2 ) Gregory Crewdson works within a photographic tradition that combines the documentary style of William Eggleston and Walker Evans with the dream-like vision of filmmakers such as Stephen Spielberg and David Lynch. Crewdson’s method is equally filmic, building elaborate sets to take pictures of extraordinary detail and narrative portent.
When he was ten, Crewdson’s father, a psychoanalyst, took him to see a Diane Arbus exhibition at MoMA, an early aesthetic experience that informed his decision to become a photographer.
3) The Prints that command the highest price tags are usually the ones that are made by the photographer himself closest to the time that the picture was taken. These prints were known as vintage. One of the examples of a vintage print is made in the mid 1940s by Ansel Adams but the negative was made 20 years earlier. The First print of an image he made in 1927, the true vintage print that Ansel Adams made of the monolith, the face of half dome Yosemite national park. In one of his monolith pictures it’s all blocked up. Where in the other monolith photograph it’s all about huge amounts of areas of dark, whereas he striates the dark with the snow. There are differences between these because it was made In a dark room.
4) German visual artist Andreas Gursky is often recognized for his enormous architecture and landscape color photographs, often using an aerial vantage point, frequently identifying systematized aspects of culture. Prior to the 1990s, Gursky did not produce his works on a digital platform, though now openly discusses his dependence on computers to edit and enhance his pictures, as well as for the purpose of increasing the apparent scope of his subject in terms of size. .Critic Calvin Tomkins described the experience of confronting one of Gursky's large scale prints, "The first time I saw photographs by Andreas Gursky... I had the disorienting sensation that something was happening—happening to me, I suppose, although it felt more generalized than that. Gursky's huge, panoramic color prints—some of them up to six feet high by ten feet long—had the presence, the formal power, and in several cases the majestic aura of nineteenth-century landscape paintings, without losing any of their meticulously detailed immediacy as photographs. Their subject matter was the contemporary world, seen dispassionately and from a distance." Whether or not this statment was a genunine statement of fact or rather as paid flattery, as of 2007, Gursky holds the record for highest price paid at auction for a single photographic image.
5) The great African portraitist Seydou Keïta lived in Bamako, Mali from 1921 to 2001. A self-taught photographer, he opened a studio in 1948 and specialized in portraiture. Seydou Keïta soon photographed all of Bamako and his portraits gained a reputation for excellence throughout West Africa. His numerous clients were drawn by the quality of his photos and his great sense of aesthetics. Many were young men, dressed in European style clothing. Some customers brought in items they wanted to be photographed with but Keita also had a choice of European clothing and accessories - watches, pens, radios, scooter, etc. - which he put at their disposal in his studio. The women came in flowing robes often covering their legs and their throats, only beginning to wear Western outfits in the late 60s.He used a array of props like cars and bikes to give his photo a feel of western values his photo were recognisable by there shear quality and power
