The Paparazzi

When thinking about "comtemporary" photography, I think about photographs that define our culture. In a time period when famous people are more watched and scrutinized than ever, the paparazzi take photgraphy to a whole other level. Cameras, especially with the advancement of telephoto lenses, have become a tool used for the invasion of privacy. In the photo I've chosen, Britney Spears attacks a car driven by a "pap." In a momemt of clear insanity, she attempts to damage the car with an umbrella.

Formally: The photo isn't of high artistic quality- it simply captures an event as it happened. Since it's night-time, the subjects shadow is cast upon the car. The eye naturally falls to her bald head and grimaced face. The outward projection of her arms leads the eye to the teal umbrella that she is in the midst of swinging. A sense of tension and uneasiness is projected due to the tightness of the subject's face and leg muscles. The rough texture of the cement contrasts to the smooth texture of the car. In the background there is another vehicle that is red. The viewer is unable to see someone in the car, however, we can only expect that someone is driving the car, or else we may think that she is trying to break into the car to steal something or simply damage it.

Culturally: Without knowing who Britney Spears was, or how much she was going through at the time, this photo may mean next to nothing. But since she's famous, this photo captures her "mental breakdown" forever on film. It also demonstrates our culture's fascination with actors, musicians, and heiresses. As I discussed before, this picture shows an invasion of privacy. But as most say... it comes with the price of fame.

"Camping" by Tom Stone

This photo entitled, "Camping," was taken by Tom Stone, a photographer who is "devastated by the separation of human existence." He photographs those who are on the "skirt" of society. On his website(tomstonegallery.com,) Stone states:

"And what of them; these ones who don’t belong or who are excluded; who don’t fit or don’t try? Is there nothing they value? Is there nothing of them we value? I count it as a measure of our ignorance, the depth of poverty in the world. It’s a glaring marker to how far we have not come. Yet it has also driven our advance; on less fortunate backs and against less fortunate fate."

Taking extreme close-up shots of homeless people, Stone has the ability to convey the raw emotion of the faces of those who are hurting. In his gallery, he gives descriptions of his interactions with the subjects of the photo. For the photo "Camping," he writes, "homeless kaylyn from dallas sitting on sidewalk panhandling. she was thrown out of school and out of home when she was 15.she'd been on her own until last year when, at 17, she got engaged to a boy she met in san diego. they're living together now in a tent in the park.(5/17/06)" He gives a whole new meaning to the term "camping..."

Formally speaking, we are immediately drawn to Kaylyn's eyes. The directness of her stare is unavoidable. Because of the tightness of the shot, and the contrast between her black hood and pale face, we are able to focus on the details of her face. Her numerous freckles are dispersed across her face, creating a sense of chaos, but her slight smirk is playful.

We could interpret this photo, and wonder how it relates to camping, but Stone very clearly defines it for us. This photo is not complete without the others in its series. Individually they tell a story, but together they scream "crisis."

Robert Doisneau

I've chosen upload two photos by Robert Doisneau, "Le Baiser de l'Hotel de Ville," and "Le Velo du Printemp." Most of us are probably familiar with the photo on the left, "Le Basier de l'Hotel de Ville," since it seems to be a favorite at the Sykes poster sales. By uploading this photo, we are able to compare the two, and see Doisneau's distinct style. This particular photographer is known for capturing Parisian life in black and white. His photos usually consist of people on the streets, often time a pair of kissing lovers can be seen somewhere in the photos. I found "Le Velo du Printemp" intriguing for its innocence. The subjects are engaged in a close conversation aside a dirt trail, as if they stopped for a minute to take in the view. Photos like this make me wonder just what they were chatting about. While the couple (at least I assume that they are a couple) is not kissing, I find this photo to be more romantic that the other. Perhaps it's because I've seen the other too often. I like Doisneau's use of black and white; it lends a sense of cohesiveness to all of his work.

The Elusive Golden Gate Bridge

The photo I've chosen as the header of my blog is a personal favorite, and one I took myself. During my first trip to San Francisco, Calif. I was looking forward to seeing the GG Bridge for the first time. How many times can you watch Full House without wanting to revel in its glory? Unfortuneatly for my 8 yr-old soul, smog consumed the bridge on my first visit. Last summer I was lucky enough to visit San Francisco once more, only to be disappointed yet again. Viewing the bridge from the city, all I could see was the water and the base of the bridge. Since one of my friends hadn't seen it at all before, we took a dreary drive over the bridge on our way home. Once on the other side, the sun parted just for us. Taking a stop at the base of the bridge, this photo found me.