Before Kodak released the first affordable hand-held camera in the late 1880s, photography was a medium dominated by the affluent and highly skilled. Prior to the send-away film development services offered by Kodak, photographers had to prepare their own light sensitive emulsions and coat their printing papers themselves. With the hard work removed from the equation, amateur photographers could capture and duplicate moments just as any professional. This perturbed the Pictorialist photographers, who sought to reclaim the artistic craft of traditional photography.
Photography and the Art World
Though modern photography was introduced as early as the 1830s, the artistic world remained highly skeptical of it as a creative medium. Because the camera revealed exactly what was in front of the lens, it was considered an objective process more akin to documentation than artistic creation. Critics of photography tended to prefer painting because it was subjective and allowed the artist to insert his impression of a subject or scene into the final work. At this time Impressionist painting, which stressed the artist's interpretation of a scene more than the scene itself, was rising to popularity.
Artistic Manipulation
The Pictorialist photographers asserted that photography could contain as much artistic merit as a painting could, and they demonstrated it through manipulation of the negative or printing paper. Henry Peach Robinson, one of the early Pictorialists, used five different negatives when printing the photograph "Fading Away." It shows a girl suffering from tuberculosis surrounded by her family. Though the image could have been posed and made on a single negative, Robinson's intent was to show what effect could be achieved with the artistic process of combination printing. To create an Impressionist effect in their work, photographers would commonly use soft focus or etch onto the surface of their negatives.
Noteworthy Pictorialists
A common thread that links the most prolific photographers is their training in classical painting. Oscar Rejlander, Henry Peach Robinson and Robert Demachy all exhibited an approach which was similar to Italian Renaissance paintings. In much of their work, interior spaces are filled with models posed in dramatic, expressive fashion. Alfred Stieglitz, an American-born photographer, was devoted to the artistic acceptance of photography. Stieglitz's eye for composition and painterly refinement is evident in works such as "The Steerage" and "Venetian Canal." Other notable names include George Seeley, William Little, F. Holland Day and Edward Steichen.
Present Day Pictorialism
Though Pictorialism is by now a historic movement, modern photographers pay homage to it regularly, and sometimes unknowingly. An example of Pictorialist approach is the photographer that chooses to shoot and develop traditional black and white film despite the availability of more advanced digital cameras, or the use of large format plate cameras in landscape photography. Posed portraits or artistic nudes that recall the oil paintings of the Renaissance may also be classified as contemporary Pictorialism.
Before Kodak released the first affordable hand-held camera in the late 1880s, photography was a medium dominated by the affluent and highly skilled. Prior to the send-away film development services offered by Kodak, photographers had to prepare their own light sensitive emulsions and coat their printing papers themselves. With the hard work removed from the equation, amateur photographers could capture and duplicate moments just as any professional. This perturbed the Pictorialist photographers, who sought to reclaim the artistic craft of traditional photography.
Photography and the Art World
Though modern photography was introduced as early as the 1830s, the artistic world remained highly skeptical of it as a creative medium. Because the camera revealed exactly what was in front of the lens, it was considered an objective process more akin to documentation than artistic creation. Critics of photography tended to prefer painting because it was subjective and allowed the artist to insert his impression of a subject or scene into the final work. At this time Impressionist painting, which stressed the artist's interpretation of a scene more than the scene itself, was rising to popularity.
Artistic Manipulation
The Pictorialist photographers asserted that photography could contain as much artistic merit as a painting could, and they demonstrated it through manipulation of the negative or printing paper. Henry Peach Robinson, one of the early Pictorialists, used five different negatives when printing the photograph "Fading Away." It shows a girl suffering from tuberculosis surrounded by her family. Though the image could have been posed and made on a single negative, Robinson's intent was to show what effect could be achieved with the artistic process of combination printing. To create an Impressionist effect in their work, photographers would commonly use soft focus or etch onto the surface of their negatives.
Noteworthy Pictorialists
A common thread that links the most prolific photographers is their training in classical painting. Oscar Rejlander, Henry Peach Robinson and Robert Demachy all exhibited an approach which was similar to Italian Renaissance paintings. In much of their work, interior spaces are filled with models posed in dramatic, expressive fashion. Alfred Stieglitz, an American-born photographer, was devoted to the artistic acceptance of photography. Stieglitz's eye for composition and painterly refinement is evident in works such as "The Steerage" and "Venetian Canal." Other notable names include George Seeley, William Little, F. Holland Day and Edward Steichen.
Present Day Pictorialism
Though Pictorialism is by now a historic movement, modern photographers pay homage to it regularly, and sometimes unknowingly. An example of Pictorialist approach is the photographer that chooses to shoot and develop traditional black and white film despite the availability of more advanced digital cameras, or the use of large format plate cameras in landscape photography. Posed portraits or artistic nudes that recall the oil paintings of the Renaissance may also be classified as contemporary Pictorialism.
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