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Nus/Edward Jean Steichen
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Edward Jean Steichen

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2020-05-05 17:54:29
comentários (39) galardões descrição exif favorita de (57)
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“It is rather amusing, this tendency of the wise to regard a print which has been locally manipulated as irrational photography – this tendency which finds an esthetic tone of expression in the word faked. A MANIPULATED print may be not a photograph. The personal intervention between the action of the light and the print itself may be a blemish on the purity of photography. But, whether this intervention consists merely of marking, shading and tinting in a direct print, or of stippling, painting and scratching on the negative, or of using glycerine, brush and mop on a print, faking has set in, and the results must always depend upon the photographer, upon his personality, his technical ability and his feeling. BUT long before this stage of conscious manipulation has been begun, faking has already set in. In the very beginning, when the operator controls and regulates his time of exposure, when in dark-room the developer is mixed for detail, breadth, flatness or contrast, faking has been resorted to. In fact, every photograph is a fake from start to finish, a purely impersonal, unmanipulated photograph being practically impossible. When all is said, it still remains entirely a matter of degree and ability.”
exif / informação técnica
Máquina: Canon
Modelo: Canon EOS 5D Mark II
Exposição: 1/640 sec
Exposição (EV+/-): -0.3 step
Abertura: f/4
ISO: 3200
Dist.Focal: 75mm
Dist.Focal (35mm):
Software: Adobe Photoshop 21.1 (Macintosh)

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Edward Jean Steichen
“It is rather amusing, this tendency of the wise to regard a print which has been locally manipulated as irrational photography – this tendency which finds an esthetic tone of expression in the word faked. A MANIPULATED print may be not a photograph. The personal intervention between the action of the light and the print itself may be a blemish on the purity of photography. But, whether this intervention consists merely of marking, shading and tinting in a direct print, or of stippling, painting and scratching on the negative, or of using glycerine, brush and mop on a print, faking has set in, and the results must always depend upon the photographer, upon his personality, his technical ability and his feeling. BUT long before this stage of conscious manipulation has been begun, faking has already set in. In the very beginning, when the operator controls and regulates his time of exposure, when in dark-room the developer is mixed for detail, breadth, flatness or contrast, faking has been resorted to. In fact, every photograph is a fake from start to finish, a purely impersonal, unmanipulated photograph being practically impossible. When all is said, it still remains entirely a matter of degree and ability.”
Tag’s: mulher,erótico,pintura,dark
comentários
Máquina: Canon
Modelo: Canon EOS 5D Mark II
Exposição: 1/640 sec
Exposição (EV+/-): -0.3 step
Abertura: f/4
ISO: 3200
Dist.Focal: 75mm
Dist.Focal (35mm):
Software: Adobe Photoshop 21.1 (Macintosh)