By January 5, 2014 Amon Carter Museum in an exhibition of American color photography that demonstrates how revived color photography as an art form.
Travelling Europe in 1907, American pioneer photographer Alfred Stiglitz met with color photography. Newly invented avtohromnyy process by which formed a unique image on glass that had to cover the rear as slides was difficult to master, but none of these problems are not worried Stieglitz . After experimenting with avtohromom, he returned to black-and- white photographs because I thought that this limitation in colors artistically distinguished it from painting.
A new exhibition at the Amon Carter Museum shows that color photography starts to grow significantly over the next decades, when it was relatively easy to handle and play it on paper . Commercial photographers have covered this environment , often achieving unsurpassed results. But increasingly becoming recognized as a sign of monochrome art with photography, but until relatively recently, most art photographers have resisted this process. Stiglitz extremely valued black and white photography as an art form , and this idea gradually became a typical reaction in the marginal position of artistic medium. This limited art picture frame craft.
For this reason, color photos of photographers as William Ehleston, Laurie Simmons and Mark Cohen in the 1970s did more than just expand the artistic language of photography through the color spectrum. They actually saved the picture as an art form, a vibration which can now be seen in the epic color images of contemporary photographers ranging from Richard Miraha to Gregory Kreudsona.
Black and white photography – that’s what it was for Alfred Stieglitz in 1907, and what always should have been – an artistic choice of the artist.
Author: Anastasiia Trepyton