Re: My Camera

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There are other people photographers, like Milton Rogovin (whose work I find much more interesting than Eisenstadt's), but there is always the counter-example for an Avedon, whose work was done with quite a bit of photographer "interference." I think it just shows that there are different ways of doing it, with different results, neither of which has any inherent greater value.

For those not familiar with Rogovin's work, you can go here -

http://www.soundportraits.org/in-print/books/the_forgotten_ones/

There's places you can find Avedon on the web, but his work is so well-known, it probably doesn't matter.

At 11:56 PM 10/23/2003 -0700, Gregory david Stempel FIREFRAMEi m a g i n g wrote:
"I like people, and I like to photograph them the candid way-the way THEY
like to be photographed, with the least possible fuss and formality. When
people are pushed around, they are not themselves and the pictures reveal
it. I like to photograph people and things as much as possible the way I
find them, choosing for my pictures their most expressive attitudes. This
calls for watchful observation coordinated with the immediate availability
of my camera. My Leica has become so much a part of me-virtually an
extension of my hands-that the camera and I work as a unit. My reactions are
instantly relayed to the shutter, almost always enabling me to get a picture
very like my mental vision of what I want to capture on film."

Alfred Eisenstaedt, 1951

Take care,
Gregory david Stempel
FIREFRAMEi m a g i n g
www.americanphotojournalist.com
"The brave ones were shooting the enemy, the crazy ones were shooting film"

Jeff Spirer Photos: http://www.spirer.com One People: http://www.onepeople.com/ Surfaces and Marks: http://www.withoutgrass.com


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