The life and the intention of Eugene Atget are fundamentally unknown to us. A few documented facts and a handful of recollections and legends provide a scant outline of the man:
He was born in Libourne, near Bordeaux, in 1857, and worked as a sailor during his youth; from the sea he turned to the stage, with no more than minor success; at forty he quit acting, and after a tentative experiment with painting Atget became a photographer, and began his true life's work.
Until his death thirty years later he worked quietly at his calling. To a casual observer he might have seemed a typical commercial photographer of the day. He was not progressive, but worked patiently with techniques that were obsolescent when he adopted them, and very nearly anachronistic by the time of his death. He was little given to experiment in the conventional sense, and less to theorizing. He founded no movement and attracted no circle. He did however make photographs which for purity and intensity of vision have not been bettered.
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- Oceania -Australia - Fiji - New Zealand
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- Africa -Algeria - Angola - Benin - Botswana - Burkina Faso - Burundi - Cameroon - Cape Verde - Central African Republic - Chad - Comoros - Egypt - Kenya - South Africa
Born and raised in Tokyo, Japan.
Tatsuya Sato's artistic background is learning from the people, books & films, local galleries, and nature on the road.
Much of his work has been inspired by the Beat Generation, their works and concepts.
In the meantime, Tatsuya felt a growing need to spend time on his own work. He decreased his commercial commitments, and concentrated more and more on his personal work.
His journey began at the age of 22 when he felt that "to see myself", with a Nikon F (35mm film camera) and later on having a Leica M3 & MP4.
People who accept the evidence of their senses can be divided into three non-professional categories: saints, simpletons, and humorists. The mass of mankind is insulated from these several species of misfortune by virtue of the fact that they know better than to trust plain experience.
For example, innumerable visitors to the museum in which Elliott Erwitt's picture was made saw precisely what he saw --- or would have seen it if their catalogue had not told them that they were seeing interesting early- and middle-period works by X, Y, Z, and two anonymous masters. Faced with a contradiction between what he sees and what he reads, the average person will ignore what he sees.
No mechanism has ever been devised that has recorded visual fact so clearly as photography. The consistent flaw in the system has been that it has recorded the wrong facts: not what we knew was there but what has appeared to be there.
This Achilles' heel of the medium has long been recognized by theorists, and has been identified as "superficial photographic accuracy," or "surface naturalism."
The word amateur has two meanings. In its classical sense it is the antonym of professional, and refers to those who pursue a problem for love rather than for the rewards the world may offer. In this sense the word often identifies the most sophisticated practitioners in a field; many of photography's greatest names have been amateurs as pure as the crocuses of spring, and many others, though mercenaries during the week, have done their best work on weekends.
The other and more popular meaning of the word identifies one who plays at his work: one not only less than fully competent, but less than wholly serious. (The professional is allowed to be less than competent, but never less than serious.) This second variety of amateur is generally handicapped by ignorance of the craft and the tradition of the medium, and is therefore wholly dependent on his or her native, God-given, unique talent and sensibility. This is almost never enough.
Since at least the middle of the nineteenth century, artists have advised each other to find their subject matter close to home, among things native to their own experience, and by and large they have done so. There are not many major painters of the period who, like Paul Gauguin, could comfortably provide the inspiration for a Somerset Maugham novel.
Among photographers also, most of those who have produced the medium's memorable work have dealt with issues from their everyday lives, subject matter that they have known well.
Nevertheless, the work of most artists clearly aims at extrapolating from their personal experience, to make it the vessel for a broader and more universal statement. Such work invites us to work our way outward, from the private and specific to the larger world.
Harry Callahan's work is an exception, for it draws us ever more insistently inward toward the center of Callahan's private sensibility. This sensibility is expressed in his perception of subject matter that is remarkably personal and restricted in its range.
Julia Margaret Cameron was a largely talented, highly intelligent, free-spirited, eccentric, financially comfortable English woman who took up photography as a personal adventure, as she might have taken up philanthropy or rose culture. It is said that she was the plain sister in a family of beauties, but that her charm and intelligence made her the most formidable of the six daughters. She and her husband ___ a high British civil servant ___ counted among their friends many of the creative heroes of early Victorian England, and Cameron's best-known and most praised works are the portraits that she did of these men.
She took them one by one into her studio, a converted chicken coop, where they sat and suffered under the hot skylight until she got them exactly right. Tennyson, Darwin, Carlyle, G. F. Watts, Longfellow, Herschel, and many others suffered her uncompromising attentions, and sometimes later compared among themselves the degree of their suffering. She, on the other hand, said: "Where I have such men before my camera, my whole soul has endeavored to do my duty towards them, in recording faithfully the greatness of inner, as well as the features of the outer man."