A tutorial I created showing how perspective correction can be achieved using a handy feature of the crop tool in Photoshop instead of shooting with a view camera or DSLR with a perspective correcting (PC) lens.
Although many of Atget’s prints had either been purchased by or donated to the Bibliotheque Nationale de France in Paris during his lifetime, no provisions had been made for the vast collection of prints and negatives still in the photographer’s possession when he died in 1927. Berenice Abbott, Man Ray’s assistant at the time and a photographer in her own right, had befriended Atget during his last days and had seen enough of the elderly photographer’s work to appreciate the value of it. She was the creator of the last portraits of Atget. Just before they were about to be relegated to the garbage heap, Abbott rescued Atget’s cache of images, his life’s work, and returned to her native New York where she donated it to the fledgeling Museum of Modern Art for safekeeping.
His photographs were not the only aspect of Atget’s legacy that Abbott dedicated herself to, for she was also to spend the rest of her distinguished career employing the lessons learned from his photography in her own work. Far from being a slavish imitator, she instead used his clear, direct approach to inform her own distinctive photographic ends, documenting the city of New York. As Atget had done in Paris before her, Abbott made it part of her mission to create final visual essays of New York’s soon to be demolished landmarks just ahead of the wrecking ball.
In order for all Master Class participants to share their work with each other between live sessions, we’ve created this blog. Any images, series, ideas, concepts or questions you would like to post you’re welcome to do so here. If you’ve come across a photograph which uses a technique or achieves an effect you’d like to know more about put it up for the group’s dissection. When you see an image that you feel your classmates might benefit from seeing too, be it someone else’s or one of your own, or the results of an assignment that’s proving to be particularly challenging post it to our blog. Participation will be entirely voluntary, of course, with the primary purpose of stimulating the discussion of photography, architecture and interior design.
When asked why he thought Eugene Atget, who took the photograph above, was such a great photographer, Garry Winogrand thought for a moment and said, “He knew where to stand.” Where the photographer has chosen to stop and point his or her camera and at what instant the decision has been made to capture an exposure is the essence of all great photography. Atget’s ability to do this so well, so often and for so long is what made him great, as is evident from this image of Notre Dame as seen from across the Seine. The obvious choice, one made by many photographers before and since, would have been to move the camera to a position where this winter tree would not have obscured the cathedral, and Atget would have made an instantly forgettable picture if he had followed suit. But to have placed the camera in such a position as to put the tree smack in the center of the frame and in front of Notre Dame was a conscious and deliberate choice, one that insists the viewer take everything within the frame into account. There is no hierarchy of things in Atget’s photographs, they are all equally important. The layering of visual information also gives the space represented a greater sense of depth, suggesting what it might have been like to stand at that place on the Quai de la Tournelle in Paris in 1925.
At a loss to find subject matter that would stay absolutely still for an entire day, Nicephore Niepce trained his camera out the window of his studio toward the buildings beyond and created the first known photograph.