Word: photographers
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Dates: during 1970-1979
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HALSMAN: For me, each portrait is my statement about my subject. Photographic technique makes it possible for me to make this statement not weakly or haphazardly, but with utmost force and clarity. I feel that my photograph, from the inception to the finished print, has to be conceived and controlled by me. I want my finished statement to be sharp and precise, with a three-diminsional look and full and rich range of tones from pure white to deep black. The subject must not pose but reveal himself and it must be of such psychological truth and depth that...
HALSMAN: I never was an apprentice or assistant to another photographer. Everything that I know I learned by trial and error. I considered every assignment as a problem and my picture as its solution. I don't belong to photographers who shoot out of instinct--a lot of thinking goes into my taking or should I say making of pictures. A photograph is not only the solution of a photographic problem, it is also a statement of the photographer about his subject. The deeper the photographer, the deeper his statement. Therefore, in my opinion, the photographer should not concentrate solely...
HALSMAN: Certainly life matures and deepens the vision of a photographer. It took me time to realize that a photograph is not good per se, but often one has to ask: "good for what purpose?" For instance, a photograph of a smile captured at 1/250 of a second is striking and heartwarming when you see it reproduced in a magazine where you look at it for a few moments. Framed and hanging on the wall, the same smile can eventually turn into an unbearably frozen grimace...
...public scribe. Now everybody can read and write. Yet we still have professional writers, but we have then because they are artists or because they have something to say. The analogy with photography is complete. There was a time when only the professional photographer could produce photographs. Now practically everyone can photograph. Yet we will still need professional photographers who are artists or who have something...
ARCHITECTURE IN AMERICA by G.E. Kidder Smith. 832 pages. American Heritage/Norton. $45. The author motored 130,000 miles to see and photograph the structures that might best represent America's architecture. The trip was worth the effort. In this two-volume pictorial history readers will find old favorites (New England's shingled houses, the South's Greek Revival manors, the Southwest's adobe churches) as well as such modern masterpieces as Frank Lloyd Wright's Unity Temple, Eero Saarinen's Dulles Airport and Louis Kahn's Salk Institute...