1"

2"

h%p://www.nga.gov/content/ngaweb/global5site5search5page.html? searchterm=vermeer&searchpath=%2Fcontent%2Fngaweb&category=Audio %2FVideo&pageNumber=1&lastFacet=category" " "

3"

A"mathemaGcal"raGo"of"a"perfect"rectangle""" " The"divine"proporGons"and"the"golden"secGons"are"two"expressions"for"the" same"thing."Basically"it"is"the"division"of"a"line"in"two"secGons,"where"the"raGo" between"the"smallest"secGon"and"the"largest"secGon"is"idenGcal"to"the"raGo" between"the"largest"secGon"and"the"enGre"length"of"the"line"5"The"raGo"is" about"1/1.618."" " " Paethenon,"" "

4"

5"

THE"GOLDEN"RECTANGLE"IS"PROPOSED"TO"BE"THE"MOST"AESTHETICALLY"PLEASING" OF"ALL"POSSIBLE"RECTANGLES."FOR"THIS"REASON,"IT"AND"THE"GOLDEN"RATIO"HAVE" BEEN"USED"EXTENSIVELY"IN"ART"AND"ARCHITECTURE"FOR"THOUSANDS"OF"YEARS." THE"MOST"PROMINENT"AND"WELL"KNOWN"USES"OF"THE"GOLDEN"RECTANGLE"IN" ART"WERE"CREATED"BY"THE"GREAT"ITALIAN"ARTIST,"INVENTOR,"AND" MATHEMATICIAN,"LEONARDO"DA"VINCI."

6"

LEONARDO"DA"VINCI."THE"MONA"LISA" "

7"

ONE"INTERESTING"CONSEQUENCE"OF"THIS"RATIO"IS"THAT"IF"YOU"HAVE"A" RECTANGLE"WHERE"THE"SIDES"HAVE"THE"GOLDEN"RATIO,"THEN"YOU"CAN" DIVIDE"THE"RECTANGLE"INTO"A"SQUARE"AND"" " A"RECTANGLE,"WHERE"THE"NEW"RECTANGLE"ALSO"HAS"THE"GOLDEN"RATIO" BETWEEN"ITS"SIDES."" " THIS"CAN"GO"ON"AD"INFINITUM"AND"IS"KNOWN"AS"GOLDEN"SPIRAL" SECTIONS."" "

8"

9"

INTERESTINGLY,"SHAPES"IN"THE"NATURAL"WORLD"WERE"ANALYSED"TO"DEVELO"THIS" THEORY."

10"

CONSIDER"BY"SOME"TO"BE"THE"FATHER"OF"STREET"PHOTOGRAPHY" " Widely"acknowledged"as"one"of"the"most"important"photographers"of"the" 20th"century,"Garry"Winogrand"(192851984)"captured"moments"of"everyday" American"life"in"the"postwar"era,"producing"an"expansive"picture"of"a"naGon" rich"with"possibility"yet"threatening"to"spin"out"of"control." " Garry%Winogrand:%Huge%Inuence,%Early%Exit" By"Frank"Van"Riper" " " In%1984,%Garry%Winogrand,%one%of%the%greatest%documentary%photographers% of%his%era,%died%early%and%underAappreciated." " " Which"is"not"to"say"that"Winogrand,"a"bluntspoken,"sweet5natured"naGve" New"Yorker,"who"had"the"voice"of"a"Bronx"cabbie"and"the"intensity"of"a"pig" hunGng"trues,"was"by"any"means"unknown"or"unrewarded"for"his"work." During"his"short"life"(he"died"of"gall"bladder"cancer"at"age"56)"he"won"a" Guggenheim"fellowship,"was"featured"in"Edward"Steichen's"classic""Family"of" Man""exhibiGon"at"the"Museum"of"Modern"Art,"and"later"gured"prominently""

11"

New"York"City"Zoo"1962"

12"

13"

14"

American"Legion"ConvenGon"1964"

15"

American"Legion"ConvenGon"1964"

16"

17"

18"

NauGlus"is"a"black5and5white"photograph"taken"by"Edward"Weston"in"1927"of"a"single" nauGlus"shell"standing"on"its"end"against"a"dark"background."It"has"been"called""one" of"the"most"famous"photographs"ever"made""and""a"benchmark"of"modernism"in"the" history"of"photography."[1]" In"February,"1927,"Weston"visited"the"studio"of"local"Carmel"arGst"Henrie%a"Shore" and"noGced"several"painGngs"she"had"made"of"sea"shells."Only"one"of"these"painGngs" is"known"to"sGll"exist"(as"of"January,"2011),"and"it"shows"a"stark"and"solitary"nauGlus" on"a"dark"eld,"not"unlike"Weston's"resulGng"photographs.[2]"He"made"it"clear"in"his" wriGngs"that"the"painGngs"had"a"profound"eect"on"him:" "I"was"awakened"to"shells"by"the"painGng"of"Henry"[Henrie%a"Shore]."I"never"saw"a" Chambered"NauGlus"before."If"I"had,"my"response"would"have"been"immediate."If"I" merely"copy"Henry's"expression,"my"work"will"not"live."If"I"am"sGmulated"and"work" with"real"ecstasy"it"will"live.""[3]"

