Bibliography books aubenas, sylvie (dir.), gustave le gray, 1820-1884, bibliothèque nationale de france, gallimard, 2002 baldner , jean-marie & vigouroux, yannick, les pratiques pauvres, du sténopé au téléphone mobile, paris, isthme éditions, 2005 barthes , roland, la chambre claire, note sur la photographie, paris, gallimard, le seuil, 1980

2. two landscape photographers paradoxically, it seems that while photographers were conforming to a pictorial vision, as cameron did, they were at the same time calling it into question as they were essentially questioning the relationship between photography and painting. the british landscape photographers george davison (1854-1930) and alfred h

Iii. b. 1. b) a new representation of motion in 1878, british photographer eadweard j.muybridge, who worked for the american government, proved, with the help of instantaneous photographs, that at some point in a horse’s gallop all its legs were off the ground at once and thus demonstrated that the dominant opinion at that time was false. put in

Dernièrement, j'ai réalisé une petite expérience avec une pellicule que j'ai trempée dans du thé pendant une bonne demie heure (la pellicule sera là d'ici 15 jours). pourquoi faire cela ? selon moi, un parallèle peut se créer entre h istoire, mémoire et photo. (inspiré de l'article les spectres du passé ne ressurgissent pas par hasard,

Iii. the evolution a. a reactionary blur pictorialists demonstrated that a mechanical process, the camera, if used in artistic ways could be an art. they used one of the proper characteristics of this tool, the blur, to emphasize the artistic qualities of this process. a mechanical process, photography, was now as artistic as a hand process, painti

B. two forerunners the great universal exhibition of london in 1851 where about 700 photographs were exhibited from six different countries and other exhibitions like the one of the society of arts in 1852 gradually accepted photography as a fine art. the arrival on the scene of the blur was finally made possible. 1. sir william j. newton sir willi

Boutographies voilà le speech que j'ai réalisé pour ce concours (les photos seront mises en lignes plus tard): pourquoi faire un reportage sur les cabines téléphoniques, cet objet désuet dont le portable a sonné le glas ? tout d'abord pour leur côté cosmopolite et intergénérationnel, qui fait tout leur charme, en ces temps de repli sur s

Conclusion in the study of the use of blur in english photography of the 19th century i have distinguished several aspects from its appearance, development and evolution. one of the major and primary aspects of the blur is its adhesion to the image. in other words, if there is no image/picture – i.e. a physical representation – there is no blur

Partir... errer... comtempler...