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Wen. History on the Spring and Autumn Period.
Edit. History on the Spring and Autumn Period.
—Documentary Photography].
This led to a number of national and international industrial assignments, as well as major corporate advertising committees, and led her to begin contacts with major publishers.
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Her photographs of business and industry in the late 20s and the early to mid 30s are the most self-conscious of her oeuvre, reflecting the corporate ideals and imperial culture of the early 20th century.
In her coverage of Cleveland's new union station, the terminal tower (1927-1929), the building and spire became the center of numerous "empire" views, she moved the tower from afar, framed on the massive viaduct arch, positioned it on "Ore Mountain", and ornate in the curved sluice gates of the parallel railroad.
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Close-up of the lobby, breathing in the heavy, dark, jewel-like material luxury and the opulence of the space. Similarly, in her work for the Otis Steel Company, which published a folio-style pamphlet, she moved around the blast furnace, where fiery steel illuminated the huge, dark halls.
This early work owes its work to the tonal and proto-pictorialist language employed by Clarence White, Alfred Stiglitz, Alvin Langdon Cobain, and Frederick H. Evans.
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Modernism and Edward Stechin's Shapes, Reflections and Shadows, Hidden Behind Burke White's NBC**, in 1933 at Radio City, Rockefeller Center, New Yorkc.a.The building was executed.
The 1935 skyscraper, commissioned by the American Catalin Company, and a series of work published in Elgin National Watch Fortune in April 1930, exemplified this more abstract, direct-to-upscale consumer approach.
In the mid-30s of the 20th century, she went from wealth to life, which was the period when Burke White matured as an artist.
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Not only did she exhibit her work alongside other American avant-garde photographers, but she also codified an avant-garde vocabulary in monumental form, high contrast, and most typically, tightly connected, repetitive objects, close to the **plane, as the well-known assembly line of newly minted coins.
She is an artist, designer, and author of The Wave of Sound. Her credo prides itself on "the glory of industrial subjects that are so powerful and sincere, close to the heart of life, because."
The industrial age in which they were created was a powerful art, and the germ of this power must be kept alive. ”
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Her status as an independent artist is justified by her appropriation of advertising and public relations semantics, grandiose, excessive, accomplished, hyperbolic, immense appeal to the image manager of the American public.
It is widely believed that Burke White gave up the glamorous world of advertising after a 1934 shoot for a sandstorm for Fortune magazine, dedicating the rest of her career to the human stories she illustrated in Life.
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These films began in the Great Depression-era South and made their way through European cinema during World War II. This generalization is misleading. Although it is true, as her subject and no corporate clientele, after 1936, even living freely, from 1940 to 1951, she continued to advertise.
Her work continues to propose and promise an ideal "American way of life" that is "based on the highest standard of living in the world." It is likely to be her most famous ** "Flood Victims in Louisville, Kentucky" in the 30s of the 20th century.
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The billboard, itself is a large national propaganda campaign launched by the National Association of Manufacturers to stimulate consumption and promote industry. Its message aptly sums up the vast number of works and information that Burke White produced over the next 25 years.
Whether it's the military 1942 "Waist Gunner" in Britain, or the bridge construction of civilians, the New York freeway, the glorification of American manufacturing, consumption and excess power, all enter the eyes and minds of the audience.
Unlike her contemporaries of documentary photography, Burke-White was not part of a farm photography project funded by the Federal Security Service, led by Roy Stryker, in the '30s.
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She was also not involved in the 40s of the 20th century, under the direction of Stryker, the establishment of the Standard Oil Company of New Jersey, sponsored by the photographic archive.
These items, yes.
An extremely important stage in the development of documentary photography.
Because it investigates the continuum of poverty, prosperity, and the emerging, highway culture.
This omission is surprising because Burke-White was the first photographer after Lewis Hayes in the 1930 third edition of Economic Life in America, an important textbook that Stryk co-authored with Columbia University sociologist Rexford Tagwell.
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Stryker's projects, conceived and executed as sociological studies, are carefully written, long-lived and portrayed experiences of poverty.
Burke-White's approach, which raises the image of consumption, the individual, and the individual. Not only did she accept the invitation, but she thrived in a short period of time.
She boasted of her ability to capture the essence of a story in one or two visits and to pre-imagine it in the "day of life" of a representative figure.
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She works for a publisher but constantly writes her own scripts. She is not a sociologist who studies human habitats, but a bold ** and a PR of good copies.
Burke White, unforgettable**, from her war and post-war missions, the Nazi bombing of Moscow in 1941; German civilians prepare to confront the crimes of their country, Buchenwald, 1945; There is also the famous Gandhi, at the 1946 Spinning Wheel Conference in Pune, India.
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However, under the manipulation of her agent, editor, biographer and herself, they read a true story of non-stop danger and adventure behind their backs, and the photographer reasonably took center stage and got the ** that no one else robbed.
