still photograph...