Magnum Contact Sheets Pdf4/22/2021
It celebrates the contact sheet as a fascinating way of accompanying great photographers as they work towards, and capture, the most enduring images of our time.Life magazine and Picture Post.Further insight is provided by texts written by the photographers themselves or by experts chosen by members estates.
It includes many greats of photography, among them Henri Cartier- Bresson, Elliott Erwitt and Inge Morath, as well as Magnums latest generation, such as Jonas Bendiksen, Alessandra Sanguinetti and Alec Soth. These photographers cover over 70 years of history, from the D-Day landings by Robert Capa and the Paris riots of 1968 by Bruno Barbey to images of Che Guevara by Rene Burri, Malcolm X by Eve Arnold and classic New Yorkers by Bruce Gilden. To be able to follow dozens upon dozens of the most recognised images of the 20th century backwards through the selection process gives these pictures a new immediacy and vitality. Were featuring millions of their reader ratings on our book pages to help you find your new favourite book. Please try again,bdsavingpercentoff:0 off,bdjstotalbasketcount:0, plural, one You have 1 item in your basket other You have items in your basket,bdjstotalcost:Total cost: 0,bdjsshowless:show less,bdjsitemaddedtoyourbasket:Item added to your basket,bdlinkprefix:,bdjsunablegetaddressentermanually:Sorry, we are unable to get the address. In the past, you used to have a packet of letters with a ribbon around them in your dresser, and now it is all email and so ephemeral. They came to me because I had recently completed a book with Susan Meiselas ( In History ), which had been very heavily archival based. Also my earlier book Amelia Earhart: Image and Icon focused on the process of editing and circulation of images; I was also at the same time engaged in working with the recently recovered negatives in the Mexican Suitcase. These projects cast a wider net in terms of the kind of materials one can consider when looking at photographs, and Thames Hudson thought Id be a good fit in terms of my approach and interest in working process. RL: Who else was involved in shaping the books focus Kristen Lubben: Martin Parr was the photographer representative on the project and was a guiding force throughout. He was the person who really identified that the contact sheet would make a good subject now because of the transition to digital. We were meeting in Paris to do the first edit and he just sort of tossed out the comment that the book would function as an epitaph to the contact sheet. His words really stuck with me and gave me a lens through which to see the project and its timeliness. None of us think that any of these things are going to end, but of course they are. The design of the book mirrors the look of the Kodak paper box, and it was a little eerie that the Kodak bankruptcy was announced on the same day as the opening for the show that is associated with the book. Why Kristen Lubben: It was crucial for distinguishing this book. We wanted it to be about Magnum, the agency and its photographers, as well as about the development of the medium over timethe larger arc of history. Nothing in the book was shot on digital; everything is film or analog. There are a few instances where we blur the edges: Mikhail Subotzky digitally edited his project, but it was shot on film. We also included color slide sequences, which, while not technically contact sheets, are similar to film in that both are about the process of editing. ![]() This is the first loss of not seeing absolutely everything, since the agency editor no longer made the first cutsits a precursor to what happened with digital. Most of the time the selections were spot-on and were absolutely what we want to use. Sometimes they were a surprise a great image didnt necessarily have a great contact sheet. There were also cases where maybe an image wouldnt pop out of somebodys top 5 most famous photographs, but had an especially interesting contact sheet. That was the case with the two Chris Anderson examples in the book particularly the Afghanistan one. Contact sheets are not just about zeroing in on that key image, but also about revealing a way of working and how our understanding of an image can change over time. RL: If the contact sheet can also be seen as a teaching tool, then what will young photographers now use to learn about the working process of older and more established photographers. I think one of its really strong benefits is that opportunity to see how someone else works. A huge question with digital material is what happens to all of this overwhelmingly massive volume of digital material that isnt perceived to be the top tier or the final edit There is so much digital detritus, and nobody knows at this point what is going to happen to all of it.
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