19"

"NauGlus""(1927)"by"Edward"Weston" " "Yesterday"I"tried"again:"result,"movement!"The"exposure"was"4"hours,"so"to"repeat" was"no"joy,"with"all"the"preoccupaGon"of"keeping"quiet"children"and"cat,""but"I"went" ahead"and"await"development.""

20"

IF"YOU"WANT"A"MORE"DYNAMIC"COMPOSITION"THAN"THE"SIMPLE"GOLDEN" SECTIONS,"THEN"YOU"CAN"CONSTRUCT"GOLDEN%TRIANGLES.% " "

21"

22"

Josef"Koudelka"Prisoner,"Czechoslovakia"1963"

23"

FROM"THE"BOOK,"GYPSIES"

24"

Josef"Koudelka"Prisoner,"Czechoslovakia"1963" "

25"

Josef"Koudelka"Prisoner,"Czechoslovakia"1963" "

26"

27"

Garry"Winogrand,"Minneapolis"

28"

29"

THE"RULE"OF"THIRDS"STATES"THAN"AN"IMAGE"IS"MOST"PLEASING"WHEN"ITS" SUBJECTS"OR"REGIONS"ARE"COMPOSED"ALONG"IMAGINARY"LINES"WHICH" DIVIDE"THE"IMAGE"INTO"THIRDS""BOTH"VERTICALLY"AND"HORIZONTALLY"

30"

THE"RULE"OF"THIRDS"STATES"THAN"AN"IMAGE"IS"MOST"PLEASING"WHEN"ITS" SUBJECTS"OR"REGIONS"ARE"COMPOSED"ALONG"IMAGINARY"LINES"WHICH" DIVIDE"THE"IMAGE"INTO"THIRDS""BOTH"VERTICALLY"AND"HORIZONTALLY" "

31"

32"

'SomeGmes"they"sat"down"and"cried'"..."Canadian"reghters"in"Kuwait"ba%le"to"seal" an"oil"well."Photograph:"SebasGao"Salgado" " Interview"by"Leo"Benedictus"5"The"Guardian,"Thursday"28"May"2009" " I"was"in"Kuwait"in"1991."The"rst"Gulf"war"had"just"nished,"but"the"oil"wells"were"sGll" burning."To"get"into"the"country,"I"had"to"go"to"Saudi"Arabia"and"hire"a"four5wheel" drive"the"colour"of"the"sand"5"because"that"was"the"colour"of"the"US"army"vehicles." Then,"to"cross"the"border,"someone"told"me"to"nd"a"card"in"the"same"sort"of"colours" as"a"US"army"ID"card"and"wave"it"upside5down."Nobody"stopped"me,"and"I"got" through." " What"was"incredible"inside"Kuwait"was"the"sense"of"being"in"this"huge"theatre"the" size"of"the"planet,"with"these"oil"wells"burning"all"around."SomeGmes"you"would"go" two"or"three"days"without"any"sunlight"ge{ng"through"the"vast"clouds"of"black" smoke,"then"suddenly"the"sky"would"open."It"was"also"quite"dangerous."There"were" unexploded"cluster"bombs"in"the"sand."A"journalist"and"a"photographer"were"killed" when"a"slick"of"oil"ignited"as"they"crossed"it." " This"photograph"comes"from"a"series"of"pictures"I"made"with"a"group"of"specialist" reghters"from"Canada,"who"were"trying"to"deal"with"a"blazing"oil"well."Pu{ng"out""

33"

'SomeGmes"they"sat"down"and"cried'"..."Canadian"reghters"in"Kuwait"ba%le"to"seal" an"oil"well."Photograph:"SebasGao"Salgado" "

34"

CENTRAL"PLACEMENT"

35"

Australian"photographer"

36"

Bill"Henson,"UnGtled"#"115,"2000503" " " Draws"from"RomanGc"movement"of"the"early"19th"century."Uses"twilight"to"convey" the"human"frailty"of"adolescence."

