Camera Work

Among these shows are Camera Work, Parsons The New School for Design, New York, NY (2015); Hot or Cold?

Cramer had gotten to know Alfred Stieglitz upon his arrival in America in 1911 and wrote an essay about 291 Gallery for Stieglitz's magazine Camera Work in 1914. Through Stieglitz an...

The first effort didn’t work – the margin for error in my camera work was so limited, but after several attempts, I nailed it.

Cramer had gotten to know Alfred Stieglitz upon his arrival in America in 1911 and wrote an essay about 291 Gallery for Stieglitz's magazine Camera Work in 1914. Through Stieglitz an...

In subsequent years, he became one of the most exhibited painters shown at the 291 Gallery, a fact which was also reflected in the pages of Stieglitz' polemical journal of Modernism,...

In subsequent years, he became one of the most exhibited painters shown at the 291 Gallery, a fact which was also reflected in the pages of Stieglitz' polemical journal of Modernism,...

Steichen's were the photographs that most frequently appeared in Alfred Stieglitz's groundbreaking magazine Camera Work during its publication from 1903 to 1917.

Upon his return to the United States, Bluemner contributed one landscape to the 1913 Armory Show and wrote an article defending modernism for Stieglitz's progressive publication Came...

Upon his return to the United States, Bluemner contributed one landscape to the 1913 Armory Show and wrote an article defending modernism for Stieglitz's progressive publication Came...

Upon his return to the United States, Bluemner contributed one landscape to the 1913 Armory Show and wrote an article defending modernism for Stieglitz's progressive publication Came...

Upon his return to the United States, Bluemner contributed one landscape to the 1913 Armory Show and wrote an article defending modernism for Stieglitz's progressive publication Came...

Upon his return to the United States, Bluemner contributed one landscape to the 1913 Armory Show and wrote an article defending modernism for Stieglitz's progressive publication Came...

Upon his return to the United States, Bluemner contributed one landscape to the 1913 Armory Show and wrote an article defending modernism for Stieglitz's progressive publication Came...

Upon his return to the United States, Bluemner contributed one landscape to the 1913 Armory Show and wrote an article defending modernism for Stieglitz's progressive publication Came...

Upon his return to the United States, Bluemner contributed one landscape to the 1913 Armory Show and wrote an article defending modernism for Stieglitz's progressive publication Came...

Upon his return to the United States, Bluemner contributed one landscape to the 1913 Armory Show and wrote an article defending modernism for Stieglitz's progressive publication Came...

Upon his return to the United States, Bluemner contributed one landscape to the 1913 Armory Show and wrote an article defending modernism for Stieglitz's progressive publication Came...

Upon his return to the United States, Bluemner contributed one landscape to the 1913 Armory Show and wrote an article defending modernism for Stieglitz's progressive publication Came...

His work has been highly regarded because of its humanity and capturing the life and reality of the people and streets.

Executed as a halftone print on velin paper, this work measures 20 x 16 inches, overall. Unsigned and unnumbered as issued.

Executed as a halftone print on velin paper, this work measures 20 x 16 inches, overall. Unsigned and unnumbered as issued.

Executed as a halftone print on velin paper, this work measures 20 x 16 inches, overall. Unsigned and unnumbered as issued.

Executed as a halftone print on velin paper, this work measures 20 x 16 inches, overall. Unsigned and unnumbered as issued.

Executed as a halftone print on velin paper, this work measures 20 x 16 inches, overall. Unsigned and unnumbered as issued.

Executed as a halftone print on velin paper, this work measures 20 x 16 inches, overall. Unsigned and unnumbered as issued.

Executed as a halftone print on velin paper, this work measures 20 x 16 inches, overall. Unsigned and unnumbered as issued.

Executed as a halftone print on velin paper, this work measures 20 x 16 inches, overall. Unsigned and unnumbered as issued.

Executed as a halftone print on velin paper, this work measures 20 x 16 inches, overall. Unsigned and unnumbered as issued.

Executed as a halftone print on velin paper, this work measures 20 x 16 inches, overall. Unsigned and unnumbered as issued.

Executed as a halftone print on velin paper, this work measures 20 x 16 inches, overall. Unsigned and unnumbered as issued.

Executed as a halftone print on velin paper, this work measures 20 x 16 inches, overall. Unsigned and unnumbered as issued.

