Word: photographers
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Dates: during 1970-1979
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...load a poor ash tray too full, but the kind of contained glow that radiates in this photograph, and the similar "charging" of the matter of fact that happens in a lot of Alex Webb's photographs is a good model for what photography can do best. There is an outsider's distance, even arrogance, here that picks its images intelligently and admits the choosing straight-forwardly, just by seeming so plain...
...Campana plant, 50 miles northwest of Buenos Aires. They headed straight for the table where Samuelson sat lunching with friends. Six other kidnapers, who had earlier infiltrated the club, quickly rose from their tables to help shove the American into a getaway car. Several days later a photograph was sent to Buenos Aires newspapers by the E.R.P. showing a nervous Samuelson posed in front of a poster of Che Guevara, the Argentine-born guerrilla killed in Bolivia...
...menacing form depicted in this dramatic photograph is not some giant glob of man-eating protoplasm from a science-fiction film. It is actually a hamster's kidney cell magnified 15,000 times by a scanning electron microscope. Such scientific snapshots taken by Caltech Biologist Jean-Paul Revel may offer an important clue to a mystery that has long puzzled scientists: how a living cell moves across a surface. The cell's perambulations, Revel says, are apparently made possible by a strange phenomenon called "ruffling...
...Penthouse. She was featured as one of Playboy's "Girls of Munich" in August 1972, an exposure that won her a spot on Oui's November 1972 cover and a centerfold spread inside ("Marlene: The Blonde Angel"). Which is again odd, because Guccione refuses to photograph models for Penthouse who have appeared nude elsewhere. He also insists that his models give their real names for publication. Does he feel he was snookered into running pictures of a Playboy and Out veteran, and a falsely named one at that? Says the gallant Guccione: "She belongs to the world...
...example, in Josiah Haws's 1855 daguerreotype of Oliver Wendell Holmes, how this medium's clarity and almost harshness fits the character of the subject. But in a calotype of a blind man done ten years earlier by W.H. Fox Talbot, the tone of the photograph is very different. The calotype image has a soft, fuzzy, dreamy quality--a gentleness that interacts with the figure of the old, blind preacher playing his harp. In every photograph on exhibit--from a mystical photogravure protrait of Yeats to a study of shadows in gum-biochromate by Edward Steichen--the artist/photographer has deliberately...