Artist/Photographers

Peter Henry Emerson has won his place in the history books for instigating a new school of landscape photography in England in the 1880s. In his own words, he "took several photographs that were destined to revolutionise photography and make my name in photographic circles" (Scharf, 1986, p. 3). His lack of modesty gave fuel to his critics who also took exception to his lack of social conscience. According to a biographical sketch in Life and Landscape, he felt himself to be part of an intellectual elite. He was, in fact, a renaissance man, well-schooled in medicine, sports, and photography, but he confined his picture-taking interests to local color, as typified by Pictures of East Anglian Life.

Emerson approached realism in his photographs, but only tentatively. In other words, he did not want to be too realistic, and thus miss the "big picture." Scharf quotes Emerson as stating, "We cannot record too many facts in science; the fewer facts we record in Art, and yet express the subject so that it cannot be better expressed, the better . . . In art, the big physical facts of nature must be truthfully rendered" (1986, p. 24).

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e tricks, after the photograph, to achieve special effects. His thesis was, "creative endeavors are only valid if they produce new relationships" (Margolin, 1982, p. 529). He proposed to do this by eliminating the object as a reflector of light (in direct opposition to Emerson's impressionism and Steichen's love of the effects of twilight) and fixing the play of light directly on the light-sensitive bromide plate. Moholy-Nagy's first photographic experiments, begun in 1922, were made by placing objects on sensitive photographic paper and exposing them to daylight. He called the results "photograms," a word that "had the overtone of compressed communication by its analogy to 'telegram"' (Margolin, 1982, p. 529). As a teacher of design, rather than photography, Moholy-Nagy was part of the avant-garde school, Bauhaus, founded by Walter Gropius in 1919. Rather than approximating the effects of painting, by trying to make photographs like painting, Moholy-Nagy investigated the extent to which photography could serve painting, poster art, and textile design. He used scientific developments such as X-ray photography, photomicrography, and macrophotography to produce novel designs of aesthetic value (Gernscheim, 1986, p. 88). It c
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Approximate Word count = 1356
Approximate Pages = 5 (250 words per page)