Executed as a halftone print on velin paper, this work measures 20 x 16 inches, overall. Unsigned and unnumbered as issued.

Executed as a halftone print on velin paper, this work measures 20 x 16 inches, overall. Unsigned and unnumbered as issued.

Executed as a halftone print on velin paper, this work measures 20 x 16 inches, overall. Unsigned and unnumbered as issued.

Executed as a halftone print on velin paper, this work measures 20 x 16 inches, overall. Unsigned and unnumbered as issued.

Executed as a halftone print on velin paper, this work measures 20 x 16 inches, overall. Unsigned and unnumbered as issued.

Executed as a halftone print on velin paper, this work measures 20 x 16 inches, overall. Unsigned and unnumbered as issued.

Upon his return to the United States, Bluemner contributed one landscape to the 1913 Armory Show and wrote an article defending modernism for Stieglitz's progressive publication Came...

NF2 Photography as Art, Gallery Grada Zagreb,1976. Time, Words and the Camera, work by British artists travelling through Austria, 1976.

For a few years, Weber enjoyed a productive if rocky relationship with Stieglitz, and he published two essays in Stieglitz's journal Camera Work. (He also wrote Cubist poems and publ...

Whitney Museum of American Art Louis Stettner: Photographien. Camera Work, Berlin, 2006 Louis Stettner: Streetwise.

In order to create his own images for these collages, Mapplethorpe turned to photography, initially using a Polaroid SX-70 camera. Interested in portraiture, Mapplethorpe worked as a...

When he discovered TASCHEN had signed her to do America Swings he asked to do an interview with her, where he reveals part of what makes her work so unique: “When I look at one of yo...

David Yarrow's narrative on "The Grand Tetons": "On a clear day after a storm, there are few better places in which to get a camera out than Jackson Hole. In the first few minutes o...

David Yarrow's narrative on "The Grand Tetons": "On a clear day after a storm, there are few better places in which to get a camera out than Jackson Hole. In the first few minutes o...

When he discovered TASCHEN had signed her to do America Swings he asked to do an interview with her, where he reveals part of what makes her work so unique: “When I look at one of yo...

Some of his best pictures were literally composed in the viewfinder of the camera. In other cases he worked on the negative with dyes and intensifiers, pencil marking, and even scrap...

I could be nowhere near the camera when we worked this image – these lions are dangerous and big.

The amphitheatre has offered a great canvas for photographers to tell stories since the invention of the camera and we always work here fully aware that we are on well-trodden ground...

The amphitheatre has offered a great canvas for photographers to tell stories since the invention of the camera and we always work here fully aware that we are on well-trodden ground...

A devotee of the Rolleiflex camera, he worked exclusively in natural light, carefully composing his images and infusing movement into otherwise static frames.

At the young age of 24, he lost the palms of both hands in an accident, but despite the fact that both of his hands were amputated, he gained world fame with his art photos through p...

Orkin moved to New York in 1943, where she worked as a nightclub photographer and shot baby pictures by day to buy her first professional camera.

But they are not depicted as victims; they confront the camera proudly and matter-of-factly. Adams considers his subjects his friends, which no doubt lends a level of comfort to the ...

Time Gentlemen Please: London Stock Exchange - Frank Habicht Signed, inscribed with title and 'London permissive sixties', and numbered on photographer's label, affixed to reverse 16...

No Loss of Face, Earl's Court, London - Frank Habicht Signed, inscribed with title and 'London Permissive Sixties', and numbered on photographer's label affixed to reverse 20 x 16 in...

And the Crowd went Crazy: Stones Concert, Hyde Park, 1969 - Frank Habicht Signed, inscribed with title and 'London Permissive Sixties', and numbered on photographer's label affixed t...

Part of the Scene, Girl at Rolling Stones Concert, 1969 - Frank Habicht Signed, inscribed with title and 'London Permissive Sixties', and numbered on photographer's label affixed to ...

My Heart Leaps up When I Behold, Kings Road, London, 1967 - Frank Habicht Signed, inscribed with title and 'London Permissive Sixties', and numbered on photographer's label affixed t...

Next, he experimented with technology, using digital still cameras and high-definition film cameras to inform his work, and at the same time painting scenes in museums and art fairs,...