37"

ELINOR"CARUCCI"IS"AN"ISRAELI"BORN"NEW"YORK5BASED"PHOTOGRAPHER" WHO"HAS"SPENT"HER"LIFE"RECORDING"THE"INTIMATE"MOMENTS"OF"THREE" GENERATIONS"OF"HER"FAMILY."NO"AREA"OF"HER"HOME"LIFE"IS"OFF5LIMITS," AND"HER"DELICATE"PORTRAITS"ARE"REVEALING"AND"AT"TIMES"PROVOCATIVE."" " SHE"CAPTURES"HERSELF"SITTING"SEMI5NAKED"WITH"HER"FATHER,"A"ROW" WITH"HER"HUSBAND,"LOVERS"EMBRACING,"HER"OWN"BELLY5HAIR"BEING" BLEACHED,"MENSTRUAL"BLOOD"IN"THE"TOILET,"HER"MOTHER"CROUCHING"IN" THE"BATH"AS"SHE"WASHES."AND"HER"MOST"RECENT"WORK"EXPLORES"THE" PLEASURES"AND"STRESSES"OF"MOTHERHOOD,"PHOTOGRAPHING"KISSES," MESSES,"TANTRUMS,"AND"HER"OWN"CHANGING"BODY."

38"

CLOSER"

39"

40"

41"

h%p://www.nga.gov/content/ngaweb/global5site5search5page.html? searchterm=vermeer&searchpath=%2Fcontent%2Fngaweb&category=Audio %2FVideo&pageNumber=1&lastFacet=category" " "

42"

43"

WALKING"THE"HIGHLINE"

44"

45"

46"

THOMAS"STRUTH"

47"

48"

49"

50"

WALKING"THE"HIGHLINE"

51"

52"

53"

LIBRARIES"

54"

55"

56"

57"

LAST"RESORT"

58"

59"

60"

61"

LAST"RESORT"

62"

63"

64"

65"

66"

67"

68"

CONSIDER"SCALE"

69"

70"

Ask"the"Dust "is"a"set"of"images"taken"from"key"viewpoints"of"Hollywood"movies.""

71"

72"

73"

74"

75"

76"

SCALE"&""

77"

78"

79"

80"

81"

CONSIDER"SCALE"

82"

83"

84"

85"

86"

87"

88"

89"

90"

91"

THE"VALLEY"

92"

93"

94"

95"

96"

97"

98"

CONSIDER"SCALE"

99"

100"

101"

102"

103"

104"

105"

106"

107"

108"

CONSIDER"SCALE"

109"

110"

111"

112"

113"

114"

115"

CONSIDER"SCALE"

116"

117"

118"

119"

120"

121"

122"

CONSIDER"SCALE"

123"

CONSIDER"SCALE"

124"

Appleby"Horse"Fair"

125"

Ghost:'Israel"[2004]" " Ghost,"was"photographed"in"ancient"olive"plantaGons"in"the"region"of"Galilee" in"Israel."Each"photograph"is"a"representaGon"of"a"single"tree."These"iconic" images"are"both"portraits"of"trees"and"an"account"of"the"Gme"in"which"history" is"conceived."In"the"Mediterranean"olive"trees"are"loaded"with"religious"and" cultural"meanings,"they"symbolize"the"bond"between"the"farmer,"his" ancestors"and"the"land."For"that"reason"they"are"at"the"forefront"of"the" current"Israeli"5"PalesGnian"territorial"disputes."" " The"photographs"were"taken"at"midday"when"the"sun"was"at"its"highest"and" the"lm"was"over5exposed"by"many"stops,"allowing"the"harsh"and"violent"light" to"a%ack"the"lm"and"melt"the"images"of"the"trees."Despite"the"contemporary" use"of"material,"convenGonal"processes"and"the"direct"approach,"the"results" escape"the"concrete"photographic"sense"of"the"here"and"now."The"ghostly" appearance"of"the"images"recedes"beyond"the"parGcularity"of"Gme"and"place." These"images"are"an"a%empt"to"create"a"subtle"tension"between"formal" beauty"and"poliGcal"violence." " "" "

126"

Ghost: Israel [2004] Ghost, was photographed in ancient olive plantations in the region of Galilee in Israel. Each photograph is a representation of a single tree. These iconic images are both portraits of trees and an account of the time in which history is conceived. In the Mediterranean olive trees are loaded with religious and cultural meanings, they symbolize the bond between the farmer, his ancestors and the land. For that reason they are at the forefront of the current Israeli Palestinian territorial disputes. The photographs were taken at midday when the sun was at its highest and the film was over-exposed by many stops, allowing the harsh and violent light to attack the film and melt the images of the trees. Despite the contemporary use of material, conventional processes and the direct approach, the results escape the concrete photographic sense of the here and now. The ghostly appearance of the images recedes beyond the particularity of time and place. These images are an attempt to create a subtle tension between formal beauty and political violence.

127"

CONSIDER"SCALE"

128"

129"

130"

CONSIDER"SCALE"

131"

132"

133"