The story was included in her autobiography, A Portrait of Myself (1963), which became Burke White's final milestone. She died in 1971.
—Bracket Shooting]—
Bracket shooting is a technique in which the photographer tries to make sure that he gets the right or desired ** in the conditions in which he is shooting. Using the camera's built-in light meter or a separate light meter, the photographer can measure the light around the subject and adjust the camera's shutter speed and aperture settings accordingly to get the correct **.
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However, some variables can cause the light meter recommendation to be incorrect**, for example, if surrounded by a very bright or very dark background, or if there is bright light somewhere in the lens frame.
In these cases, a light meter will tend to average out all existing light and recommend a setting that, in fact, is either excessive, resulting in the image being too bright and not having enough dark tones or shadows, or insufficient, causing the image to be too dark and not having enough light tones or highlights.
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Whether it's too much or too much, it will result in the film not recording much determinable information, which will translate into a print or slideshow in highlights or shadows, lacking in detail. With the bracket, the photographer takes two or more extras: one or more excessive, one or more insufficient.
This way, he is more likely to have a correct **, under different settings and **. Even if the light meter recommendation** deviates slightly, the photographer will:
Compensate for the possibility of false metering by shooting additional under- and over-metering.
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The bracket is most commonly used by a studio photographer or a field of view with fixed equipment conditions that allow deliberate shooting; Obviously, none of this technique works well and offers either kind of action photography technique.
There are two ways to mount a film camera's mount: by adjusting the shutter speed or the lens aperture. Which method to use depends on what the photographer is shooting and what he wants to accomplish with the image. If the photographer cares about maintaining a consistent depth of field, he should adjust the shutter speed when bracketing, not the lens aperture.
On the other hand, if the photographer cares about capturing or stopping movement, he should.
Adjust the lens aperture, not the shutter speed.
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Let the ISO be consistent with all **, the photographer does it once at the recommended settings, then resets the aperture, closes one or a half stops, or increases the shutter speed by one increment, another ** is needed, then readjusts the aperture to open one or a half stop above, the original light meter suggests, the shutter speed is reduced by one increment, from the original recommendation and the third **.
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Auto bracketing is an option in some digital cameras, and if this setting is selected, the camera will automatically adjust the aperture, or shutter speed pre-set to a degree above and below the "correct" setting, so that the photographer can turn the shutter three times and record three ** with three different settings.
Usually with a digital camera, the over- and under-bracket must be within a limited time frame, and then the camera is automatically reset to the "correct" With digital operating software, the photographer can overlay the amounts on top of each other and then use tools such as the Erase tool to discover different amounts of image areas.
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With this type of operation, the photographer can combine his favorite images, the ** of different areas, which is not possible with the combination of aperture and shutter speed settings.
If the photographer wishes, he can get a wider bracket by shooting multiple overshoots, and multiple undershots. In general, for an over-the-top lens, and an under-the-radar lens, the photographer has fully explained the flaws of metering and will be satisfied with one of the three resulting images.
Occasionally, even if the recommended settings prove to be correct, the photographer may prefer an image that is either under- or excessively for aesthetic reasons.
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In film photography, one of the drawbacks of bracketing is that when the photographer uses this technique, he thinks that some ** is incorrect, so the photographer deliberately "wastes" the film. With experience, photographers can be more sure that they are getting the right ** and only keep the bracket when they are unsure**, not every shot**.
—Summary]—
If a photographer wants to be sure that he will get a correct **, however, bracketing is a good way to make sure that even if the photographer's light meter is incorrect, he will still be able to get a ** from the bracket.
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With digital photography, mounts are often easier to incorporate into regular practice, as no film is wasted, except with limited storage space on disks, or other removable** that photographers can mount without reservation.
Just like sometimes "incorrect" to photographers, the best or favorite print or slideshow image, digital photographers, should wait to delete the image they feel is incorrect until the file is moved to the computer.
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Whether the photographer chooses to manipulate the image in a software program, or simply select the best image, the number can be removed and reused making it easy for the photographer to postpone the editing decision rather than trying to edit the image he is shooting.
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Bracket work is also a photographer's insurance, and even if an image can be retaken, with different options, it's much easier than relying on a photometer to provide the right reading every time.
If bracketing can't easily retake an image, then bracketing ensures that one is almost right out of multiple times.
Reference: A group of photographic works focusing on achievements for seven years - behind the photographic work "Goodbye, Hello Cableway, Highway" [J].Yang Shunpi; Li Yuanyuan. China Prefecture News, 2022 (01).
Research on the Education and Practical Application of Image Visual Art in the Context of New **[J].Gong Haoran. Light Alloy Processing Technology, 2021(02).
Friends of Photography and "Image Vision" 2021 annual double issue subscription is a gift! [j]..Friends of Photography, 2021 (01).