تويت
إيفي أرنولد : صور شخصية عفوية .. تطوير نهجك الخاص .. المرشد خطوة بخطوة للتصوير الفوتوغرافي
EVE ARNOLD : Candid portraiture
Born in the United States , of Russian extrac- tion , Eve Arnold is a documentary photo- grapher who made her name with essays on themes as diverse as small - town America , Hollywood film stars , and childbirth . Her pictures are compassionate , thought - pro- voking and direct .
Over the years , Eve Arnold has been able to explore and extend her interests both as a photographer and as a person . She tends to choose subjects for which she feels a strong personal commitment and is critical of photographers who bow to commercial interests . Several themes recur in her work - poverty , children , and above all women . The photographs featured here come from her book " The Unretouched Woman " , in which she aimed to present an unglamorized view of women as they live and work .
In her studies of Hollywood stars , such as Marilyn Monroe and Joan Crawford , Arnold avoids the conventional , idealized portrait in which the subject is posed in the most flattering position and blemishes are erased by the retoucher . Instead she chooses to show the stars in their unguarded moments , without embellishment or pre- tence . In this her approach is the precise opposite of Karsh's carefully posed , studio- lit portraits of the famous .
Although the power of her subjects rightly dominates her work , her pictures ( both in black and white and color ) also demonstrate a strong sense of form and tone structure . The way she frames her por- traits in particular is exceptional , including just enough background detail to " place " her subjects without overwhelming them .
Nursery school in the Kuban
The picture above is one of several that Eve Arnold took while work- ing in the USSR . The severe por- trait of Lenin contrasts sharply with the huddled group of children absorbed in play . Powerful use of highlights and deep shadows gives a strong sense of form to this rather somber study .
Marlene Dietrich
Eve Arnold photographed Marlene Dietrich , left , as she recorded the songs she sang for soldiers during World War II . An unglamorized though by no means unflattering portrait of the woman at work . using the oblique lines of the music and instrument as a natural lead - in to the singer .
Fencing mistress
Arnold used an oblique viewpoint to emphasize the difference in size and strength between the two fig- ures in the picture , right . Strong use of differential focus and abrupt tonal contrasts between the woman and the girl distances the two figures in this powerful character study .
Salvation Army Colonel
A compassionate and expressive study of evening prayers in a home for the aged in Manchester . England . Diagonal lines ( provided by the arms of the two figures and the edges of the table ) lead the viewer's eye into the picture .
Contralto at audition
The nervousness and isolation of the singer . below , are emphasized by using a wide - angle lens to frame the performer at the oppo- site side of the picture from the close group of men at the piano . An entirely different and less tell- ing image would have resulted from a camera position beside either the woman or the men .
EVE ARNOLD : Candid portraiture
Born in the United States , of Russian extrac- tion , Eve Arnold is a documentary photo- grapher who made her name with essays on themes as diverse as small - town America , Hollywood film stars , and childbirth . Her pictures are compassionate , thought - pro- voking and direct .
Over the years , Eve Arnold has been able to explore and extend her interests both as a photographer and as a person . She tends to choose subjects for which she feels a strong personal commitment and is critical of photographers who bow to commercial interests . Several themes recur in her work - poverty , children , and above all women . The photographs featured here come from her book " The Unretouched Woman " , in which she aimed to present an unglamorized view of women as they live and work .
In her studies of Hollywood stars , such as Marilyn Monroe and Joan Crawford , Arnold avoids the conventional , idealized portrait in which the subject is posed in the most flattering position and blemishes are erased by the retoucher . Instead she chooses to show the stars in their unguarded moments , without embellishment or pre- tence . In this her approach is the precise opposite of Karsh's carefully posed , studio- lit portraits of the famous .
Although the power of her subjects rightly dominates her work , her pictures ( both in black and white and color ) also demonstrate a strong sense of form and tone structure . The way she frames her por- traits in particular is exceptional , including just enough background detail to " place " her subjects without overwhelming them .
Nursery school in the Kuban
The picture above is one of several that Eve Arnold took while work- ing in the USSR . The severe por- trait of Lenin contrasts sharply with the huddled group of children absorbed in play . Powerful use of highlights and deep shadows gives a strong sense of form to this rather somber study .
Marlene Dietrich
Eve Arnold photographed Marlene Dietrich , left , as she recorded the songs she sang for soldiers during World War II . An unglamorized though by no means unflattering portrait of the woman at work . using the oblique lines of the music and instrument as a natural lead - in to the singer .
Fencing mistress
Arnold used an oblique viewpoint to emphasize the difference in size and strength between the two fig- ures in the picture , right . Strong use of differential focus and abrupt tonal contrasts between the woman and the girl distances the two figures in this powerful character study .
Salvation Army Colonel
A compassionate and expressive study of evening prayers in a home for the aged in Manchester . England . Diagonal lines ( provided by the arms of the two figures and the edges of the table ) lead the viewer's eye into the picture .
Contralto at audition
The nervousness and isolation of the singer . below , are emphasized by using a wide - angle lens to frame the performer at the oppo- site side of the picture from the close group of men at the piano . An entirely different and less tell- ing image would have resulted from a camera position beside either the woman or the men .
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