Styles and Techniques of Artist/Photographers

In accordance with Emerson, Realism was tainted by its infatuation with detail on the exclusion on the unifying results of light. He was not concerned with copying the hues of nature in the utmost precision, as a painter for example Ruskin may possibly have been; instead, he attempted to capture the playful intricacies of light, within the manner of Monet.

Edward Steichen's early training as an artist and his aesthetic sensibility induced him to use photography as an interpretative medium rather than for factual recording purposes. His use of photography to interpret, rather than exactly record, nature, are in keeping with Emerson's views. Like Emerson, he was interested in tricks in the light. In contrast to Emerson, he preferred twilight being a time to photograph, due to the fact detail is reduced to a minimum, and colors and shapes become diffuse. It might be stated that instead of a fascination with points of light, Steichen was interested in points of darkness.

Unlike Emerson, Steichen liked to play on the photographic process. Steichen experimented with several forms of printing, for example platinum, carbon, cyanotype, gum bichromate, and so forth. Whereas Emerson was interested in capturing nature, Steichen was much more focused on the faces of man. His crowning success was the planning, preparation, and staging with the Household of Man exhibition which toured the world during the 1950s.

nsitional period, 1914-1922, shows the rejection of pictorialism and also the enthusiasm for New Realism, with subjects rendered in sharp focus throughout, and always featured in "closeup,' including 'The Lotus,' in 1915" (Harker, 1982, p. 720).

 

His bond with Moholy-Nagy may perhaps were one of imitation. His jobs at the Moscow School of Utilized Art acquainted him with modern trends from the photography of Western Europe--"with the work of Laszlo Moholy-Nagy . . . to whom he is usually compared and even accused of owning imitated" (Held, 1982, p. 634). What Rodchenko quite did was to absorb these influences and improve them into his own, entirely person expression.

 

Like Emerson and Steichen, Laszlo Moholy-Nagy was mainly self-taught in photography. As opposed to another 2 photographers, however, he applied manipulative tricks, after the photograph, to attain particular effects. His thesis was, "creative endeavors are only valid if they create new relationships" (Margolin, 1982, p. 529). He proposed to accomplish this by eliminating the object as being a reflector of light (in direct opposition to Emerson's impressionism and Steichen's love from the results of twilight) and fixing the play of light directly on a light-sensitive bromide plate.

Scharf, Aaron. (1986). P.H. Emerson: Naturalist and iconoclast. In Life and Landscape: P.H. Emerson: Art and Photography in East Anglia, 1885-1990. Norwich: University of East Anglia.

Rodchenko's ideological reality consisted of a hopeful, new socialist world, and his art reflects this. It's intriguing to note that his training was in a school of "applied art," or art in the program of some other perhaps "higher" purpose or "utility." These kinds of propaganda was served by USSR in Construction, a very sophisticated picture magazine with an avant-garde layout. "Particularly outstanding in layout and photography are the difficulties created by . . .

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