Stephen Shore

Stephen Shore (born 1947 in New York City) is an American photographer known for his deadpan images of banal scenes and objects in the United States, and for his pioneering use of color in art photography. Stephen Shore was interested in photography from an early age. Self-taught, he received a photographic darkroom kit at age six. He began to use a 35mm camera three years later and made his first color photographs. At ten he received a copy of Walker Evans's book, American Photographs, which influenced him greatly. His career began at the early age of fourteen, In 1972, for instance, the New York native embarked on a road trip that was to offer what he refers to as his “first view of America.” A decade’s worth of summer road trips followed, including the one that took Shore to Coronado Street. In 1974, Shore began photographing with an 8×10 view camera. He thinks in his photography how is the elements related to each other and the balance to his point that seems central to the picture .

Stephen Shore, U.S. 97, South of Klamath Falls, Oregon, July 21, 1973

Stephen Shore is one other photography’s seminal figures. A pioneer in the art of color photography, his large format photos articulated new directions in the 1970s. the point that is central to the picture and using it to determine where to point his camera to be very interesting and informative. I felt that it helped me to improve my view of thinking be for taking my image.

Reference"

http://passurlalune.net/category/loose-subjects/

http://www.doppelgangermagazine.com/march/chris_brayshaw_march.html

http://www.nytimes.com/2007/05/18/arts/design/18shor.html?pagewanted=1&ei=5090&en=1b90ff9e22350ca6&ex=1337140800&partner=rssuserland&emc=rss

http://www.mocp.org/collections/permanent/shore_stephen.http://www.masters-of-photography.com/S/shore/shore.html

William Eggleston

William Eggleston was born in Memphis, Tennessee and raised in Sumner, Mississippi.

Eggleston's early photographic efforts were inspired by the work of Swiss-born photographer Robert Frank, and by French photographer Henri Cartier-Bresson's, First photographing in black-and-white, Eggleston began experimenting with color in 1965 and 1966. color transparency film became his dominant medium in the later sixties. “The dye-transfer process resulted in some of Eggleston's most striking and famous work, such as his 1973 photograph entitled The Red Ceiling, of which Eggleston said, "The Red Ceiling is so powerful, that in fact I've never seen it reproduced on the page to my satisfaction. When you look at the dye it is like red blood that's wet on the wall.... A little red is usually enough, but to work with an entire red surface was a challenge."

In this the red ceiling I love the way the image is been taken and how the red color makes it powerful as Eggleston says to work with entire red surface was a challenge .Eggleston photography in this image is one of contemporary art photography its strong and powerful as the way he thought to take the ceiling on that time .

Reference

http://www.egglestontrust.com/

http://www.farewellkodachrome.com/?p=98

http://www.masters-of-photography.com/E/eggleston/eggleston.html

Nan Goldin

Biography

Nan Goldin (born September 12, 1953) is an American fine-art and documentary photographer. She has been represented in America exclusively by Matthew Marks Gallery since 1992 and Yvon Lambert Gallery in Paris.

Goldin was born in Washington, D.C., and grew up in an upper-middle-class Jewish family in the Boston, Massachusetts suburb of Lexington. After attending the nearby Lexington High School, she enrolled at the Satya Community School in Lincoln, where a teacher introduced her to the camera in 1968; Goldin was then fifteen years old. Her first solo show, held in Boston in 1973, was based on her photographic journeys among the city's gay and transsexual communities, to which she had been introduced by her friend David Armstrong. Goldin graduated from the School of the Museum of Fine Arts, Boston/Tufts University in 1977/1978, where she had worked mostly with Cibachrome prints.
Following graduation, Goldin moved to New York City. She began documenting the post-punk new-wave music scene, along with the city's vibrant, post-Stonewall gay subculture of the late 1970s and early 1980s. She was drawn especially to the Bowery's hard-drug subculture; these photographs, taken between 1979 and 1986, form her famous work The Ballad of Sexual Dependency — a title taken from a song in Bertolt Brecht's Threepenny Opera. These snapshot aesthetic images depict drug use, violent, aggressive couples and autobiographical moments. Most of her Ballad subjects were dead by the 1990s, lost either to drug overdose or AIDS; this tally included close friends and often-photographed subjects Greer Lankton and Cookie Mueller. In 2003, The New York Times nodded to the work's impact, explaining Goldin had "forged a genre, with photography as influential as any in the last twenty years." In addition to Ballad, she combined her Bowery pictures in two other series: "I'll Be Your Mirror" (from a song on The Velvet Underground's The Velvet Underground & Nico album) and "All By Myself."
Goldin's work is most often presented in the form of a slideshow, and has been shown at film festivals; her most famous being a 45 minute show in which 800 pictures are displayed. The main themes of her early pictures are love, gender, domesticity, and sexuality; these frames are usually shot with available light. She has affectionately documented women looking in mirrors, girls in bathrooms and barrooms, drag queens, sexual acts, and the culture of obsession and dependency. The images are viewed like a private journal made public. .

Goldin's work since 1995 has included a wide array of subject matter: collaborative book projects with famed Japanese photographer Nobuyoshi Araki; New York City skylines; uncanny landscapes (notably of people in water); her lover, Siobhan; and babies, parenthood and family life.

I have chosen this image for Nan Goldin because I want to see her different in her others most known pictures ,

Goldin lives in New York and Paris—one reason the French Pompidou Centre mounted a major retrospective of her work in 2002. Her hand was injured in a fall in 2002, and she currently retains less ability to turn it than in the past .
In 2006, her exhibition, Chasing a Ghost, opened in New York. It was the first installation by her to include moving pictures, a fully narrative score, and voiceover, and included the disturbing three-screen slide and video presentation Sisters, Saints, & Sybils. The work involved her sister Barbara's suicide and how she coped through a numerous amount of images and narratives. Her works are developing more and more into cinemaesque features, exemplifying her graviation towards working with films.
She was presented the 2007 Hasselblad Award on 10 November, 2007.

Criticism

Some critics have accused her of making heroin-use appear glamorous, and of pioneering a grunge style that later became popularized by youth fashion magazines such as The Face and I-D. However, in a 2002 interview with The Observer, Goldin herself called the use of "heroin chic" to sell clothes and perfumes "reprehensible and evil."
Portrayal in film
The photographs by the character Lucy Berliner, played by actress Ally Sheedy in the 1998 film High Art, were based on those by Goldin.

Links to her gallery:
http://www.matthewmarks.com/artists/nan-goldin/
http://www.artnet.com/artist/7135/nan-goldin.html
http://www.artnet.com/Magazine/features/fineman/fineman12-12-96.asp
http://www.lightstalkers.org/images/show/826903
http://www.marissaneave.com/2008/05/oh-nan-goldins-heartbeat/


Nan Goldin Interview:
http://www.youtube.com/watch?v=0Z3sihEuiEk
http://www.youtube.com/watch?v=YgL37xpBntw