Glamour subverts convention. Models, images, and even landscapes can skew ordinary ways of seeing when viewed through the lens of photography, suggesting new worlds imbued with fantasy, mystery, sexuality, and tension. In Old Fields, John Stilgoeaone of the most original observers of his timeaoffers a poetic and controversial exploration of the generations-long effort to portray glamour. Fusing three forces in contemporary American cultureaamateur photography after 1880; the rise of glamour and fantasy; and the often-mysterious quality of landscape photographsaStilgoe provides a wide-ranging yet concentrated take on the cultural legacy of our photographic history. Through the medium of qshop theoryqathe techniques, tools, and purpose-made equipment a maker uses to realize intentaStilgoe looks at the role of Eastman Kodak in shaping the ways photographers purchased cameras and films, while also mapping the divisions that were created by European-made cameras. He then goes on to argue that with the proliferation of digital cameras, smart phones, and Instagram, young peopleas lack of knowledge about photographic technique is in direct correlation to their lack of knowledge of the history of glamour photography. In his exploration of the rise of glamour and fantasy in contemporary American culture, Stilgoe offers a provocative and very personal look into his enduring fascination with, and the possibilities inherent in, creating oneas own images.Pearlman, Rollei Manual (1953), 214. 50. Heering, Das RolleiBuch, 170a84; thephrase is on174 (my translation). 51. I have beenunable to trace the flowof Germanmade cameras, let alone instruction manuals, through Army of Occupation andanbsp;...
|Author||:||John R. Stilgoe|
|Publisher||:||University of Virginia Press - 2014-03-04|